The Psycho is Near...

If suspense film making was somehow "discovered" Alfred Hitchcock would undoubtedly be the one who discovered it. Alfred may not be known for his "discovery", but he was certainly known for his amazing ability to create that surreal feeling of anticipation and dread of the outcomes in his movies.In a scholarly journal, Arron Smuts states "According to Hitchcock, the key to the most effective method of arousing suspense is to give the audience some crucial information that the characters lack."(Smuts). This can be seen in many of Hitchcock’s movies like Rear Window. This is just one of many of Hitchcock’s methods to create his movies.

When the Hitchcock movie “Psycho” was released in the summer of 1960, it was a blast of new concepts and exhilarating plot visuals. It forever changed the frame of which all directors used to create their movies. The audiences were stunned, excited, and, appalled by all the extended ploys initiated to develop a new and different narrative visual. The narrative and visual effects captured the audience’s attention but left them with absolutely no control over any part. It was a drastic change from the normal classical movies that people were normally used to seeing in those times. To say the least it was a completely unexpected film. The film was designed to cause the sense urgency but with no control, and the visual added a huge suspense and provocative factor. Audiences flocked to see the movie that was so widely talked about. Psycho surprised everyone and causes and generates an enormous amount of attention. The movie became one of the most “analyzed, and scrutinized of Hitchcock’s films. . . Psycho has been explored from literally every possible angle” (Kendrick). Hitchcock created the thriller masterpiece to get his audiences attention and to create his own work of art the way he wanted it, and the way the audience would love it.

Works Cited:
Kendrick, James. “Disturbing New Pathways: Psycho and the Priming of the Audience.” February 1, 2010. Journal of Popular Film and Television. Page 3. EBSCOhost. April 22, 2010. http://ezp.tccd.edu:2367/ehost/pdfviewer/pdfviewer?vid=5&hid=112&sid=449d807c-fb09-41bc-aabf-58920cc5edf1%40sessionmgr112
Smuts, Arron. “The Desire-Frustration Theory of Suspense.” July 1, 2008. Journal of Aesthetics & Art Criticism. Page 1. EBSCOhost. April 22, 2010. http://ezp.tccd.edu:2367/ehost/pdfviewer/pdfviewer?vid=7&hid=112&sid=449d807c-fb09-41bc-aabf-58920cc5edf1%40sessionmgr112