Talk:Psycho (1960 film)/references

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Books focusing on Psycho[edit]

  • Durgnat, Raymond (2008). A Long Hard Look at Psycho. BFI Film Classics. British Film Institute. ISBN 0851709214. 
  • Kolker, Robert (2004). Alfred Hitchcock's Psycho: A Casebook. Casebooks in Criticism. Oxford University Press, USA. ISBN 0195169204. 
  • Naremore, James (1973). Filmguide to Psycho. Indiana University Press. ISBN 0253393086. 
  • Nickens, Christopher; Leigh, Janet (1996). Psycho: Behind the Scenes of the Classic Thriller. Harmony. ISBN 051770112X. 
  • Rebello, Stephen (1999). Alfred Hitchcock and the Making of Psycho. Marion Boyars. ISBN 0714530034. 
  • Skerry, Philip J. (2005). The Shower Scene in Hitchcock's Psycho: Creating Cinematic Suspense and Terror. Edwin Mellen Press. ISBN 0773460519. 
  • Smith, Joseph (2009). The Psycho File: A Comprehensive Guide to Hitchcock's Classic Shocker. McFarland. ISBN 0786444878. 
  • Thomson, David (2009). The Moment of Psycho: How Alfred Hitchcock Taught America to Love Murder. Basic Books. ISBN 0465003397. 

Books touching on Psycho[edit]

  • Bazin, André (1982). The Cinema of Cruelty: From Buñuel to Hitchcock. Seaver Books. ISBN 039451808X. 
  • Bellour, Raymond; Penley, Constance (2000). The Analysis of Film. Indiana University Press. ISBN 0253337003. 
  • Bogdanovich, Peter (1962). The Cinema of Alfred Hitchcock. Doubleday. OCLC 708578. 
  • Boyd, David, ed. (1995). Perspectives on Alfred Hitchcock. G.K. Hall. ISBN 0816116032. 
  • Brill, Lesley (1988). "'I Look Up, I Look Down' (Vertigo and Psycho)". The Hitchcock Romance: Love and Irony in Hitchcock's Films. Princeton University Press. pp. 221–237. ISBN 0691040559. 
  • Bruce, Graham (1985). Bernard Herrmann: Film Music and Narrative. UMI Research Press. ISBN 0835717097. 
  • Condon, Paul; Sangster, Jim (1999). The Complete Hitchcock. Virgin. ISBN 075350362X. 
  • Derry, Charles (1977). Dark Dreams: A Psychological History of the Modern Horror Film. A.S. Barnes. ISBN 0498019152. 
  • Deutelbaum, Marshall; Poague, Leland (2009). A Hitchcock Reader. Wiley-Blackwell. ISBN 1405155574. 
  • Durgnat, Raymond (1974). "Psycho". The Strange Case of Alfred Hitchcock. MIT Press. pp. 322–333. ISBN 0262040417. 
  • Harris, Robert A.; Lasky, Michael S. (2002). "Psycho (1960)". The Complete Films of Alfred Hitchcock. Citadel. pp. 216–220. ISBN 0806524278. 
  • Hogan, David J. (1986). Dark Romance: Sexuality in the Horror Film. McFarland. ISBN 0899501907. 
  • Humphries, Patrick (1986). The Films of Alfred Hitchcock. Portland House. ISBN 0517604701. 
  • McGilligan, Patrick (2003). Alfred Hitchcock: A Life in Darkness and Light. Regan Books. ISBN 006039322X. 
  • Modleski, Tania (1988). The Women Who Knew Too Much: Hitchcock and Feminist Theory. Methuen. ISBN 0416017118. 
  • Perry, George (1965). The Films of Alfred Hitchcock. Dutton Vista. OCLC 487755513. 
  • Rothman, William (1982). Hitchcock—The Murderous Gaze. Harvard University Press. ISBN 0674404114. 
  • Sinyard, Neil (1986). The Films of Alfred Hitchcock. Gallery Books. ISBN 0831732210. 
  • Spoto, Donald (1976). The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures. Hopkinson and Blake. ISBN 0911974210. 
  • Spoto, Donald (1983). The Dark Side of Genius: The Life of Alfred Hitchcock. Little, Brown. ISBN 0316807230. 
  • Thomson, David (1981). Overexposures: The Crisis in American Filmmaking. Morrow. ISBN 0688004008. 
  • Weis, Elisabeth (1982). The Silent Scream: Alfred Hitchcock's Sound Track. Fairleigh Dickinson University Press. ISBN 0838630790. 
  • Wollen, Peter (1982). Readings and Writings: Semiotic Counter-Strategies. NLB. ISBN 0860910555. 
  • Wood, Robin (2002). "Psycho". Hitchcock's Films Revisited. Columbia University Press. pp. 142–151. ISBN 0231126956. 

Chapters about Psycho[edit]

  • Cohen, Keith (1989). "Psycho: The Suppression of Female Desire (and Its Return)". In Phelan, James. Reading Narrative: Form, Ethics, Ideology. Ohio State University Press. pp. 147–161. ISBN 0814204589. 
  • Gordon, Paul (2008). "Disrespectful respectabilities: Psycho". Dial "M" for Mother: a Freudian Hitchcock. Fairleigh Dickinson University Press. ISBN 0838641334. 
  • Grimes, Larry E. (1995). "Shall These Bones Live? The Problem of Bodies in Alfred Hitchcock's Psycho and Joel Coen's Blood Simple". In Martin, Joel W.; Ostwalt, Jr., Conrad E. Screening the Sacred: Religion, Myth, and Ideology in Popular American Film. Westview Press. pp. 19–29. ISBN 0813388295. 
  • Kraft, Jeff; Levanthal, Aaron (2002). Footsteps in the Fog: Alfred Hitchcock's San Francisco. Santa Monica Press. ISBN 1891661272. 
  • Luna, Alina M. (2004). "To spare a fly and harm a son: Hitchcock's Norma Bates". Visual Perversity: A Re-articulation of Maternal Instinct. Lexington Books. ISBN 0739108700. 
  • Lunde, Erik S. (1990). "'Saying It With Pictures': Alfred Hitchcock and Painterly Images in Psycho". In Loukides, Paul; Fuller, Linda K. Beyond the Stars. Bowling Green University Popular Press. pp. 97–105. ISBN 087972479X. 
  • Petlewski, Paul (1987). "Generic Tension in Psycho". Ambiguities in Literature and Film. Florida State University Press. pp. 50–55. ISBN 0813019192. 
  • Saito, Ayako (1999). Bergstrom, Janet, ed. "Endless Night: Cinema and Psychoanalysis, Parallel Histories". University of California Press. pp. 200–248. ISBN 0520207475.  |chapter= ignored (help) (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
  • Sharrett, Christopher (2002). "The Myth of Apocalypse and the Horror Film: The Primacy of Psycho and The Birds". In Gottiles, Sidney; Brookhouse, Christopher. Framing Hitchcock: Selected Essays from the Hitchcock Annual. Wayne State University Press. ISBN 0814330614. 
  • Williams, Linda (1998). "Discipline and Distraction: Psycho, Visual Culture, and Postmodern Cinema". In Rowe, John Carlos. 'Culture' and the Problem of the Disciplines. Columbia University Press. pp. 87–120. ISBN 0231112424. 
  • Williams, Linda (2000). "Discipline and Fun: Psycho and Postmodern Cinema". In Gledhill, Christine; Williams, Linda. Reinventing Film Studies. Oxford University Press. pp. 351–378. ISBN 0340677228. 

Periodicals about Psycho or touching on it[edit]

  • Almendarez, Valentin (September 21, 1978). CinemaTexas Program Notes. ISSN 0739-0378.  Check date values in: |date= (help); Missing or empty |title= (help)
  • Anderson, Paul (January 1985). "Untitled". Starburst. 
  • Ankerich, Michael (September 1995). "Psyched-Up for Psycho: Janet Leigh Remembers the Classic Thriller on the Eve of its 35th Anniversary". Classic Images (243). ISSN 0275-8423.  (Janet Leigh discusses the making of PSYCHO (1960) and the impact it had on her life.)
  • Ardolino, Frank (March 1991). "The Iconic Influence of the Dead: Iconoclasm and Idolatry in Hitchcock's Rebecca, Vertigo, and Psycho". Journal of Evolutionary Psychology 12 (1–2): 130–141. ISSN 1933-5377. 
  • Baker, Peter (September 1960). "Psycho". Films and Filming. ISSN 0015-167X. 
  • Baer, William (September 1998). "Writing Psycho: An Interview with Joseph Stefano". Creative Screenwriting 5 (5): 67–72. ISSN 1084-8665.  (An interview with screenwriter Joseph Stefano who discusses writing the screenplay for PSYCHO and his collaboration with Alfred Hitchcock.)
  • Barr, Charles (April 2005). "Hitchcock and Powell: two directions for British cinema". Screen 46 (1): 5–13. ISSN 0036-9543.  (Concentrates on the similarities and later divergence in the careers of Alfred Hitchcock and Michael Powell, referring in particular to PSYCHO and PEEPING TOM. Includes chart laying out, in parallel outline, the careers of both directors.)
  • Barratt, Daniel (Summer 2006). "Tracing the Routes to Empathy: Association, Simulation, or Appraisal?". Film Studies (8): 39–52. ISSN 1469-0314.  (Argues that many of our empathetic responses to film characters can be spelt out in the alternative terms of emotional appraisal, illustrating his point by analysing the sinking car scene in Alfred Hitchcock's Psycho.)
  • Bean, Robin (July 1965). "Pinning Down the Quicksilver". Films and Filming. ISSN 0015-167X. 
  • Bellour, Raymond (Summer 1979). "Psychosis, Neurosis, Perversion". Camera Obscura (1–2): 104–132. ISSN 0270-5346.  (Detailed textual/psychoanalytic analysis of Hitchcock's "Psycho". Illustrated with frame enlargements.)
  • Benson, Peter (April 1988). "Identification and Slaughter". CineAction (12): 12–18. ISSN 0826-9866.  (Article about the concept of 'identification' with fictional characters in films, responding to Laura Mulvey's 'Visual Pleasure' article and the debates that followed its publication. Uses PSYCHO as an example.)
  • Blennerhassett, Richard (June 1993). Irish Journal of Psychological Medicine 10 (2): 101–104. ISSN 0790-9667.  Missing or empty |title= (help) (Presents a Jungian perspective on the cinematic portrayal of the evolution of the serial killer, focusing on mythic aspects of the serial killer and representation of the archetype of the shadow. Films discussed include F. Lang's "M," A. Hitchcock's "Psycho," and J. Demme's "The Silence of the Lambs." It is suggested that the popularity of the serial killer genre reflects the need of the individual to find new images for the old concepts of good and evil.)
  • Braudy, Leo (Summer 1968). "Hitchcock, Truffaut, and the Irresponsible Audience". Film Quarterly 21 (4): 21–27. ISSN 0015-1386. 
  • Braund, Simon (August 1998). "Inside the Head of Psycho". Empire (110): 87–93.  (Article looking back at PSYCHO, including extracts from original interview with Alfred Hitchcock, Janet Leigh and others.)
  • Brett, Anwar (August 2005). "Psycho". Film Review. Spec. (59): 28–32,34,36. ISSN 0957-1809.  (A short discussion of the making of PSYCHO - focusing on the violent shower sequence, the character of Norman Bates and effects on audience.)
  • Callenbach, Ernest (Fall 1960). "Psycho". Film Quarterly 13 (4): 47–49.  (Reviewed work(s): Psycho by Alfred Hitchcock)
  • Cameron-Wilson, James (February 1999). "Shower power". Film Review: 92. ISSN 0957-1809.  (On the symbolism of names in PSYCHO, and on the shower scene.)
  • Caminer, Sylvia; Gallagher, John Andrew (Jan/Feb 1996). "Joseph Stefano". Films in Review 47 (1/2): 9–17. ISSN 0015-1688.  Check date values in: |date= (help) (Joseph Stephano confesses that at first glance the book 'Psycho' appeared to him to be unsuitable for a Hitchcock film. Hitchcock liked the alterations that Stephano made in the story and chose him to write the script for his film. Stephano affirms that Hitchcock had a fascination for the triangle setup of the smart man, the beautiful woman, and the smartass man. He notes that present-day Hollywood producers feel the need for controlling writers.)
  • Cardullo, B. (1990). "Some Notes on Classic Films". New Orleans Review (2). ISSN 0028-6400. 
  • Constantini, Gustavo (January 2006). Filmwaves (30): 40–47. ISSN 1460-4051.  Missing or empty |title= (help) (On the shower scene in PSYCHO and its cinematographic and musical symmetry.)
  • Corliss, Richard (1973). "Psycho Therapy". Favorite Movies: Critics' Choice New York. 
  • Crawford, Larry (1983). "Looking, Film, Painting: The Trickster's In Site/In Sight/Insight/Incite". Wide Angle 5 (3): 64–69. ISSN 0160-6840. 
  • Crawford, L. (Fall 1981–Spring 1982). "Segmenting the Filmic Text". Enclitic. ISSN 0193-5798d Check |issn= value (help).  Check date values in: |date= (help)
  • Crowther, Bosley (June 17, 1960). "Psycho". The New York Times.  Check date values in: |date= (help)
  • Curtis, Adrienne (November 2005). "Psycho: Anniversary Edition". Film Review (663): 116. ISSN 0957-1809. 
  • Dick, Bernard F. (October 2000). "Hitchcock's Terrible Mothers". Literature/Film Quarterly 28 (4). ISSN 0090-4260.  (This article examines the mother-child relationships in the films by Alfred Hitchcock, focusing on 'Psycho' and 'The Birds.' Topics addressed include matricide, as well as the psychological and sexual dynamics of mother-child relationships.)
  • Donga, Roy (December 1999). "Film music review". Music from the Movies (25): 34. ISSN 0967-8131.  (Soundtrack review for PSYCHO (1960) scored by Bernard Herrmann.)
  • Dyer, Peter John (Autumn 1960). "Film Reviews: Psycho and The Apartment". Sight & Sound 29 (4): 195–196. ISSN 0037-4806. 
  • Erb, Cynthia (July 2006). "'Have You Ever Seen the Inside of One of Those Places?': Psycho, Foucault, and the Postwar Context of Madness". Cinema Journal 45 (4): 45–63. ISSN 0009-7101.  (Compares and discusses both Alfred Hitchcock's PSYCHO and Michel Foucault's writings in the context of post war ideas of deinstitutionalisation and the 'overvaluing' of madness.)
  • Fischer, Dennis K. (Spring 1995). "Psycho with Limits". Outré 1 (2). ISSN 0895-0393. 
  • Fischer, D. (October 1996 – January 1997). "A Conversation with Janet Leigh: 'Not Just a Screamer!'". Filmfax (58). ISSN 0895-0393. 
  • Giles, Patrick (September 1998). "Just when you thought it was safe to go back into the...". Interview: 66–70. ISSN 0149-8932.  (Janet Leigh talks about HALLOWEEN H20, PSYCHO and TOUCH OF EVIL)
  • Gough-Yates, Kevin (February 1972). "Private Madness and Public Lunacy". Films and Filming 18 (5): 26–30. ISSN 0015-167X.  (Discusses the similarities in the following three films: "Peeping Tom", "Lilith", "Psycho" which all explore abnormalities inherent in the main characters.)
  • Griffith, James (Jul/Aug 1996). "Psycho: Not Guilty as Charged". Film Comment 32 (4): 76–79. ISSN 0015-119X.  Check date values in: |date= (help) ("Although the images in Alfred Hitchcock's Psycho--a Victorian mansion on a hill, a motel shower, a corpse in the cellar, a man in a dress and a wig--have been disinterred too often in "hommages" (not to mention the sequels), the original film still has a power to disturb. Critics frequently identify the film's power with Hitchcock's masterful use of the essential voyeurism of the cinema: Viewers participate in evil by secretly peeping at illicit scenes and then identifying with the illicit, even criminal, acts shown. The real reason that Psycho disturbs viewers, however, is not because of what it allows them secretly to watch but because of what it makes them confront--the terror of being secretly watched.")
  • Gold, Noë (January 26, 1994). "Hitched". The Hollywood Reporter 330 (36): S–108. ISSN 0018-3660.  Check date values in: |date= (help) (In a special supplement on Film and TV Music - on working with Hitchcock and particularly on PSYCHO.)
  • Hall, John W. (1995). "Touch of Psycho? Hitchcock's Debt to Welles". Bright Lights Film Journal (14): 18–22. ISSN 0147-4049.  (A comparison of the work and personality of Hitchcock and Welles, noting the similarities in "Psycho" to "Touch of evil".)
  • Hardison, O. B. (1967). "The Rhetoric of Hitchcock's Thrillers". Man at the Movies. 
  • Heijer, J. (Spring 1994). "Hitchcock's Psycho in Stephen Frears' The Grifters". Canadian Journal of Film Studies 3 (1). ISSN 0847-5911.  (About the relationship of intertextual identity between The GRIFTERS and PSYCHO.)
  • Hemmeter, Thomas (January 2003). "Horror Beyond The Camera: Cultural Sources Of Violence In Hitchcock's Mid-Century America". Post Script 22 (2): 7–19. ISSN 0277-9897.  (An article on the social causes of violence in American society as displayed in Alfred Hitchcock's films, in particular 'Psycho' and its 1998 remake.)
  • Hendershot, Cyndy (April 2001). "The Cold War horror film: taboo and transgression in The Bad Seed, The Fly, and Psycho". Journal of Popular Film & Television 29 (1): 20–31. ISSN 0195-6051.  (The writer analyzes the interplay of taboo and transgression in three cold war-era films--Mervyn LeRoy's The Bad Seed, Kurt Neumann's The Fly, and Alfred Hitchcock's Psycho--drawing on the theories of Georges Bataille. She points out that in cold war America, the transgressive individual became equated with the communist who threatened to destroy America from within. She considers the characters of Rhoda in The Bad Seed, Andre and Helene in The Fly, and Marion and Norman Bates in Psycho. She reveals that Psycho's Norman Bates is the most frightening of these films' three cold war transgressors because he transgresses taboos without his conscious knowledge.)
  • Hendershot, Cyndy (Spring-Summer 1995). "The Possession of the Male Body: Masculinity in The Italian, Psycho, and Dressed to Kill". Readerly/Writerly Texts 2 (2): 75–112.  Check date values in: |date= (help)
  • Hesling, W. (July 1987). "Classical Cinema and the Spectator". Literature/Film Quarterly 15 (3): 181–189. ISSN 0090-4260.  (Exploration of the extent to which the film confirms Metz's remarks concerning the way a Hollywood film positions the spectator.)
  • Hogan, David J. (June 1997). "Psycho". Filmfax (61): 53. ISSN 0895-0393. 
  • Humphries, Reynold (January 2003). "On The Road Again: Rehearsing The Death Drive In Modern Realist Horror Cinema". Post Script 22 (2): 64–80. ISSN 0277-9897.  (A discussion on the psychological impetuses behind the actions of the serial killers in recent horror films. With reference to: 'The Hitcher' and 'Henry: Portrait of a serial killer' amongst others.)
  • Ian, Cameron; Perkins, V. F. (January 6, 1963). "Untitled". Movie.  Check date values in: |date= (help) (interview with Hitchcock)
  • Johnson, Kenneth (Winter 1993). "The Point of View of the Wandering Camera". Cinema Journal 32 (2): 49–56. ISSN 0009-7101.  (Explores the nature and function of the 'wandering' camera, giving examples from the opening sequences of PSYCHO and CITIZEN KANE. It is often used in horror films to imply an unseen presence: HALLOWEEN, The SHINING.)
  • Klepper, Robert (October 1998). "Video tape reviews". Classic Images (280): 34–35. ISSN 0275-8423.  (Review of video release.)
  • Klinger, Barbara (January 1982). "Psycho: The Institutionalization of Female Sexuality". Wide Angle 5 (3): 49–45. ISSN 0160-6840. 
  • Leitch, Thomas (November 2003). "Hitchcock Without Hitchcock". Literature/Film Quarterly 31 (4): 248–259. ISSN 0090-4260.  (This article lists the ways in which Gus Van Sant's 1998 remake of Alfred Hitchcock's classic horror movie 'Psycho' is different from the original. Topics discussed include casting, dialogue changes, camera angles, sound, and pacing.)
  • Lucas, Tim (1998). "Untitled". Video Watchdog (47). ISSN 1070-9991. 
  • Matthew-Walker, R. (July 1986). "Hitchcock's Little Joke". Films and Filming. ISSN 0015-167X.  (Study of inconsistencies in the time span of the film.)
  • Morris, Christopher D. (January 1996). "Psycho's Allegory of Seeing". Literature/Film Quarterly 24 (1): 47–51. ISSN 0090-4260.  (The ways in which Alfred Hitchcock's film 'Psycho' confounds the sense of understanding typically attached to seeing reflect the influence of surrealism on his films. The film detaches the signifier from the object it is intended to signify to undermine the viewer's assumption that what the viewer sees the viewer understands. Impersonations, shadows and rapid cut editing are used to heighten the sense that all human visual interpretation has a component of delusion and deception.)
  • Maxford, Howard (October 2002). "Call sheet: Psycho". Film Review. Spec. (42): 12–18. ISSN 0957-1809.  (A retrospective look at the making of PSYCHO. In sidebars, briefly looks at the sequels, PSYCHO 2, PSYCHO III, PSYCHO IV: THE BEGINNING, PSYCHO (1998) and doomed weekly series BATES MOTEL.)
  • McGonigal, Jane (November-December 2001). "Watching Horror: A Gendered Look at Terrorism, or, Everything I Need to Know I Learned in Psycho". Senses of Cinema 17. ISSN 1443-4059.  Check date values in: |date= (help)
  • Morrison, K. (September 1995). "The Technology of Homicide: Constructions of Evidence and Truth in American Murder Films". CineAction (38). ISSN 0826-9866.  (A history of the murdered body and its investigation in film, using the shower scene in PSYCHO and the Zapruder film in JFK as examples. Part of an issue devoted to 'Murder in America'.)
  • Morrisson, Ian. "The Art of Murder". Images: A Journal of Film and Popular Culture (9). OCLC 40986579.  (Examines The Art of Murder in Strangers On a Train, Dial M For Murder, Blackmail, and Psycho.)
  • Mulvey, Laura (April 2000). "Death drives: Hitchcock's Psycho". Film Studies (2): 5–14. ISSN 1469-0314.  (A meditation on the narrative and psychoanalytic trajectories traced in Hitchcock's PSYCHO.)
  • Nathan, Ian (June 2007). "The Top 10: shower scenes". Empire (216): 160–161.  (A listing of the ten best shower scenes in feature films, including brief critiques, for each film.)
  • Negra, Diane (April 1996). "Coveting the Feminine: Victor Frankenstein, Norman Bates, and Buffalo Bill". Literature/Film Quarterly 24 (2): 193–200. ISSN 0090-4260.  (Examines three 'monstrous' fictional characters: Victor Franeknstein in Mary Shelley's novel, Norman Bates in PSYCHO and Buffalo Bill in THE SILENCE OF THE LAMBS, and issues of gender.)
  • Newman, Kim (November 1995). "Rear Window: Still Psycho After All These Years". Premiere 3 (10): 104–111.  (Article about the making of PSYCHO.)
  • "News: Psycho score honored by NPR". Film Score Monthly 5 (8): 4. September 2000.  (Bernard Herrmann's score for PSYCHO has been selected as part of National Public Radio's 100 in the US, a collection of the most influential American musical compositions of the 20th century.)
  • Nogueira, Rui (Spring 1970). "Psycho, Rosie and a Touch of Orson: Janet Leigh Talks". Sight & Sound 39 (2): 66–70. ISSN 0037-4806. 
  • Norman, Barry (July 25, 2009). "Barry Norman's Greatest Hits". Radio Times: 39.  Check date values in: |date= (help)
  • O'Kelly, Michael (June 1991). "Classics of editing: Psycho". Film Base News (24): 19–20. OCLC 19706457. 
  • Palmer, R. Barton (Winter 1986). "The Metafictional Hitchcock: The Experience of Viewing and the Viewing of Experience in Rear Window and Psycho". Cinema Journal 25 (2): 4–19. ISSN 0009-7101.  (The experience of viewing and the viewing of experience in REAR WINDOW and PSYCHO.)
  • Rebello, Stephen (April 1986). "Psycho". Cinefantastique 16 (4/5). 
  • Rebello, Stephen (April 1990). "Alfred Hitchcock Goes Psycho". American Film. ISSN 0361-4751.  (A detailed account of the making, casting and filming of PSYCHO.)
  • Recchia, Edward (1991). "Through a Shower Curtain Darkly: Reflexitivity as a Dramatic Component of Psycho". Literature/Film Quarterly 19 (4). ISSN 0090-4260.  (Hitchcock uses reflexivity to good effect in 'Psycho'(1960) by making the viewers actors in the on-screen drama. The direction tells the story first from Marion's point of view. The perspective shifts shortly before Marion's murder, but the true identity of the murderer is not revealed. Hitchcock encourages the audience's identification with Marion, and then with Norman Bates, but also slowly reveals to them a more realistic perspective. The audience is both participant and viewer in 'Psycho.')
  • Richards, Peter (September 1993). "Ten Greatest One-Scene Performances in the History of the Cinema". Film Comment 29 (5): 74–78. ISSN 0015-119X.  (Selection of ten cameos)
  • Roth, Marty (Summer 1994-1995). "Remembering Psycho". North Dakota Quarterly 62 (3): 161–174. ISSN 0029-277X.  Check date values in: |date= (help)
  • Sarris, Andrew (August 11, 1960). "Psycho". Village Voice.  Check date values in: |date= (help)
  • Schaffer, Bill (May 2000). "Cutting the Flow: Thinking Psycho". Senses of Cinema (6). ISSN 1443-4059. 
  • Schmidt, Michael. "The Parlor Scene from Psycho: Images of Duality". Images: A Journal of Film and Popular Culture. OCLC 40986579.  (Though tame by today's standards, Alfred Hitchcock's Psycho has done more to advance the horror genre (slasher films in particular) than any other film of its time; however, the brilliance of Psycho does not lie in its abhorrent concept, but rather in the way that Hitchcock melds the obvious and the mysterious. Indeed, in one of the most revealing scenes, just one third of the way through the film, Hitchcock is outrageously obvious in his intentions; yet his artistry in lighting, camera angle, and mise-en-scene make it possible to hide in plain sight and create a world that is rife with duality.)
  • Schneider, Irving (April 1990). "Deus ex animo, or why a doc?". Journal of Popular Film & Television 18 (1): 36–39. ISSN 0195-6051.  (Looks at the portrayal of psychiatrists in films especially The CABINET OF DR. CALIGARI, HOME OF THE BRAVE, PSYCHO and The IMMORAL MR. TEAS.)
  • Schneider, Steven (September 1999). "Manufacturing horror in Hitchcock's Psycho". CineAction (50): 70–75. ISSN 0826-9866.  (Examines Hitchcock's technique for inducing horror in viewers in three scenes in PSYCHO (shower scene, Mother killing Arbogast, Lila discovering Mother) which emphasize the break between PSYCHO and its cinematic predecessors.)
  • Spelling, Ian (March 1999). "The second cutting". Fangoria (180): 12–17. ISSN 0164-2111.  (Second part of an interview in which Joseph Stefano discusses PSYCHO and his other work.)
  • Sterritt, D. (1992). "The Diabolic Imagination: Hitchcock, Bakhtin, and the Carnivalization of Cinema". Hitchcock Annual (1). ISSN 1062-5518. 
  • Sterritt, David (July 31, 1990). "Hitchcock's Psycho still influences movies". Christian Science Monitor 82 (171): 11.  Check date values in: |date= (help)
  • Sullivan, Jack (December 2006). "Psycho: The Music of Terror". Cineaste 32 (1): 20–28.  (Jack Sullivan, in an excerpt from his forthcoming book 'Hitchcock's Music', looks at the relationship between Bernard Herrmann and Alfred Hitchcock who stated that a third of the success of Psycho came from Herrmann's music for the film.)
  • Sullivan, K.E. (July 2000). "Ed Gein and the figure of the trans-gendered serial killer". Jump Cut (43): 38–47. ISSN 0146-5546.  (Analysis of the exploitation of the association of monster and transsexual/transvestite in films about serial killers, referring to the influence of the real-life case of Ed Gein. Reference is made to PSYCHO (1960) and SILENCE OF THE LAMBS.)
  • Tanner, Louise. "Anthony Perkins". Films in Review 1 (1): 418–421. ISSN 0015-1688.  (Perkins discusses his career and long association with the "Psycho" series.)
  • Taubin, Amy (May 1991). "Killing Men". Sight & Sound 1 (1): 14 (6 pages). ISSN 0037-4806.  (The marauding men who haunt serial killer movies terrify. Amy Taubin wants to know what these films mean and why we like them)
  • Telotte, J. P. (1980). "Faith and Idolatry in the Horror Film". Literature/Film Quarterly 8 (3): 143–155. ISSN 0090-4260. 
  • Tharp, Julie (April 1991). "The Transvestite as Monster: Gender Horror in The Silence of the Lambs and Psycho". Journal of Popular Film & Television 19 (3): 106–113. ISSN 0195-6051.  (Examines images of gender confusion and tranvestism in horror films, particularly THE SILENCE OF THE LAMBS and PSYCHO.)
  • Thomas, Deborah (July 1997). "On Being Norman: Performance and Inner Life in Hitchcock...". CineAction (44): 66–72. ISSN 0826-9866.  (Explores performance in PSYCHO, concentrating on Anthony Perkins in the role of Norman Bates. In an issue on 'performance'.)
  • Thomson, David (Mar/Apr 1979). "The Big Hitch". Film Comment 15 (2): 26–29. ISSN 0015-119X.  Check date values in: |date= (help)
  • Thomson, David. "Salieri, Psycho". Film Comment 21 (1): 70–75. ISSN 0015-119X.  (Analyses the character of Salieri in "Amadeus" in comparison with Norman Bates in "Psycho".)
  • Thomson, David. "Ten Films that Showed Hollywood How to Live". Movieline 8. ISSN 1055-0917. 
  • Toles, George (Spring 1984). "'If Thine Eye Offend Thee...': Psycho and the Art of Infection". New Literary History: A Journal of Theory and Interpretation 15 (3): 631–651. ISSN 0028-6087. 
  • "True Lies". Empire (93): 94–95. March 1997.  (Discusses the likelihood that Alfred Hitchcock did not shoot the shower scene in PSYCHO.)
  • Trower, Marcus (September 1994). "Mind games". Empire (63): 66–70.  Text " volume " ignored (help); (Dr. Raj Persaud, an expert in film psychology, discusses the psychology of ALIEN (1979), STAR WARS (1977), VERTIGO (1958), PSYCHO (1960).)
  • "Untitled". Listener 122 (3141): 38. November 23, 1989. ISSN 0024-4392.  Check date values in: |date= (help)
  • "Untitled". StarBurst (77): 16–19,21. January 1985. ISSN 0955-114X.  (History of the production and analysis.)
  • "Untitled". Listener 112 (2877): 38. September 27, 1984. ISSN 0024-4392.  Check date values in: |date= (help) (Assessment of the reputation of the film and its place in the body of Alfred Hitchbook's work.)
  • "Untitled". Wide Angle 5 (3): 64–69. September 1982. ISSN 0160-6840.  (Analysis of the Bakersfield car lot scene and the prolonged look of the policeman.)
  • "Untitled". Thousand Eyes Magazine 2 (5): 8–9,27. January 1977. 
  • "Untitled". Film Music Notebook 1: Fall 29–36. October 1974.  (On the music.)
  • "Untitled". Film Music Notebook 1: Winter 27–46. October 1974.  (Second part of article on the music in the film.)
  • "Untitled". Films and Filming 18 (5): 27–30. February 1972. ISSN 0015-167X. 
  • "Untitled". Films and Filming 6 (12): 21. September 1960. ISSN 0015-167X. 
  • "Untitled". Monthly Film Bulletin 27 (320): 126. September 1960. 
  • "Untitled". Kine Weekly (2758): 10. August 11, 1960.  Check date values in: |date= (help)
  • "Untitled". Daily Cinema (8340): 4. August 5, 1960.  Check date values in: |date= (help)
  • "Untitled". Variety. June 22, 1960. ISSN 0042-2738.  Check date values in: |date= (help)
  • "Untitled". The Hollywood Reporter 160 (34): 3. June 17, 1960. ISSN 0018-3660.  Check date values in: |date= (help)
  • "Untitled". The Hollywood Reporter 160 (34): 748. June 17, 1960. ISSN 0018-3660.  Check date values in: |date= (help)
  • Vanneman, Alan. "Here's looking at you, kid! Alfred Hitchock and Psycho". Bright Lights Film Journal. ISSN 0147-4049. 
  • Warren, Denise (Spring 2000). "Hitchcock's Psycho: The Spatial Film-Work of Madness". Interdisciplinary Journal for Germanic Linguistics and Semiotic Analysis 5 (1): 37–70. ISSN 1087-5557. 
  • Williams, Linda (December 1994). "Learning to Scream:Hitchcock's Psycho was a rollercoaster ride for its early audiences". Sight & Sound 4 (12): 14–17. ISSN 0037-4806.  (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)