Psycho-killer: Shifting spectator address from Psycho to Bates Motel

Leveraging Carol Clover’s influential Men, Women, and Chain Saws, this article attempts to situate the A&E television series Bates Motel as a progressive prequel to Psycho. Through a close reading of the series’ formal and narrative components, vital distinctions are clarified between Psycho and Bates Motel, arguing that the latter achieves a unique mode of spectatorial address. This unique address is accomplished via three devices: a shift in genre away from the horror/slasher film to re-situate the backstory of Norman Bates within the melodrama ‐ a genre traditionally geared to a female spectator; by playing Norman as an active investigative protagonist rather than the prototypical psycho-killer devoid of psychological complexity; and by opening up the narrative to dual protagonists via the inclusion of Norma Bates. Taken together, Bates Motel emerges as an adaptation of the iconic Hitchcock film whose very success is dependent on intentionally altering its mode of spectatorial address.