Abstract
Taking as a starting point reading built around this famous film of the modern horror film, this analysis suggests an overall reading of his discourse about the woman. Try to recover what we have become accustomed to forget, or at best, to score because it has been overshadowed by other issues. And is that beyond Norman and splitting monster mother-son, in the second part of the film another female character, the other sister Crane appears. What symbolizes this (double) perspective Crane? The main hypothesis management to answer this question is that this representative text of the discourse audiovisual crisis Hollywood, the film signifier of femininity undergoing a symbolic split proposed by Marion and Lila. Through this narrative strategy that has meant the question of identity, discourse of the film dramatizes the modern way, excessively, an identity crisis of women in a historical period, the beginning of the sixties, significant changes to the cultural role expected of women in American society.
Highlights
Tomando como punto de partida la trama de lectura que se ha constituido en torno a este célebre film del cine de terror moderno, el presente análisis textual propone un estudio global de su discurso sobre la mujer
Taking as a starting point reading built around this famous film of the modern horror film, this analysis suggests an overall reading of his discourse about the woman
Is that beyond Norman and splitting monster mother-son, in the second part of the film another female character, the other sister Crane appears. What symbolizes this perspective Crane? The main hypothesis management to answer this question is that this representative text of the discourse audiovisual crisis Hollywood, the film signifier of femininity undergoing a symbolic split proposed by Marion and Lila
Summary
La presente lectura cultural de Psicosis encuentra su origen en un estudio anterior sobre una narrativa femenina, «El drama pasional de la mujer investigadora. El significante cultural mediante el cual se dramatiza, y significa, el asunto de la identidad en los universos de ficción (Antón 2013) adquiere un relieve especial en la doble personalidad de Norman, y conforma la perspectiva Crane, constituida por la acción de las dos hermanas de Phoenix, Marion y Lila, que detentan el protagonismo en tramos relevantes de la temporalidad del relato, en las secuencias clímax de su primera y segunda parte, un desdoblamiento femenino que se evidencia, aún más, en la novela (Bloch 1959). La hipótesis principal que se maneja para responder a la cuestión que abre esta doble perspectiva Crane es que, en este discurso emblemático de una narrativa en crisis, la estrategia simbólica del desdoblamiento dramatiza de forma excesiva, a la manera moderna, una crisis de la idea de la feminidad, que se escenifica como un tortuoso trayecto. La actitud investigadora de Lila le permitirá retomar la perspectiva de su hermana para internarse en la casa gótica donde logrará ver, conocer, sin perder la vida, el gran misterio en torno al que se construye la estrategia de suspense del film: el rostro, la identidad, de la señora Bates
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