This paper will revolve around Sigmund Freud’s The Uncanny and the momentum of suspense it can cause.
Furthermore, an interview of Alfred Hitchcock will be looked at in excerpts, where he discusses the momentum of suspense. Subsequently, the theory of The Uncanny will be applied to Alfred Hitchcock’s 1960 movie Psycho and later to Darren Aronofsky’s 2010 movie Black Swan. Psycho sets an example of the suspense and is inevitably connected to the name of Alfred Hitchcock.
Why is Psycho the embodiment of suspense and the uncanny? Opposed to Hitchcock’s masterpiece, the 2010 movie Black Swan will be looked at in terms of the uncanny. As this movie is considered to be “an uncanny representation of light and color”, it is supposed to form the counterpart to Hitchcock’s Psycho in terms of uncanny elements and the idea of suspense. These seemingly very diverse genres (the titles themselves give off different expectations already) shall be examined regarding the use of uncanny elements. It will be analyzed how these elements are used and what the degree and frequency of the uncanny does to both the movie and the viewer.
This paper aims to correlate the amount, the frequency and the intensity of uncanny elements with the suspense that is built throughout both of the movies. Does the amount of uncanny do any harm to the idea of suspense? Is this idea following the principle of “the more the better” or rather “less is more”? The current status of research on this very matter is very scarce. Aside from the interview of Truffaut with Alfred Hitchcock himself, there appears to be no hard evidence that this matter has been dealt with. Only Hitchcock goes into this topic and explains what he fathoms by suspense and how to build it (through uncanny elements).
Table of Contents
1 Introduction
2 Freud’s The Uncanny
2.1 Diversifications of The Uncanny
2.2 Exemptions
3 Theory of Suspense
4 The Uncanny in Movies and Literature
4.1 Hitchcock’s Psycho
4.2 Aronofsky’s Black Swan
5 Conclusion
6 Works consulted and quoted
Research Objectives & Themes
This paper examines the correlation between the frequency and intensity of "uncanny" elements and the construction of suspense in film. By analyzing Alfred Hitchcock’s Psycho and Darren Aronofsky’s Black Swan, the research explores how the momentum of suspense is maintained and whether a "less is more" approach proves more effective than the high-frequency integration of uncanny imagery.
- The application of Sigmund Freud’s theory of the uncanny to modern cinema.
- Comparative analysis of suspense-building techniques in Hitchcock and Aronofsky.
- The psychological and narrative roles of doppelgangers and mirror images.
- The distinction between the "suspense" and "surprise" in film theory.
- The impact of psychoanalytic motifs on the audience's perception of fear and reality.
Excerpt from the Book
4.1 Hitchcock’s Psycho
Alfred Hitchcock’s Psycho certainly is not a movie like any other movie. The suspense and the degree of unease the audience feels when watching it (or even talking about it, for that matter) is remarkable. But why is that? What is so angst-inducing and uncanny about this film that even after having seen it several times, the atmosphere of the scenery and the raspy voice of Norman’s mother still lingers? Hitchcock puts a lot of thought into arranging his uncanny moments and elements. He does not overindulge, but he rather gives us just the right amount, always leaving us wanting more. Looking at the amount of uncanny, you can make out a wavy line, with its highs and lows, never exaggerating so the audience grows bored or suffers an overflow of stimuli. However, he also never lets it drop to zero entirely so the viewer “cools off” and is kept in a state of a basic tension and tautness. The following analysis is set out to describe and analyze how Hitchcock arranges and even scatters the uncanny throughout the plot of Psycho, giving the viewer a relief after every uncanny moment, yet increasing the frequency as the plot moves along.
Summary of Chapters
1 Introduction: This chapter introduces the core subject matter, discussing the cinematic power of suspense and the uncanny, while outlining the comparative approach towards Hitchcock's Psycho and Aronofsky's Black Swan.
2 Freud’s The Uncanny: An exploration of the psychoanalytic foundation of the "uncanny," tracing its linguistic origins and defining key concepts such as animistic beliefs, infantile complexes, and the significance of the double.
2.1 Diversifications of The Uncanny: A detailed breakdown of specific uncanny phenomena, ranging from the fear of the return of the dead to the significance of inanimate objects gaining animate qualities.
2.2 Exemptions: A discussion on the boundaries of the uncanny, specifically distinguishing between the "real" world and the suspension of uncanny rules within the realm of fiction and fairy tales.
3 Theory of Suspense: Analyzes the mechanics of suspense building, specifically referencing the director's perspective on the difference between anticipated suspense and the shock of surprise.
4 The Uncanny in Movies and Literature: Sets the stage for film analysis by highlighting the historical presence of uncanny motifs in literature and general entertainment media.
4.1 Hitchcock’s Psycho: Provides a scene-by-scene analysis of Psycho, focusing on how Hitchcock utilizes specific uncanny triggers to nurture a state of constant, underlying psychological tension.
4.2 Aronofsky’s Black Swan: Examines the dense, high-frequency use of uncanny elements in Black Swan, contrasting it with Hitchcock’s methods and focusing on the protagonist's internal psychological disintegration.
5 Conclusion: Synthesizes the findings of the paper, arguing that Hitchcock’s subtler "less is more" approach to the uncanny is more effective than the overdetermined style seen in contemporary cinema.
6 Works consulted and quoted: A comprehensive list of the academic monographs, films, and secondary sources used to support the research.
Keywords
The Uncanny, Suspense, Alfred Hitchcock, Psycho, Darren Aronofsky, Black Swan, Sigmund Freud, Psychoanalysis, Doppelganger, Horror, Film Theory, Id, Ego, Narcissism, Repetition
Frequently Asked Questions
What is the primary focus of this research?
The research explores the relationship between Freud’s concept of "the uncanny" and the creation of suspense in cinematic storytelling, using two iconic films as case studies.
Which central themes are discussed?
The main themes include the psychological mechanisms of fear, the transformation of the self (the doppelganger motif), the role of the unconscious in film, and the technical execution of pacing and editing in horror-suspense movies.
What is the core research goal?
The aim is to analyze whether current, high-intensity use of uncanny imagery in film is more or less effective than the classic, restrained methods of suspense production found in Hitchcock's work.
What scientific methodology is utilized?
The paper employs a qualitative, analytical approach rooted in psychoanalytic film theory, specifically referencing Freud’s work and literary analysis to interpret cinematic scenes.
What does the main body cover?
The main body covers a theoretical foundation of the uncanny, a discussion on the theory of suspense, and detailed scene-by-scene analyses of Psycho and Black Swan regarding their uncanny elements.
Which keywords characterize the work?
Keywords include Psychoanalysis, the Uncanny, Suspense, Doppelganger, Psycho, Black Swan, and the Id-Ego dynamics in narrative character development.
How does Hitchcock maintain suspense throughout Psycho?
Hitchcock maintains suspense by introducing uncanny elements in a "wavy line," allowing the audience periods of relief while ensuring the tension never fully dissipates, keeping the viewer in a state of controlled apprehension.
How does the usage of the uncanny differ in Black Swan compared to Psycho?
According to the author, Black Swan utilizes a much higher frequency of uncanny imagery than Psycho, effectively throwing the viewer into an overwhelming state of psychic distress rather than easing them into the tension as Hitchcock does.
- Quote paper
- Benjamin Halking (Author), 2016, Sigmund Freud’s "The Uncanny" in Alfred Hitchcock’s "Psycho" and Darren Aronofsky’s "Black Swan", Munich, GRIN Verlag, https://www.grin.com/document/1284554
