编辑’注意：不久前，您可能还记得，我们宣布了一个另类结局写作研讨会，其中邀请了少数受访者就电影和电影分析的文章集思广益，并亲自发表社论，直至最后障碍：将这篇文章放在整个互联网读者的面前。我们花了比我们预期更长的时间，但在这里，这终于是这项工作的第一个成果，由尼克·利奇（Nick Leach）在一家电影院拍摄’最大的狗。随时分享您在评论中的任何建设性批评– as long as it’s 建设性的.

拿走，尼克！

尼克·里奇（Nick Leach）

毋庸置疑，希区柯克（Alfred Hitchcock）的 心理 is a masterpiece. What elevates it above most genre horror films is the amount of care and control of all its formal elements. The film uses not just dialogue and 性能s to develop its characters but also its visuals to give us a wealth of information. Everything from lighting, art direction, and the mise-en-scene of the cinematography reveals more depth to the characters and the film’s themes. When most think of formal techniques in 心理 他们经常想到淋浴序列中著名的剪辑。但是就技术而言，安静的时刻，尤其是谋杀之前在客厅发生的场景，同样如此。这部电影的这部影片也展现了电影的主要主题的完美探索，而邪恶和疯狂则隐藏在日常正常情况下，体现了杀人的杀手。我将花一些时间研究一下这一场景，并展示影片整体手工艺的光彩。

这应该不言而喻，但是以防万一，这是您的警告：我将破坏这部电影的废话，并且我在假设您知道一切结局的情况下写这篇文章。如果你还没看 心理 但是，请尽快捕获它。这只是任何对媒体有一点兴趣的人都必须看的电影之一。即使您不喜欢老电影，我还是全心全意推荐它。对于那些想跟进的人，我大约在第34分钟开始。Marion Crane（Janet Leigh）已经遇到了汽车旅馆老板，没有威胁的Norman Bates（Anthony Perkins）。但是，正如我们将看到的，诺曼的真实意图的警告信号一直都在我们面前。

这是我们两个角色的绝佳镜头。马里恩（Marion）从前景移到与诺曼（Norman）相同的平面，将我们的视线引向客厅入口。客厅的内部不过是一个醒目的黑色空隙。与托盘上明亮的白色水罐的可爱对比更加突出了这一点。角色的住所以及他们如何选择适应自己的经历足以说明他们是谁。当诺曼让马里恩和我们成为他的客厅中的听众时，他正在让我们进入他的内部心理空间。诺曼对我们来说是新手，我们只看到了他“performance”作为一个无辜的汽车旅馆经理。他的其余部分隐藏在他的心灵深处，就像客厅隐藏在黑暗中一样。

Norman enters, and nothing can really be seen in the darkness; just shadowy forms. So, he turns on the lights and thus reveals himself. Marion looks around the room and the film cuts to the objects 她 sees: a bunch of stuffed birds.

鸟类在其中具有很多象征意义 心理。将连环杀手与猛禽联系起来并不是很大的飞跃。鸟类也没有像狗或黑猩猩那样容易引起我们同情的情绪。随着这一系列电影的继续，诺曼与鸟类行为之间的联系将变得更加清晰。这些鸟已经死了并且被塞了，这一事实又增加了一层。在标准的电影杀手习语中，诺曼喜欢玩死动物，对死亡着迷，并且喜欢保留这些奖杯。正如我们稍后在电影结尾所看到的那样，诺曼的妈妈在地下室，她本人是一只毛绒小鸟。

Norman sets up dinner and what follows is a conversation done in a standard shot-reverse shot pattern. The way Norman and Marion are framed in their respective shots gives us a wealth of visual information. Of course, the dialogue and 性能s are top notch and this whole conversation can be appreciated on those levels alone. We get that great line early on here: “You eat like a bird;”再次将潜台词保留在掠食者和猎物上。但是投篮选择在展现角色方面是非凡的。

诺曼序列的一半显示了他的舒适度以及他与房间的距离。我们看到他随便坐在椅子上。有一次他甚至向后倾斜，将胳膊靠在身后的梳妆台上，轻轻地抚摸着那只毛绒的小鸟。他非常在家。照明来自框架左侧的屏幕外，照亮了诺曼脸上的右侧，更重要的是，照亮了他身后的两只毛绒小鸟。诺曼继续说他多么喜欢填充毛绒被动动物的外观，这明显预示着他一直是杀手。回到这个房间是诺曼心意的想法，所有这些都进一步证明，他比自己必须与外人一起玩的社会规范更能满足自己的疯狂需求。

在这里，我们看到马里恩坐在沙发上吃饭。她被放置在框架的左侧以反映诺曼的另一幅镜头，从而使两个说话的视觉保持一致，并通过视觉提示使观众看到镜头设置在房间的哪一侧。在此可以看到上一幅镜头的光源。悬挂在边桌上的老式灯。就像照明诺曼与房间的关系一样，它在这里起着类似的作用。围绕马里昂（Marion）构图，并占照片的右三分之一，是古董小摆设，过时的窗帘和祖母荷叶边的餐垫。这与马里恩（该时期）的现代着装和发型形成鲜明对比。她显然不属于这个房间代表的世界。

直到唯一一个缺席的角色（诺曼的母亲）长大后，在这两个镜头之间来回切换不会改变。诺曼的演讲“private traps”展现了他自己，并且比电影中心理学家尴尬的尾声更能说明他。马里恩（Marion）忽略了这里的任何潜台词，而是根据自己的情况来解释他的话；用偷来的钱搞砸了她的生活。她把谈话转离自己，转而谈论贝茨太太对诺曼的讲话。实际上，马里恩说的确切时刻“she,”电影切入了我们的下一个镜头：

和“she” is very present here. Now we have a closer profile shot of Mr. Bates. This is purposefully jarring compared to the previous eye level shots to draw our attention to what is behind Norman. In the upper corner of the room is a large stuffed owl with its wings outstretched as if it was ready to swoop down and attack Norman. Owls are often associated with the night and this choice of bird is significate because it metaphorically ties back into the internal darkness of Norman’s true nature. More importantly it represents Norman’s mother or rather his idea of his mother that lives inside his mind. Just like the owl behind him, Norman’s psychotic dark side is behind his 性能 to Marion.

Now whenever the film cuts back to Marion, her shot is now much closer. As apposed to the previous medium shot of her on the couch, it is now a close-up. This does two things. Firstly, focuses our attention on the 性能; allowing us to see Marion’s reaction to the Norman’s background story. It also again reinforces our identification with Marion. She like us is now captivated by Norman’s tale and both of us (meaning Marion and film viewer) must decide what to make of this strange man.

当的想法“madhouses” comes up, Norman’s half of the conversation cuts to a close-up as well. His 性能 drastically changes here as he lets his mask down a little, and this close-up focuses on those changes. But this shot really emphasizes the neat little visual trick with the lighting that has been going on this whole time. With harsh lighting on only one half of his face, the character’s physical appearance is highlighted (and reveals also what a brilliant bit of casting Anthony Perkins was; not just for his acting skills). Norman, with his sharp nose and thin neck, has very bird like features and you can see the comparison with the stuffed creatures behind him. He is the predator feeling out his prey.

但是，诺曼（Norman）尽自己所能，将自己的行为解释为对母亲的爱，这给人留下了深刻的印象。“我们都有生气的时候。” This resonates with Marion who sees her own recent behavior as out of character. She stands up and the camera pans with her, but little does 她 know it is already too late for her.

在她的身后，看不见的是乌鸦的险恶的黑暗身影，传统上是死亡的象征。在这里，它代表诺曼底人，爬上他毫无戒心的受害者。尖锐的喙预示着凶手的刀。

Marion now leaves the office to go back to her room. Up until this point Marion has been our point-of-view character. But 她 walks out and the camera (and thus us as the audience) stays behind in Norman’s world. There are even those grandmotherly curtains in the right of the frame to remind us whose mental space we are still in.

电影在门口切回诺曼底。他被构图在镜头中间，以引起人们对他的行为前沿和中枢的注意。现在他脸上的表情完全不一样了。现在一个人，他的面具已经掉了。现在我们可以看到他确实是杀手。在背景中，我们仍然看到邪恶的乌鸦，灯光将阴影笼罩在墙上。如此短暂的阴影笼罩着诺曼的头，在这两只猛禽之间建立了象征性的联系。为了推动相关性的发展，诺曼some了一些碎屑，像公园里的小鸟。他向前走去，确认了马里昂的谎言，使人感到满足。

Norman closes the door and retreats into his own world of shadows. The camera pans with him until he gets to the far wall. For a split second we see maybe a moment on his face where he reconsiders what he is about to do. But framed right next to his head, almost as if it was whispering in his ear, is that sinister owl. It is the darkness, the “mother” half of his personality locked away in his mind, that talks him back into it. The 性能 with Norman’s face is spectacular as we see him, wordlessly, back out and then fully commit to his crime again.

在最后的铺垫中，诺曼转身在墙壁上发现了一个隐藏的孔，他用它窥视了马里恩的脱衣服。不过，隐藏在其中的是一幅性暴力油画，这幅画一直在墙上一览无余。

诺曼倾身，影片切成侧面特写镜头。除了从洞中射出的光线突出诺曼的眼睛之外，大部分镜头都被黑暗覆盖。这说明了我们现在如何进入诺曼的视野，而在他离开房间之前的其余场景正是诺曼所见，马里恩（Marion）脱衣服并冲凉的场景。

我们可以在这里结束，这是电影中最著名的标志性图像之一，就在 心理 最有名的。一个常见的成语是”眼睛是通往心灵的窗户” and we have taken a trip into Norman’s. Much of what defines a character is 性能 and dialogue and the sequence in the parlor has that in spades. But often overlooked is the amount of detail and care that is chosen in the visuals. We learn just as much about Norman from the shot selection as the script. The biggest theme running through 心理 is the madness hidden underneath the everyday personified in Norman’s character. This sequence is one of the best examples of this theme in the film and exemplifies why 心理 不仅是经典的恐怖片，而且是电影的杰作。