In this first episode in a continuing series about landmark horror films I will be looking at Alfred Hitchcock's Psycho - the "Mother" of modern horror. I pay specific attention to the devious ways Hitchcock toys with audience sympathies.
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"The critical dogfights over Hitchcock's status were fought at a crucial time, in the early 1960s, to assert the value of his greatest works - Rear Window, Vertigo, North by Northwest, Psycho, and The Birds. And these films are without equal for the way they adjust the cinematic image to our expectations. They are deeply expressive of the way we watch and respond to stories. Their greatness is often employed to explain the nature and workings of cinema. Thus Hitchcock became a way of defining film, a man exclusively intent on the moving image and the compulsive emotions of the spectator."
Dracula (Browning, 1931)
Frankenstein (Whale, 1931)
The Mummy (Freund, 1932)
Shadow of a Doubt (Hitchcock, 1943)
Notorious (Hitchcock, 1946)
Strangers on a Train (Hitchcock, 1951)
Dial M for Murder (Hitchcock, 1954)
Rear Window (Hitchcock, 1954)
Vertigo (Hitchcock, 1958)
Psycho (Hitchcock, 1960)
The Birds (Hitchcock, 1963)
Sisters (De Palma, 1973)
The Exorcist (Friedkin, 1973)
The Texas Chainsaw Massacre (Hooper, 1974)
Halloween (Carpenter, 1978)
Blood Simple (Coen, 1984)
Shallow Grave (Boyle, 1994)
Jackie Brown (Tarantino, 1997)
No Country for Old Men (Coen, 2007)