The idea of sneaking around and peering into forbidden places gives just about everyone a thrill. Voyeurism is used strongly in both Psycho and Carrie due to its ability to entice thrill in the viewer. In Carrie, we start the scene by looking into a girls' high school locker room; scantily clad or naked girls moving in slow-motion in front of the camera give the thrill of both trespassing and the chance of being caught. The camera gradually slides across the locker room floor, slowly so as to allow us to look at the changing girls. We stop at the last row and are slowly walked into the steamy row of showers where we find a naked Carrie White (Sissy Spacek). In Psycho, after Norman Bates (Anthony Perkins) leaves Marion Crane (Janet Leigh) to her room, he goes back to his office for a reason we're not quite clear about yet. H

Sexuality also adds a great deal of tension to the two scenes. We watch as Marion drops her robe to the floor and steps gingerly into the shower. Once in the shower, we are given a point-of-view shot of the showerhead, a huge showerhead covering her entire body with clean, warm water, cleansing her of her sins in an almost baptismal way. We are allowed only collarbone-up shots of her in the shower, only hints to her nakedness. We can only imagine what she looks like, giving the audience the same thoughts that raced through Norman's mind as he looked in on her through the peephole. Carrie is also highly sexualized, more so given the fact that more nudity was allowed with the changing times. As we gaze at the different close-up camera shots of her body, we watch as she reaches for the soap. The audience watches as she rubs soap all over her body in slow motion, her face complacent in both peace and pleasure. Carrie then begins to from studentcentral.co.uk rub her breasts and her inner thigh in a very provocative manner, giving the audience an almost erotic feeling. These sexual scenes lure the audience into a false sense of security; we believe all is well and we let down our guard. It is for this reason why the climactic scenes are so shocking; if the sexual relaxation were not to occur, the next part of the scene would not be as

e hesitates at the wall between his office and Marion's room, glancing around for anyone who might be watching him. The room's under-lighting gives both Norman and the stuffed birds around him an evil and devious look. Finally he looks at the wall and removes a painting, a painting depicting the Rape of Lucretia, and reveals a

woman, a woman w

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