Abstract:

This paper examines the theoretical divide between Walter Benjamin and André Bazin regarding cinema's relationship to reality, using Alfred Hitchcock's Psycho (1960) as a case study to bridge their seemingly contradictory positions. Benjamin's "The Work of Art in the Age of its Technological Reproducibility" (1935) conceptualizes cinema through the metaphor of a surgeon penetrating reality with mechanical instruments, emphasizing montage and editing as fundamental to cinematic meaning. Conversely, Bazin's "Ontology of the Photographic Image" (1945) advocates for cinema's capacity to maintain distance from reality, allowing the medium's indexical relationship to the pro-filmic world to emerge naturally without excessive intervention. Through close analysis of the infamous shower sequence in Psycho, this study argues that these two theoretical approaches are not mutually exclusive but complementary. The sequence demonstrates Benjamin's penetrative metaphor through its voyeuristic camera work and violent imagery, while simultaneously exploiting Bazin's notion of photography's ontological connection to reality to achieve its lasting shock value. This analysis suggests that cinema's power lies in its dual capacity to both penetrate and preserve reality, offering a framework for reconciling these foundational film theory perspectives.