How does Hitchcock use cinematography to create tension in the parlour scene in Psycho?

How does Hitchcock use cinematography to create tension in the parlour scene in Psycho?

Hitchcock uses cinematography to create tension in the parlour scene in Psycho by using low angle shots. When Lila Crane mentions Bates’ mother, Hitchcock uses a low angle shot to show Norman. This has the effect of giving Bates a more dominant figure as the audience is below him physically. This creates tension by making the audience feel on edge. The fact that Bates is more dominant makes the audience think that he could go off at any second, and that he has the power to manipulate the scene in his favour. This could be linked to the same technique being used in the shower scene. In this scene, Hitchcock uses a low angle shot to show Bates’ character when he is murdering Lila Crane. The use of this technique in the parlour scene could be foreshadowing the events that are about to unfold. Furthermore, in this shot Bates’ stuffed birds are shown over his shoulders. The use of these birds builds tension because they are spooky looking which creates quite a timid atmosphere. As well as that, the use of these birds in this shot cast a great shadow behind them as they are lit from below. This creates quite a tense mood as shadows are closely linked with horror.

Secondly, Hitchcock uses cinematography to create tension in the parlour scene in Psycho by the manipulation of lighting. In this scene, Vera Miles’ character is very well lit, however Norman Bates is left in a dark corner of the room. By doing this, Hitchcock creates an invisible barrier between the two characters. This has the effect of making Crane look quite calm and normal, however makes Bates look shady and menacing. This creates tension as Bates looks unpredictable, and makes the audience think that Crane is in trouble. As well as that it makes the audience feel vulnerable as Bates is hidden away.

Shot types are very significant in achieving a tense atmosphere in the parlour scene in Psycho. Hitchcock uses a variety of shot types in this scene to achieve different effects and to pull in the audience’s emotions. For example, when the ‘mad house’ is mentioned Bates goes from a mid-shot to a close up of his face. By doing this Hitchcock shows the audience his reaction, and that he is displeased with Crane. This sudden change in shot type shows the audience the sudden change in atmosphere. This creates tension because Bates is shown to be a loose cannon, and that he could explode at Crane at any second. This makes the audience feel empathetic towards Crane’s fear of Bates. As Bates leans forward to show his displeasure, he emphasises his power and dominance over Crane and the audience. This makes the audience feel vulnerable as Bates has full control over this scene. This could be linked to the same technique used in the shower scene. A close up is shown of Bates when he is stabbing Crane which makes the audience feel claustrophobic and enclosed as there is no escape from Bates. This technique in the parlour scene makes the audience feel like there is no escape from Bates’ aggression, just like how the audience feels when they can’t escape Bates’ stabbing.

The use of camerawork within this scene is very significant, as it determines how the audience will view the characters. One notable camera technique is that throughout the scene we continually see Marion from the front, showing her whole face, whereas with Norman we generally only see him from side on. Through doing this, the audience is led to view Norman in a negative light as it shows his potential for evil. Likewise the use of shadow that covers his face halfway, suggests to the audience his split personality as a character. We are meant to view Marion as pure and wholesome as a character, and Norman as abnormal and sadistic. Furthermore, framing is very important to this scene. Throughout the whole scene the characters never appear within the same shot, which adds a sense of separation between the two. Hitchcock is trying to suggest to the audience the significant contrast between Marion and Norman as people.