Harry M. Benshoff’s article, The Monster and the Homosexual, talks about the role homosexuals play in horror films and how it is associated with a negative connotation. Benshoff discusses the fears of heterosexuals that homosexuals play within the cinematography industry. From instilling noxious family values to infecting audience members with their twisted and unwarranted style of living. Since the majority of horror film audiences is comprised of young teenage girls and boys in addition to male and female couples, this could lead to young people questioning their sexual identity. He examines just how similar homosexuals and monsters are as they both wreak havoc on the innocent, even going as far as to compare gays (using the example of the AIDS epidemic) to that of vampires which are known for ‘infecting’ people. Especially in the late 1960’s and early 70’s, homosexuals were depicted as unorthodox and predacious beings. Querness was highly discouraged not only in films but in everyday life as straights in addition to Benshoff believe it offsets narrative balance and encourages individuals to begin questioning the status quo which is why gays are portrayed as monstrous figures. 

A Nightmare on Elm Street Part 2 gives life to Harry Benshoff’s article with Jesse having all these homosexual tendencies and morphing into the on-screen monster, Freddy at several points during the film.  

Fire seems to be a recurring theme throughout this film from the basement being used as an incinerator, the toaster catching on fire, the bird blowing up in flames and at the beginning of the movie with Freddy driving the bus taking Jesse and two girls to what initially appears as the fiery depths of hell. From before Jesse was introduced to Freddy, thanks to a diary, Jesse had nightmares almost every night leaving him to wake up screaming, soaking in a puddle of his sweat as he feared his own sexual identity. As Benshoff describes in the late 1960’s and early 70’s, being gay was seen as an anamalous and indecent way to live (pg.127-128). Churches even preached homosexuals would go to hell as a result of their living style and shameful acts of pursuing the same sex. This would further explain Jesse’s nightmares, his repressed sexual frustration and how the movie begins and ends in what looks to be ‘hell’. 

(The bus was tilting back and forth as Jesse and two girls are trying to escape Freddy.

Source: New Line Cinema, 1985, A Nightmare on Elm Street Part 2: Freddy’s Revenge).

 Throughout the film as Jesse’s repressed queer sexual desires grow stronger, so does Freddy’s grasp on Jesse and the violence which he unleashes into Jesse’s life. According to Benshoff, queerness is meant to make a mess of the stability of the storyline and inspire doubt around what is normal within our own sexuality (pg. 119). Jesse’s heterosexuality is put into question by the audience as he goes out to a gay bar at night, has a high-pitched scream, the sign on his bedroom door which reads: “no chicks allowed”, and Jesse’s bizzare relationship with his classmate Grady as he confides in him for help. To add to this suspicion, the opening scene depicts Jesse as that of a ‘freak’ and an outsider. Growing up in the 80’s and being outwardly gay or others suspecting an individual of being gay meant automatically being categorized as a freak and an outsider. 

(Jesse pleading for Grady’s help as he struggles to not let Freddy take control of him.

Source: New Line Cinema, 1985, A Nightmare on Elm Street Part 2: Freddy’s Revenge).

The Nightmare on Elm Street Part 2 producers seem to be attempting to manifest fear within the audience showing when you have homosexual tendencies as Jesse seems to have and you further act upon them, nothing good is bound to come from it. The media links homosexuals to child maltreatment, rape and brutality which is rooted in the film as Jesse is standing over his sister watching her sleep as Freddy’s voice eggs him on to kill his sister. Was this Hollywood’s way of trying to imbue fear into the minds of teenagers about homosexuality? 

In conclusion, repression of one’s sexual desires seem to be the main theme of the film alongside Benshoff’s article which further paints gays as villains within society. While society has become more accepting of the idea of a homosexual lifestyle, it still seems to have a negative representation in the public’s eye. 

Robin R. Coleman’s article, Studying Blacks and Horror Films, breaks down the horror genre by explaining the role of Blacks in horror films over the last century and how their roles have expanded but also touches on the key concepts in horror films that make the genre so successful. Coleman explains how over the years Black film now stands as its own genre, using Blacks as means of comic relief while exposing stereotypes of brutality, sex, gender roles and race relations. She also distinguishes the difference between Blacks in Horror Films versus Black Horror Films. Blacks in Horror Films illustrate images of how Black and Blackness is represented within the context of horror. On the other hand, Black Horror Films references to Blacks history, culture, language, style, music, etc. as the main focal point. Coleman also refers back to the early 1900’s as Hollywood films would symbolize the Black community through animals such as apes symbolizing where they stood on the racial hierarchy in America. Even in films today there is a recurring theme of Blacks devoting their life to whites by means of self-sacrifice. 

Robin R. Coleman’s article gives us, as the audience, an idea of the role that Blacks carry out in the horror genre as there are many facts to consider such as the history of Blacks and how that plays a part in the horror genre especially in movies today. 

Coleman gives readers a better understanding of “Blackness-as-monstrosity” as she examines how films portray Blacks as monstrous figures with their questionable racial methods (pg. 6-7). Candyman’s legacy is told in bits and pieces throughout the film as Helen interviews a college student, a janitor and as her friend gives her full insight to the legend of Candyman as they are out dining at a restaurant. Candyman suffered a slow and painful death as his father paid white villagers to saw off his right hand, smeared his body with honey and was stung to death due to him impregnating a white female. This gives reason behind the motivation for Candyman’s killing. Perhaps he kills both white and black folk as his death was committed by his father, who is Black and white villagers. Candyman’s killings and attacks are brutal as he cuts off a young Black boys penis, beheads a dog and guts male and female victims with his hook. He continuously repeats phrases in the film explifying his dark nature as he says: “By my victim” and “I must shed innocent blood” just as his blood was once innocently shed. 

(The capture of Candyman as white villagers prepare to saw off his right hand.

Source: Universal Pictures, 1992, Candyman.)

The topic of African American backgrounds is also highlighted and is of great importance when watching horror films as Coleman states. Black Horror Films provide an added portrayal and ushers notice to Blacks heritage and history which includes their obstacles, outlook on life, terminology, etc. (pg. 7). This is partially seen as Professor Philip Purcell commences in story time as he tells the tale of the Candyman, and relates back to the Civil War mentioning how Candyman’s father was a slave. Issues of white privilege are illustrated as Helen and Bernadette pull up to Cabrini Green, with the run down and graffiti covered building seeming to only be occupied by African Americans. Minorities began residing in the cheaper, more run down parts of the inner city beginning in the early 40’s and 50’s and were labelled as thieves, drugs and murderers by suburban white folk. The inner city is still seen as having a negative reputation today due to the labels that were given to these minorities by whites over half a century ago. 

Lastly, Coleman sheds some light on the everyday problems Blacks face as she explains how Blacks in Horror Films and Black Horror Films explore how race affects how an individual builds their relationship and how they interpret others (pg. 8). Anne-Marie’s character is a great example of this as she is a single mother. When she first comes into contact with Helen and Bernadette, she acts cold and guarded, as if Helen and Bernadette have a hidden agenda. Anne-Marie soon apologizes and explains that white folk are usually invading her privacy trying to stir up trouble and are unpleasant with other attendants in the building. 

(Helen and Bernadette at Cabrini Green looking for evidence to support their thesis.

Source: Universal Pictures, 1992, Candyman.)
In conclusion, once reading Coleman’s article it allows readers to interpret films differently than ever before. Movies such as Candyman containing a Black villain or monster with references to the history of Blacks illustrates the relevance to issues today of racism and prejudice.

David Skal’s article, It’s Alive, I’m Afraid takes a flashback to the early 1960’s during a time when women were reproducing at colossal rates but were offered some relief by the new morning sickness drug known as Thalidomide. With the untested drug causing mass numbers of birth defects, children born with abnormalities quickly became known to the public as ‘Freaks’. Families found themselves in a living nightmare to care for and to raise their defective child.  Resembling something of a Dr. Frankenstein’s creation, these ‘monstrous births’ brought much attention to the conversation and possibility of abortion. Americans quickly grew engrossed in freak sideshows and soon that fascination inspired horror films such as Rosemary’s Baby which featured a woman giving birth to a real life demon. The then abortion-rights conflict was displayed in the 1979 movie The Brood, portraying the horror of a fetus that terminates its own parents. The 60’s was a time of family hardships and fear that gave birth to a new era of horror for the Hollywood films industry. 

David Skal’s article helps illustrate a two-sided wave of fear from Jennifer Kent’s film, The Babadook. The film along with the help of Skal’s article gives audience members a perspective of terror and fear from the parents point of view and the childs. 

It is transparent from the beginning that Samuel is seen as different by his neighbors, relatives and even his classmates. Samuel is seen as a freak by his classmates and his cousin Ruby who torments him about the loss of his father, similar to tabloids in the 60’s putting babies and children on display labelling them ‘monsters’ due to their missing limbs and deformed facial features (pg. 290). Sam’s character is unpredictable, never knowing when he will act out in an aggressive or irrational manner to which he is capable of. This soon seems ironic as by the conclusion of the movie Amelia mutates into the nihilistic and menacing Babadook.  

(Amelia becoming enraged as Sam stabs her in the leg with a kitchen knife. 

Source: IFC Midnight, 2014, The Babadook.)

The film revolves around the car crash which sets off a series of events such as Amelia repressing her feelings of grief about her husband’s death which in turn impacts her relationship with Sam and in response makes him act out in rash and belligerent ways.  Just as the car crash set the scene for the horrific events ahead in The Babadook, the drug, Thalidomide gave way to the birth defects which greatly impacted the economic and emotional lives of parents. Skal explains that the horror of babies born with severe birth defects equates to a tone of hostility between the living and the unborn or in Amelia’s case, the living and the deceased (pg.305). 

Amelia’s castration anxiety is not only due to the loss of her husband but her complicated relationship with her son but can also be represented through the dark and gloomy tone throughout the film. She herself is conflicted to love Sam as she resents him because on the day he was born the love of her life died. In many horror films today, children symbolize a dark and evil essence that provokes feelings of fright (pg. 303). Similarly, Amelia elicits feelings of panic and anxiety as she watches Sam’s eerie obsession with Mister Babadook consume his actions which leads to abject consequences. 

(Sam throwing a tantrum in the car. Source: IFC Midnight, 2014, The Babadook.)

In conclusion, The Babadook illustrates how when issues of relevance are neglected or overlooked that consequences of birth defects and broken relationships can occur.

Tony Williams article Trying to Survive on the Darker Side: 1980’s Family Horror argues that while 80’s films have similar recurring themes with comparable story lines and were oftentimes seen as ‘predictable,’ the films are distinctive in that they do not follow the normal state of affairs. Williams circles around common themes such as gender confusion, masochism, male dominance, abuse and the use of special effects that were brought to light in the 80’s and are visible in many horror films. Williams provides an example of gender displacement when discussing Friday the 13th and how the audience assumes the antagonist is a ‘he’ when in reality is a ‘she’. Williams also takes Carol Clover’s point of view into account when explaining the assumption that masochism is the primary feature in horror films. In addition, characters’ childhood traumas along with their flawed family values and way of life contribute to the creation of the monster who is portrayed as horror’s most formidable character. The antagonists early life of abuse is ultimately what drives their urge and sadistic want to kill. 

While the examples found in Tony Williams article does not directly relate to the film The Stepfather, several key topics are found in scenes throughout the movie especially in relation to a dominant father figure.

The Stepfather wastes no time when showing just how deranged Jerry Blake’s character is from the gory opening mise en scene which exhibits just what he is capable of. While Jerry is dangerous he exhibits characteristics similar to that of Ted Bundy. He can be found charming his way into the life of Susan, he even manages to fool his neighbors as a hard-working fatherly figure, but is not fooling Stephanie. Carol Clover says it best when pointing out that the true dominant attribute of a horror film is masochism or in this case Jerry’s need to kill off anyone he sees as a potential threat of exposing him such as Dr. Bondurant (pg. 195). It is apparent from the beginning that Jerry portrays a dark, heavy and fearful presence in the film as seen by his intense gaze towards himself in the mirror and Stephanie in addition to his explosive behavior and split personality as shown in the basement scene. 

(Opening scene shows Jerry after brutally murdering his first family.

Source: ITC Productions, 1987, The Stepfather.)

Williams’ article also talks in depth about the direct link between family trauma and a child who has been victimized at the hands of these ruthless patriarchal family values (pg. 196). While Jerry does not give much light to his early childhood, he mentions that he had a difficult time growing up. This gives imagination to the audience as they begin forming their own theories on just what terrifying experiences Jerry must have endured as a child to turn out in the manner that he did. 

(Jerry gives the family dog kisses as he gets ready to kill him.

Source: ITC Productions, 1987, The Stepfather.)

Stephanie decides to follow her gut instincts about Jerry by contacting the Seattle examiner and breaking into the house where Dr. Boundurant was last seen alive. Williams writes that horror’s prime audience are both the young and the poor who are daring and fearless when it comes to danger (pg. 203). In horror films animals and young people (such as Stephanie) often have an intuitive sense of detecting when there is a malicious presence lurking. Stephanie clearly feels uneasy and tenses up each time Jerry gives her a childhood nickname and is chilled upon his touch. 

In conclusion, though The Stepfather is not considered one of the more terrifying movies in the horror genre of the 80’s it certainly exhibits a flawed family dynamic. 

The slaughterhouse family is made up of psychopaths and sociopaths who terrorize their prey before they indulge in their cannibalistic way of life. Tobe Hooper’s film displays a family that has been rejected by American society and are considered outcasts in the American way of life.  

Tony Williams identifies the similarities between Franklin and Leatherface who are both corpulent, insalubrious are heavily reliant upon their family members (pg. 192). Just as Sally looks after Franklin by coming to his aid after he gets cut and pushing his wheelchair to look for Jerry, Kirk and Pam, Hitchhiker looks after Leatherface by standing up to their abusive father (pg. 189). Franklin becomes a nuisance as he whines and bickers followed by him wrestling over the flashlight with Sally. In addition, he adds random commentary to the film as a result of his lack of a filter and has abnormal and strange tendencies similar to that of Hitchhiker. Franklin often feels omitted and so he forces others to accept him into their conversations when in reality he’s seen as the punch line for every joke.

(Hitchhiker’s sadistic habit of inflicting pain on himself. 

Source: Vortex Films, 1974, The Texas Chainsaw Massacre.)

Williams also brings to his readers attention that the slaughterhouse family are deadbeats with savagely cruel family habits who have been rendered useless due to new technological advances (pg.187). Hitchhiker displays his deranged and unearthly tendencies by mocking Sally, cutting himself and Franklin, setting fire inside the van and smearing blood on the side of the van. It’s also clear Leatherface has similar psychotic tendencies as he is seen murdering Jerry, Kirk, Pam and Franklin. He even tortures Pam as he hangs her from a metal hook and makes her watch as he decapitates Kirk’s head using a chainsaw. It is evident that Hitchhiker and Leatherface have these psychotic and disturbing tendencies as a result of being brought up by Drayton who resorts to hitting them and screaming when he demands there is work to be done. 

(Sally being offered up as the main course. 

Source: Vortex Films, 1974, The Texas Chainsaw Massacre.) 

The interior of the house represents the inner horror of each family member as their living room is filled with feathers, teeth and human and animal bones which are used as light fixtures, decorations and on furniture. Their kitchen table is decorated as a feast where Sally is offered as the main course. The families cannibalistic behavior is why they symbolize the demonic Indians of Puritans worst nightmares (pg. 187).  

In conclusion, the slaughterhouse family represents every American’s nightmare, being a failure and rejected by their society. They are different which makes them outcasts and is why they reside in a secluded area, away from others who dismiss them as they are.  

In Shelley Stamp’s article, Horror, Femininity, and Carrie’s Monstrous Puberty, Stamp states that the family itself represents the origin or horror which is precisely shown in the horror film of Carrie (pg. 330). 

The film depicts several moments in which Carrie is shown being physically and verbally abused by both her mother, Mrs. White and her classmates. Carrie is tormented by classmates as tampons and pads are propelled her way and her female classmates chant “Plug it up!” It is evident that Carrie is fearful of her mother which can be displayed by Carrie’s body language, lack of eye contact and the fact that Carrie seems to walk on eggshells around her mother. In several scenes Mrs. White is shown portraying extremely cruel and inhumane ways of parenting as she drags her to a small confined closet, slaps her across the face with a book, throws a drink at her face and stabs her with a kitchen knife. She even goes as far as to body shame Carrie and tell her everyone would laugh at her, implying she looks ridiculous. Mrs. White has turned Carrie into this monstrous feminine by suppressing Carrie’s and her own sexual desires which results in Carrie’s telekinetic powers (pg. 330 and 335). 

( Mrs. White praying for Carrie’s ‘sins’. Source: MGM, 1976, Carrie.)

Throughout the beginning of the film Carrie is crawling in her own skin, she is anxious and has a loss of self-identity. She desires to be accepted by society, by her peers and her teachers. Ironically on prom night Carrie is seen applying makeup in a broken mirror as she herself is viewed as broken in order to conceal her true monstrosity (pg. 338). When the pig’s blood is dumped on Carrie it takes her back to the locker room scene in which she was tormented by her peers and triggers feelings of rage and deception. Her telekinetic powers whether accidentally or purposely go after those who have wronged her. Her principal who continuously called her by the wrongful name of Cassie is electrocuted, classmates who mocked her were knocked unconscious by the intense force of the fire hose, and Chris and Billy are killed in a car crash as they attempt to run over Carrie. 

(Carrie applying makeup on prom night. Source: MGM, 1976, Carrie.)

Lastly, Stamp offers two ways in which Carrie can subdue her monstrous desireds: 1) sexual repression which is validated by Mrs. White or 2) Miss Collins’ way of masquerading her femininity (pg. 341). Miss Collins compliments Carrie’s facial features and encourages her to put some makeup on and put her hair up in an effort to help boost her self confidence. Little does Miss Collins know she is encouraging Carrie to camouflage her own horror. 

In this day in age, many young girls tend to camouflage their anxieties, fears, and insecurities through makeup and through using their sexuality in order to get what they want.  

Barbara Creed’s article, Horror and the Monstrous-Feminine: An Imaginary Abjection and William Freidkin’s The Exorcist contains some of the most graphic and horrific examples of abjection ever before seen in the horror genre. 

The abject is known to be life threatening and can best be described as something which threatens the stability of order (Barbara Creed, pg. 39). The abject symbolizes disparity between human and inhuman or man and beast just as Reagan is trapped in her physical body but her personality itself is absent from her body and a malicious presence has taken over (Barbara Creed, pg. 42). From speaking the English language backwards, to speaking in different tones and her head rotating 360 degrees, it is logical to say the presence which resides in Reagan is not only supernatural and demonic but menacing. This monster living in a 12 year old female body has enough strength and force to kill Burke, Father Dyer and takes Father Karras’s life. 

(Reagan is being hypnotized by her doctor when the demonic presence emerges. 

Source: Warner Bros., 1972, The Exorcist.)

Creed also identifies the resemblance between the maternal figure and the monstrous-feminine. The maternal figure is protective and refuses to renounce the hold which she has on her child (Barbara Creed, pg. 44). Chris repudiates even the momentary idea of giving up on Reagan. She persistently takes her to doctors, psychiatrist, hypnotist and anyone who she believes can improve her daughters way of life once Reagan turns violent and begins acting out irrationally. As practitioners begin confessing to Chris they don’t know what is wrong with Reagan Chris acts out in rage and begins speaking in a ferocious tone as the monstrous-feminine begins to emerge from her.

  (Chris expresses her frustration as doctors do not know what’s causing 

  Reagan to act out. Source: Warner Bros., 1972, The Exorcist.)

Creed mentions that polluting objects fall into two categories: the first being that which endangers the identity from the outside known as excremental and the second being that which endangers from within, known as menstrual (Barabara Creed, pg. 44). The Exorcist depicts scenes with vomit, blood, urine, saliva and more which is identified as excremental. However, when Sharon brings Father Karras to Reagan’s bedroom and shows him the print on Reagan’s stomach which spells out “help me,” this can be distinguished as menstrual. Reagan is clearly trapped inside this demonic other and is pleading for help. Though as the movie progresses we begin to see less of Reagan, however, this scene proves she is still existing within this evil figure and is fighting to take back her body spiritually and physically.

In conclusion, abjection goes beyond the norm and means being confronted with the difference between self and other. The film hits home giving several illustrations of abjection throughout the film by means of excessive vomit, profanity and blood used in a cruel context in accordance with a cross which is a sacred symbol for many religions. 

What sets Wes Craven’s 1996 slasher film Scream apart from other slasher films is its characters constant habit (Randy in particular) to emphasize patterns in horror films such as: the final girl must be a virgin, if one says “I’ll be right back” they don’t return and that horror films are simplified otherwise if the storyline gets too complex, the film will lose its target audience.

From the start of the film it is evident that Sydney is the final girl. Clover states that the final girl is not sexually active and is not completely feminine which sets her apart from other female characters (Carol Clover, pg. 95). Billy hints at Sydney’s reluctance to have sex when he refers to her “underwear rule” and calls her a tease. In a later scene, Sydney’s best friend Tatum identifies Sydney’s reasons for not wanting to have sex is related to the traumatic death of her mother in which Sydney’s mother is raped and savagely murdered. Only after having sex does Billy reveal himself to be the killer and the secrets about the murder of Sydney’s mother is revealed.   

(Billy reveals himself to be the killer as he licks fake blood from his fingers.

Source: Dimension Films, 1996, Scream.)

Throughout the film Sydney is shown as possessing masculine qualities especially when in the presence of the killer (Carol Clover, pg.95). Sydney is feisty and courageous when she fights back, is quick on her feet and is highly resourceful (Carol Clover, pg. 88). Her masculinity manifests in moments such as when she punches Gale, when she calls the killers bluff by stepping out onto the front porch, how she taunts the killer by picking her nose and in one of the final scenes when she mocks Billy by wearing the ghostface costume as she stabs him in the chest with an umbrella. In addition, she manages to maneuver her way out of the girls bathroom by sliding under the killers arm when he approaches her with a knife. In the final scene of the film as Billy is on top Sydney choking her, she puts pressure on his wound which makes him lose his grip and gives her a chance at an escape. 

The tragedy of Sydney’s mother led Sydney to become sexually hesitant as shown in her dubiety about having sex with Billy. Following Sydney giving her virginity to Billy does he reveal himself as the killer in which Sydney feels betrayed and becomes infuriated. Not only is Sydney now sexually frustrated again but finds herself emotionally deceived and so Sydney becomes fearless and yearns for vengeance for her mother and her friends death.

(Sydney stands over Billy’s body after shooting him in the head.

Source: Dimension Films, 1996, Scream.)

In conclusion, a character can only endure so much trauma, before they become vexed, and begin to fight back with force. In the final scene, Sydney does not hesitate to pull the trigger, putting a bullet directly in Billy’s forehead.

In Linda Clover’s Her Body, Himself, Clover talks in depth about the characteristics of the final girl and how the final girl is pushed to a breaking point where it is either kill or be killed. She also identifies the most well known and common horror themes from the early 60’s to the present day.   

Clover states that the final girl is perceptive and keeps an open eye out for danger. She is ingenious, intelligent and somehow manages to keep calm during high stress circumstances (pg. 88). Laurie exhibits her brilliance throughout several key points of the film such as when Michael is chasing after her and she is attempting to get back into the house. She screams for Tommy to open the door and when he does not respond she wastes no time by grabbing a plant and throwing it directly at Tommy’s window to wake him up. A few minutes later as Michael is walking up the stairs to the second floor, Laurie opens the upstairs bedroom window to give the false impression that she has exited the house when really she is hiding in the closet.  

(Michael breaks his way into the closet to get to Laurie.

Source: Compass International Pictures, 1978, Halloween.)

In almost all horror films, a common pattern is the association between sex and death. In horror films, two characters will usually have sex followed by being brutally mutilated by the killer (pg. 83). Michael expresses much of his sexual frustration as he murders his sister Judith after she has sex on Halloween night, murdering Annie a she was planning to engage in promiscuous sexual beavior and again killing Lynda and Bob after sex. 

(Depicts Michael as he is about to strangle Lynda with the telephone chord.

Source: Compass International Pictures, 1978, Halloween.)

Clover acknowledges that the killers in these horror films seem to be invincible, much like that of a cat with nine lives. Within the course of the last thirty minutes of Halloween, Michael is stabbed in the neck with a knitting needle, impaled in his left eye with a medal hanger, and is shot six times only to disappear from the house without a trace. Each time Michael is attacked he recovers within a matter of minutes or seconds, somehow managing to retain his strength and belligerence. 

It is no wonder why Halloween is considered one of the most horrifying films of the late 70’s to the present day. Director John Carpenter succeeds in his role to keep viewers on the edge of their seat sequel after sequel each time as Michael returns seeking more chaos. 

Alfred Hitchcock’s Psycho is considered one of the most terrifying and atypical horror movies of the 1960’s leading up to today’s horror films. Hitchcock pulls the rug out from under his viewers as he kills off his lead actress less than halfway through the film creating a whole other meaning to the element of surprise. 

In the article, Visual Pleasure and Narrative Cinema, author Laura Mulvey discusses the theme of scopophilia and how women are often utilized as a sexual object on screen for both characters’ pleasure and the viewer’s (Laura Mulvey, pg. 5).  Marion is depicted as this sexual object from the opening scene where she is presented wearing a bra and underwear. Followed by when Norman peeks through the whole in the wall and is seen spying on her while she is wearing yet again, nothing but her bra and underwear. Lastly, she is shown taking off her robe completely naked as she steps into the shower. Marion is the film’s sexual pleasure for Norman Bates and the viewers watching in the theatre. 

(Opening scene of Marion getting dressed in the hotel.

Source: Universal Pictures, 1960, Psycho.)

Linda Williams writes in When The Woman Looks about how a female character’s actions are what ultimately leads her to her own impending doom (Linda Williams, pg. 31). Marion’s actions that lead up to her death include looting $40,000 (which she should have taken to the bank) and fleeing town as a result of her unethical continence. Only when she is settled in at the motel does she wish to return the money, but it is too late.

Peeping Tom is a film discussed in detail by Linda Williams in When The Woman Looks. Mark’s obsession of filming in correspondence with his killing sprees stems from his own sexual abuse as a child from his father (Linda Williams, pg. 26) just as Norman’s mother was verbally abusive to him. As Norman becomes fixated on certain women he feels attracted to does his mother half emerge and begin to kill to ensure no one will ever come between them. Furthermore, just as Mark is reliving his childhood past in a different light, Norman is keeping his mother alive by speaking as she did and dressing as her. This can help provide an explanation that oftentimes a killer’s motives can be broken down and understood by reflecting back on their childhood. 

(Norman dressed up as his mother in the cellar. Source: Universal Pictures, 1960, Psycho.)