High-caliber contributions comment on a scene that has made and changed the history of cinema: the shower scene of the film Hitchcock's Psycho. A scene that marked a cultural change in the language of cinema, which was slowly changing from the sweetened technicolor of the 1950s. Released in September 1960, Psycho stands between the post atomic and civil rights eras, inculcating a terrifying message in the viewer: "no one is safe anymore, not even within the home". ![architecturebuildingcinema436413 1.jpg](https://files.steempeak.com/file/steempeak/claudio83/oU1BWB99-architecture-building-cinema-436413201.jpg) ___ Everything in that scene is studied by Hitchcock to confuse the audience: the death of the protagonist's well-known face (Janet Leigh) in the first few minutes; 'the bomb under the table' which creates the suspense effect; the figure of the bad mother who negatively affects the children; the bright white of a bathroom that will be stained with blood and crime (the choice of black and white was not accidental); the sense of 'divine' punishment for a woman on the run with the booty of a theft. And again: Bernard Herrmann's music never used in that way, until then, with the cue starting and ending, in sync with the victim's accelerated heartbeat; the kaleidoscopic assembly of Tomasini who knew very well where the viewer would look, the sound effect of the stabbing, tried, studied and sampled trying to sink a butcher knife in hundreds of watermelons, up to the choice of the casaba melon that well made the idea in registration. The delirium and madness rendered with the attacks on the axis of shots that suddenly go from a wide shot to a close up and with the overcoming of the stage line. Without neglecting the sexual metaphor of penetration with the knife that touches the bust of the victim and the detachments on the hands to bring the viewer inside the feeling and anguish of the death of the protagonist. In short, the obsessive care of a director who knew the language of images very well, to the point of knowing how to modulate it to obtain the desired effects and sensations. A director who became a master for his ability to make school with his own films and with that scene of 78 shots and 52 cuts that influenced the whole cinema and the way of making subsequent cinema, from Bava, to Argento to Scorsese. Until today. Today again. The study of emotion, obsession with the image: pure art. #hitchcock 🔝🎬❤
post_id | 85,201,946 |
---|---|
author | claudio83 |
permlink | 78-52-alexandre-o-philippe-2017 |
category | hive-148441 |
json_metadata | {"app":"steempeak\/2020.03.4","format":"markdown","tags":["cult","aaa","palnet","neoxian","dblog","documentary"],"links":["\/trending\/hitchcock"],"image":["https:\/\/files.steempeak.com\/file\/steempeak\/claudio83\/oU1BWB99-architecture-building-cinema-436413201.jpg"]} |
created | 2020-03-15 07:07:06 |
last_update | 2020-03-15 07:07:06 |
depth | 0 |
children | 0 |
net_rshares | 7,196,802,304,403 |
last_payout | 2020-03-22 07:07:06 |
cashout_time | 1969-12-31 23:59:59 |
total_payout_value | 0.860 SBD |
curator_payout_value | 0.660 SBD |
pending_payout_value | 0.000 SBD |
promoted | 0.000 SBD |
body_length | 2,455 |
author_reputation | 219,898,477,375,354 |
root_title | "78/52, Alexandre O. Philippe, 2017" |
beneficiaries | [] |
max_accepted_payout | 1,000,000.000 SBD |
percent_steem_dollars | 10,000 |
author_curate_reward | "" |
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