Freud’s Concept of the Unconscious – Hitchcock’s Psycho
In this essay I have analysed the famous Hitchcock film ‘psycho’ using Freud’s concept of the unconscious. The bleak, monochrome film is made more effective by Bernard Herrmann’s sparse, but driving, recognisable score, first played under the frantic credits. The criss-crossing patterns, like mirror-images, are correlated to the split, schizophrenic personality of a major protagonist. The initial usage of staccato chords immediately provides us with […]