Psycho

Marion is lost on a dark and lonely road; she's tired and hungry and afraid. She thinks she's dreaming when she sees a motel sign shining in the darkness: Bates Motel. But for Marion the nightmare is just beginning ... To most people Psycho needs no introduction, but although Alfred Hitchcock's film was largely faithful to the book, in the novel itself you will find a story more nuanced and - if possible - even darker.

The Bates Motel. The ominous house on the hill. The shower. . . . Few movies have proven as enduringly fascinating to audiences, film buffs, and moviemakers as Hitchcock's horrific 1960 shocker Psycho. This book offers the complete, colorful account of the production, shooting, and aftermath of this mesmerizing, electrifying film. 50 photos.

A cult classic, adapted into a film starring Christian Bale. Is evil something you are? Or is it something you do? Patrick Bateman has it all: good looks, youth, charm, a job on Wall Street, reservations at every new restaurant in town and a line of girls around the block. He is also a psychopath. A man addicted to his superficial, perfect life, he pulls us into a dark underworld where the American Dream becomes a nightmare . . . With an introduction by Irvine Welsh, Bret Easton Ellis's American Psycho is one of the most controversial and talked-about novels of all time. A multi-million-copy bestseller hailed as a modern classic, it is a violent black comedy about the darkest side of human nature.

August Mulvaney has always been exceptional. As the genius son of an eccentric billionaire, his off-putting behavior is often blamed on his high IQ. They say there’s a thin line between genius and madness. August is both—a brilliant professor loved by his students and a ruthless, obsessive killer tasked with righting the wrongs of a failing justice system. And he’s just found his latest obsession: Lucas Blackwell. Lucas Blackwell was once the golden child of the FBI, using his secret talent as a clairvoyant to help put away society’s worst. Until, with a touch, he discovers his co-worker is a killer and his life falls apart. Now, the world thinks he’s crazy and that co-worker wants him dead. He seeks refuge at a small college, hoping to rebuild his life and his reputation. But then he runs into August Mulvaney. Literally. August is immediately intrigued with Lucas and his backstory. He doesn’t believe in psychics, but there’s no missing the terror in his eyes when they collide in the hallway. Now, August has a problem. Lucas knows his secret, and August knows he wants Lucas. And August always gets what he wants. Can he convince Lucas that not all killers are created equal and that having a psychopath in his corner—and in his life—might be just what he needs? Psycho is a fast-paced, thrill ride of a romance with an HEA and no cliffhangers. It features a psychopath hell-bent on romance and a disgraced FBI agent attempting to redeem himself. As always, there’s gratuitous violence, very dark humor, and scenes so hot it will melt your kindle. This is book two in the Necessary Evils series. Each book follows a different couple.

“Horror author Chet Williamson ably succeeds in the tough task of creating a sequel to Robert Bloch’s masterpiece, Psycho; a prequel to the less effective Psycho II; and a solid story in its own right...The novel shines. Whenever Norman gets the spotlight, the novel feels like a lost Bloch work.” —Publishers Weekly The original Psycho novel by Robert Bloch was published in 1959 and became an instant hit, leading to the smash movie only a year later, which brought Norman Bates's terrifying story into the public consciousness, where it still remains (proven by the success of the tv series, Bates Motel). It took Bloch 23 years to write another Psycho novel, revealing that Norman had been in a mental institution the entire time. In that sequel, Norman quickly escapes the sanitarium and goes on a killing spree in Hollywood. But what happened in that asylum during those two decades? Until now, no one has known. It's 1960. Norman Bates is in the State Hospital for the Criminally Insane and it's up to Dr. Felix Reed to bring him out of his catatonic state. But Norman and Dr. Reed have obstacles in twisted fellow patients and staff members who think of the institution as a prison rather than a place of healing. And the greatest obstacle is the building itself, once a private sanitarium, rumored to be haunted. A wild card appears in the persona of Robert Newman, Norman's twin brother, taken away at birth after the attending doctor pronounced him brain damaged. As Robert and Norman grow to know each other, Norman senses a darkness in Robert, even deeper than that which has lurked in Norman himself. Soon, murders begin to occur and a shocking chain of events plunge us even deeper into the deranged madness inside the walls of Psycho: Sanitarium.

Provides a biography on Ed Gein, the Wisconsin serial killer responsible for various atrocities, and offers an analysis of his psyche and describes how his childhood and mother influenced him to murder.

In "The Moment of Psycho," film critic David Thomson situates "Psycho" in Alfred Hitchcock's career, recreating the mood and time when the seminal film erupted onto film screens worldwide. Thomson brilliantly demonstrates how Hitchcock's creation represented all America wanted from a film--and still does.

Out of print for more than ten years, Bloch's conclusion to his terrifying Psycho Trilogy takes readers back to the Bates Motel, which has been turned into a tourist attraction--and the site of a whole new series of murders.

This volume contains ninety-two works by this renowned writer, theoretician, and clinician. Includes critiques of Melanie Klein's ideas and insights into the works of other leading psychoanalysts, and thoughts on such concepts as play in the analytic situation, the fate of the transitional object, regression in psychoanalysis, and the use of silence in psychotherapy.

?The Psycho Records follows the influence of the primal shower scene within subsequent slasher and splatter films. American soldiers returning from World War II were called "psychos" if they exhibited mental illness. Robert Bloch and Alfred Hitchcock turned the term into a catch-all phrase for a range of psychotic and psychopathic symptoms or dispositions. They transferred a war disorder to the American heartland. Drawing on his experience with German film, Hitchcock packed inside his shower stall the essence of schauer, the German cognate meaning "horror." Later serial horror film production has post-traumatically flashed back to Hitchcock's shower scene. In the end, though, this book argues the effect is therapeutically finite. This extensive case study summons the genealogical readings of philosopher and psychoanalyst Laurence Rickels. The book opens not with another reading of Hitchcock's 1960 film but with an evaluation of various updates to vampirism over the years. It concludes with a close look at the rise of demonic and infernal tendencies in horror movies since the 1990s and the problem of the psycho as our most uncanny double in close quarters.