Discussion on Psycho and Carrie (1976) Movies

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Title: Discussion on Psycho and Carrie (1976) Movies
Introduction
The study discusses two movies Psycho (1960) and Carrie (1976), which connect the narratives to the contemporary social and cultural realities or moods. The horror film Carrie represents an adaptation of a tale that shows an adolescent girl suffering from telekinesis on a revenge mission on other characters. The film has a representation of nearly all females as main characters. In this case, Carrie White grows under a very repressive environment fueled by her mentally unstable mother, Margaret. In such an oppressive and abusive environment, Carrie develops a fearful spirit that makes her very uncomfortable dealing with many occurrences within the real-life situation. Her underdeveloped emotions always made her terrified of certain real-life circumstances since she has never gained exposure to such events that concern stages of human development, especially ladies. For instance, when experiencing her first periods while in the shower, the sudden blood flow scares and terrifies her amidst mockery from other girls. The horror genre narrative can influence since it possibly grounds itself within society's social, political, and cultural reality (Carrie).
The opening sequence of the film begins by showing girls having a shower after a gym lesson. There are slow-motion shots that feature naked girls laughing while applying cosmetics and, at the same time, dressing. Then the camera turns towards a timid Carrie sensually taking a shower, with the scene turning horrific as blood is seen flowing down her leg. The scene materializes the feminine character through cosmetics and fantasizes the female body functions as something to be feared (Carrie). There is a depiction of body functions being met by humiliation with beauty projections on the surface of the female body as opposed to in-built beauty. The horror depicts Carrie's period as one of the costs of an adolescent woman's body function for becoming a woman. However, the perpetual application of cosmetics cutting across the various scenes signifies that the feminine character is to be applied rather than embodied (Lindsey 37-38). Such experiences depict that women are always controlling their natural appearances despite failing to control their emotions. Similarly, Carrie (1976) characterizes telekinesis as a menstrual symptom that lacks emotional control. Such a construction is clearly shown through classic cinematic horrors that present the nature of neglect that a girl child undergoes as she grows into womanhood (Collins).
The Carrie film presents the critical issues that adolescent girls undergo while in the company of their peers and entire society during their development. The girl child is usually exposed under very oppressive hidden forces, from their home environment, institutions of learning to the public square(Collins). The film conveys such social image through character development, scenery, and sounds. The onset of adolescence is depicted to unleash some form of telekinetic power from girls that propagates perpetual conflict with their seniors and peers, just like Carrie with her mother and friends. Such experiences lead such characters to become deadly beings overnight, always breathing fire of revenge and death (Carrie).
The aspect of protection at times seems to come from unexpected quarters. For instance, in this movie, Miss Collins, Carries gym instructor, protects her against mocks and teases from classmates. Similarly, Sue, her classmate, also acts of kindness to Carrie to help heal her emotions. However, such actions seem to provide a short-lived solution since Carrie continues to accomplish bloody revenge missions. The film shows how society has the potential of creating monsters out of women (Carrie).
Compared to contemporary society, the film narrative depicts the nature of fear that surrounds the actions of women with power, who previously grew under a repressive environment. King's motive in this film is to utilize genre to confront the insecurities of gender. However, the methodology applicable tends to alienate women against themselves in the principal roles of their sex, that is, motherhood and the girl's menstruation (Carrie). The women are depicted as fighting against each other within a household devoid of male influence, ultimately ending in a tragic death in an attempt to exert control over their destinies.
The ideals of the feminine character help the film assume a more nuanced focus on the sexual liberation of women. In this film, cosmetic is applicable in showing feminine ideals. The construction of the women characters emphasizes the use of material to portray women as sexual objects subject to men's pleasure. The author's obsession with the application of cosmetics depicts an opposition culminating from feminists (Carrie). The film portrays the place of a woman character at home in the absence of a male influence. There is a depiction of a woman's character as destructive, especially in the absence of male authority. In the movie Carries, telekinetic powers result as a symptom of menstruation that entails the girl child's ability to control their emotions alongside actions.
Further, the character of Margaret as a single mother emphasizes the inability of the woman to instill required character traits that could ultimately make the girl child, Carrie, a submissive woman in the future. The narrative deploys the power of choice as one of the key drivers of women's character within society. However, emphasizing reproductive rights is also eminent since such rights historically have resulted in progress stemming from various barriers provided by conservative ideals. There's the propagation of women as potential navigators of choices amidst potential societal restrictions.
Similarly, the Psycho (1960) horror movie also captures the occurrences of rage by use of sound effects as well as camera tricks just the same as Carrie (1976). The music cue signals the introduction of strange powers that control emotions and ultimately lead to destructive action. The violin sounds also accompany the series of fatal attacks that Carrie carries on her classmates.
Carrie (1976) also depicts the confusion within the cultural confines by delving into sacrificing the feminine body to uphold the family traditions. The narrative perpetuates the idea that various choices within the society contradict divine authority. In the scene, Margaret argues that God is in control of our bodies (Carrie). While taking dinner, Carrie refuses to eat, citing that the dessert could inflict her with acne. Conversely, Margaret asserts that the occurrence of pimples is one fine way of God's chastisement on adolescents. Margaret's comments depict an assumption that an individual taking control over her body undermines God's authority. The scene is a clear reflection on the responsibility of the traditional and contemporary family structure to instill discipline and character in their children.
Conversely, towards the end of the scene, Carrie informs Margaret of her intention to watch prom alongside friends and indicates the woman's side's failure to raise a responsible child. Generally, in comparison to contemporary society, there has been traditionally inadequate, from single mothers to maintaining traditional family values. Carries reacts by insinuating her desire for individualism rather than following conventional woman protocol construction within the confines of home (Carrie).
This is a rejection of the God-given role of the mother to provide emotional support and direction to the girl child. The scenario causes panic on the side of Margaret, prompting her to impose discipline on her daughter. Margaret claims that promiscuity on the side of the girl child attracts demonic attention that ultimately ruins marriages (Carrie). There is a blame game on women causing men to run away from their families. Therefore, she claims that the same devil has captured Carrie and that she better renounce the powers. An attempt to reform the daughter fails through the film leading to Margeret's death at the same daughter, Carrie. At this point, the use of character development reveals that a woman's denial of her role and place within the contemporary societal structure attracts horrific results. In such a case, parenting outside the traditional family context is proof of horrific experiences such as a rise in homicides. The narrative on the existing parallel between mothers and daughters thrives on the premise of anxieties originating from a sense of sexual awakening.
Psycho
The opening scene of Psycho (1960) shows Leigh's character half-naked, wearing only a bra and underwear, enjoying the afternoon breeze at a hotel. The film was the first show in society that openly depicted an actress half-nak...