Computer Animation Arts

In 1998, director Gus Van Sant remade Alfred Hitchcock's Psycho  - pretty much shot-for-shot, give or take a few additions, notably some subliminal cuts of seemingly random images.  It was universally panned by critics: Rotten Tomatoes states "Van Sant's pointless remake neither improves or illuminates Hitchcock's original."   It certainly seemed like an odd choice for a respected director, and an intelligent director at that.  Watching the remake is a very strange experience.  It feels familiar, of course, but also synthetic: it's Psycho -flavoured all right, but it isn't a real flavour; it's artificial and unsatisfying, as saccharine is to sugar.   One might be tempted to think the Psycho remake is a knowing art-house appropriation in the style of Sherrie Levine , who likewise enjoys disrupting existing legacies and superimposing parasite meanings on revered or especial cultural artefacts... Pointless remake or another postmodern mind game...

A starry bio-pic about Alfred Hitchcock and the making of Psycho - looks rather wonderful!

Summary: On the run with a stolen $40, 000, Marion Crane decides to seek rest at the Bates Motel, only to find the hotel owner, Norman Bates and his elderly mother an all too uncomfortable presence. Employing a number of narrative devices and unusual editing techniques for a Hollywood film, Psycho is perhaps Hitchcock’s most adored works and one of the most analysed and debated films in the history of American cinema. From it’s film noir inspired cinematography, Gothic horror influenced set design, brutal murder scene, Bernard Herrmann’s screeching violins and shock ending - Psycho defined and set the standard of the Horror film genre, becoming an unforgettable classic. Analysis: “Of all the scenes in the film, the one on which he spent the most time – an entire week- was the now famous shower murder. Although it would last less than a minute on screen, the sequence required dozens of shots – of the shower head, of Leigh screaming, of a shadowy killer with a plunging knife, of bl...

Bernard Herrmann's score for Alfred Hitchcock's game-changing 1960 classic frightener Psycho couldn't be further from the lush orchestration of his 7th Voyage of Sinbad . Herrmann's strings-centric music hardly needs any introduction, so famous is his composition accompanying the iconic, much parodied murder of luckless Marion Crane . Psycho 's score is one of the great pleasures of cinema; it is pared down and propulsive, driving the film fowards at a terrific whip. Like the film itself, Herrmann's music is 'black and white' - a monochrome of strings. The Psycho Suite