document_title: Psycho (1960 film)

question_text: where is the bates motel from psycho located

question_tokens: where is the bates motel from psycho located

text: Psycho (1960 film)

text: Plot[edit]

text: During a lunchtime tryst in Phoenix, Arizona, a real estate secretary named Marion Crane discusses with her boyfriend, Sam Loomis, how they cannot afford to get married because of Sam's debts. After lunch, Marion returns to work, where a client drops off a $40,000 cash payment on a property. Her boss asks her to deposit the money in the bank, and she asks if she can take the rest of the afternoon off. Returning home, she begins to pack, deciding to steal the money and give it to Sam in Fairvale, California. She is seen by her boss on her way out of town, which makes her nervous. During the trip, she pulls over on the side of the road and falls asleep, only to be awakened by a state patrol officer. Suspicious about her nervous behavior, he notes her license plate number and follows her at a close distance. Hoping to shake his pursuit, Marion stops at an automobile dealership and trades in her Ford Mainline, with its Arizona license plates, for a Ford Custom 300 that has California tags.

text: Driving on, Marion stops for the night at the Bates Motel. The proprietor, Norman Bates, invites her to a light dinner after she checks in. She accepts, but then hears an argument between Norman and his mother about bringing a woman into her house. They eat in the motel parlor, where he tells her about his life with his mother, who is mentally ill and forbids him to have a life outside of her. Her sense of compassion and responsibility awakened by Norman's story, Marion decides to go back to Phoenix in the morning to return the stolen money, and prepares for bed. As she is showering, a shadowy figure comes in and stabs her to death with a chef's knife. Norman discovers the murder and assumes his mother is responsible. He meticulously cleans up the crime scene, putting Marion's corpse and her possessions—including the embezzled money—into the trunk of her car and sinking it in the swamps near the motel.

text: A week later, Marion's sister Lila arrives in Fairvale and confronts Sam about the whereabouts of her sister. Private investigator Milton Arbogast approaches them and confirms that Marion is wanted for stealing the $40,000. He checks the motels, and Norman's evasive and inconsistent answers arouse his suspicions. After hearing that Marion had met Norman's mother, he asks to speak with her, but Norman refuses. Arbogast calls Lila and Sam to update them. He goes to the Bates' home in search of Norman's mother; as he reaches the top of the stairs, he is attacked and murdered. When Lila and Sam do not hear from Arbogast, Sam visits the motel. He finds only Mrs. Bates, who ignores his knocking. Lila and Sam go to the local sheriff, who informs them that Mrs. Bates killed herself ten years ago, and concludes that Arbogast lied to confuse them and made off with the $40,000. Still convinced that some ill has befallen Arbogast, Lila and Sam make their way to the motel. Norman takes his unwilling mother from her room and hides her in the fruit cellar.

text: At the motel, Lila and Sam meet Norman. Sam distracts him by striking up a conversation while Lila sneaks up to the house. When Sam tells Norman they've come to question his mother, he knocks Sam out and rushes to the house. Lila sees Norman approaching and hides by going down steps that lead to the fruit cellar. There she finds Mrs. Bates sitting in a chair. Lila turns her around and discovers that she is in fact a mummified corpse. Lila screams as Norman runs into the cellar, holding a chef's knife and wearing his mother's clothes and a wig. Before Norman can attack Lila, Sam, having regained consciousness, subdues him.

text: At the local courthouse, a psychiatrist explains that Norman murdered Mrs. Bates and her lover ten years prior out of jealousy. Unable to bear the guilt, he exhumed her corpse and began to treat it as if she were still alive. In order to preserve that illusion, he recreated his mother in his own mind as an alternate personality, often dressing in her clothes and talking to himself in her voice. This "Mother" personality is jealous and possessive: whenever Norman feels attracted to a woman, "Mother" kills her. As "Mother", Norman had killed two young girls prior to Marion, as well as Arbogast. The psychiatrist says the "Mother" personality has taken permanent hold of Norman's mind. While Norman sits in a holding cell, "Mother" protests that the murders were Norman's doing and that she "wouldn't even harm a fly." Meanwhile, Marion's car is pulled out of the swamp.

text: Cast[edit]

text:
Anthony Perkins as Norman Bates
Vera Miles as Lila Crane
John Gavin as Sam Loomis
Janet Leigh as Marion Crane
Martin Balsam as Detective Milton Arbogast
John McIntire as Sheriff Al Chambers
Simon Oakland as Dr. Fred Richman
Frank Albertson as Tom Cassidy
Pat Hitchcock as Caroline
Vaughn Taylor as George Lowery
Lurene Tuttle as Mrs. Chambers
John Anderson as California Charlie
Mort Mills as Highway Patrol Officer
Francis De Sales as Deputy District Attorney Alan Deats (uncredited)
George Eldredge as Police Chief James Mitchell (uncredited)
Ted Knight as a policeman guarding Norman Bates (uncredited)
Virginia Gregg, Paul Jasmin, and Jeanette Nolan as the voice of Norma Bates (uncredited)

text: The success of Psycho jump-started Perkins' career, but he soon began to suffer from typecasting.[7] However, when Perkins was asked whether he would have still taken the role knowing that he would be typecast afterwards, he replied with a definite "yes".[8]

text: Until her death, Leigh continued to receive strange and sometimes threatening calls, letters, and even tapes detailing what they would like to do to Marion Crane. One letter was so "grotesque" that she passed it along to the FBI, two of whose agents visited Leigh and told her the culprits had been located and that she should notify the FBI if she received any more letters of that type.[9]

text: Norman's mother was voiced by Virginia Gregg, Paul Jasmin, and Jeanette Nolan, who also provided some screams for Lila's discovery of the mother's corpse. The three voices were thoroughly mixed, except for the last speech, which is all Gregg's.[10]

text: As Perkins was in New York working on a Broadway stage show when the shower sequence was filmed, actresses Anne Dore and Margo Epper stepped in as his body doubles for that scene.[11]

text: Production[edit]

text: Development[edit]

text: Psycho is based on Robert Bloch's 1959 novel of the same name, which was loosely inspired by the case of convicted Wisconsin murderer and grave robber Ed Gein.[12] Both Gein (who lived just 40 miles from Bloch) and the story's protagonist, Norman Bates, were solitary murderers in isolated rural locations. Each had deceased, domineering mothers, had sealed off a room in their home as a shrine to her, and dressed in women's clothes. However, unlike Bates, Gein is not strictly considered a serial killer, having been charged with murder only twice.[13]

text: Peggy Robertson, Hitchcock's long-time assistant, read Anthony Boucher's positive review of the novel and decided to show the book to her employer, even though studio readers at Paramount Pictures had already rejected its premise for a film. Hitchcock acquired rights to the novel for $9,500[14] and reportedly ordered Robertson to buy up copies to preserve the novel's surprises.[15] Hitchcock, who had come to face genre competitors whose works were critically compared to his own, was seeking new material to recover from two aborted projects with Paramount, Flamingo Feather and No Bail for the Judge. He disliked stars' salary demands and trusted only a few people to choose prospective material, including Robertson.[16]

text: Paramount executives balked at Hitchcock's proposal and refused to provide his usual budget.[17] In response, Hitchcock offered to film Psycho quickly and inexpensively in black and white using his Alfred Hitchcock Presents television series crew. Paramount executives rejected this cost-conscious approach, claiming their sound stages were booked even though the industry was in a slump. Hitchcock countered he would personally finance the project and film it at Universal-International using his Shamley Productions crew if Paramount would merely distribute. In lieu of his usual $250,000 director's fee he proposed a 60% stake in the film negative. This combined offer was accepted and Hitchcock went ahead in spite of naysaying from producer Herbert Coleman and Shamley Productions executive Joan Harrison.[18]

text: Novel adaptation[edit]

text: James P. Cavanagh, a writer on the Alfred Hitchcock Presents television series, penned the original screenplay.[19] Hitchcock felt the script dragged and read like a television short horror story,[20] an assessment shared by an assistant.[19] Though Stefano had worked on only one film before, Hitchcock agreed to meet with him; despite Stefano's inexperience, the meeting went well and he was hired.[19]

text: The screenplay is relatively faithful to the novel, with a few notable adaptations by Hitchcock and Stefano. Stefano found the character of Norman Bates—who, in the book, is middle-aged, overweight, and more overtly unstable—unsympathetic, but became more intrigued when Hitchcock suggested casting Anthony Perkins.[20] Stefano eliminated Bates' drinking,[21] which evidently necessitated removing Bates' "becoming" the Mother personality when in a drunken stupor. Also gone is Bates' interest in spiritualism, the occult and pornography.[22] Hitchcock and Stefano elected to open the film with scenes in Marion's life and not introduce Bates at all until 20 minutes into the film, rather than open with Bates reading a history book as Bloch does.[21] Indeed, writer Joseph W. Smith notes that, "Her story occupies only two of the novel's 17 chapters. Hitchcock and Stefano expanded this to nearly half the narrative".[23] He likewise notes there is no hotel tryst between Marion and Sam in the novel. For Stefano, the conversation between Marion and Norman in the hotel parlor in which she displays a maternal sympathy towards him makes it possible for the audience to switch their sympathies towards Norman Bates after Marion's murder.[24] When Lila Crane is looking through Norman's room in the film she opens a book with a blank cover whose contents are unseen; in the novel these are "pathologically pornographic" illustrations. Stefano wanted to give the audience "indications that something was quite wrong, but it could not be spelled out or overdone."[24] In his book of interviews with Hitchcock, François Truffaut notes that the novel "cheats" by having extended conversations between Norman and "Mother" and stating what Mother is "doing" at various given moments.[25]

text: The first name of the female protagonist was changed from Mary to Marion, since a real Mary Crane existed in Phoenix.[26] Also changed is the novel's budding romance between Sam and Lila. Hitchcock preferred to focus the audience's attention on the solution to the mystery,[27] and Stefano thought such a relationship would make Sam Loomis seem cheap.[24] Instead of having Sam explain Norman's pathology to Lila, the film uses a psychiatrist.[28] (Stefano was in therapy dealing with his relationship with his own mother at the time of writing the film.)[29] The novel is more violent than the film; for instance, Crane is beheaded in the shower as opposed to being stabbed to death.[19] Minor changes include changing Marion's telltale earring found after her death to a scrap of paper that failed to flush down the toilet. This provided some shock effect, since toilets were virtually never seen in American cinema in the 1960s.[30] The location of Arbogast's death was moved from the foyer to the stairwell. Stefano thought this would make it easier to conceal the truth about "Mother" without tipping that something was being hidden.[31] As Janet Leigh put it, this gave Hitchcock more options for his camera.[28]

text: Pre-production[edit]

text: Paramount, whose contract guaranteed another film by Hitchcock, did not want Hitchcock to make Psycho. Paramount was expecting No Bail for the Judge starring Audrey Hepburn, who became pregnant and had to bow out, leading Hitchcock to scrap the production. Their official stance was that the book was "too repulsive" and "impossible for films", and nothing but another of his star-studded mystery thrillers would suffice.[14][32] They did not like "anything about it at all" and denied him his usual budget.[14][32] In response Hitchcock financed the film's creation through his own Shamley Productions, shooting at Universal Studios under the Revue television unit.[17][33] The original Bates Motel and Bates house set buildings, which were constructed on the same stage as Lon Chaney Sr.'s The Phantom of the Opera, are still standing at Universal Studios in Universal City near Hollywood and are a regular attraction on the studio's tour.[34][35] As a further result of cost cutting, Hitchcock chose to film Psycho in black and white, keeping the budget under $1,000,000.[36] Other reasons for shooting in black and white were his desire to prevent the shower scene from being too gory and his admiration for Les Diaboliques's use of black and white.[37][38]

text: To keep costs down, and because he was most comfortable around them, Hitchcock took most of his crew from his television series Alfred Hitchcock Presents, including the cinematographer, set designer, script supervisor, and first assistant director.[39] He hired regular collaborators Bernard Herrmann as music composer, George Tomasini as editor, and Saul Bass for the title design and storyboarding of the shower scene. In all, his crew cost $62,000.[40]

text: Through the strength of his reputation, Hitchcock cast Leigh for a quarter of her usual fee, paying only $25,000 (in the 1967 book Hitchcock/Truffaut, Hitchcock said that Leigh owed Paramount one final film on her seven-year contract which she had signed in 1953).[41] His first choice, Leigh agreed after having only read the novel and making no inquiry into her salary.[26] Her co-star, Anthony Perkins, agreed to $40,000.[40] Both stars were experienced and proven box-office draws.[42]

text: Paramount did distribute the film, but four years later Hitchcock sold his stock in Shamley to Universal's parent company (MCA) and his next six films were made at and distributed by Universal Pictures.[33] After another four years, Paramount sold all rights to Universal.[33]

text: Filming[edit]

text: The film, independently produced and financed by Hitchcock, was shot at Revue Studios,[43] the same location as his television show. Psycho was shot on a tight budget of $807,000,[44] beginning on November 11, 1959, and ending on February 1, 1960.[45][46] Filming started in the morning and finished by six p.m. or earlier on Thursdays (when Hitchcock and his wife would dine at Chasen's).[47] Nearly the whole film was shot with 50 mm lenses on 35 mm cameras. This trick closely mimicked normal human vision, which helped to further involve the audience.[48]

text: Before shooting began in November, Hitchcock dispatched assistant director Hilton A. Green to Phoenix to scout locations and shoot the opening scene. The shot was supposed to be an aerial shot of Phoenix that slowly zoomed into the hotel window of a passionate Marion and Sam. Ultimately, the helicopter footage proved too shaky and had to be spliced with footage from the studio.[49] Another crew filmed day and night footage on Highway 99 between Gorman and Fresno, California for projection when Marion drives from Phoenix. Footage of her driving into Bakersfield to trade her car is also shown. They also provided the location shots for the scene in which she is discovered sleeping in her car by the highway patrolman.[49] In one street scene shot in downtown Phoenix, Christmas decorations were discovered to be visible; rather than re-shoot the footage, Hitchcock chose to add a graphic to the opening scene marking the date as "Friday, December the Eleventh".[50]

text: Green also took photos of a prepared list of 140 locations for later reconstruction in the studio. These included many real estate offices and homes such as those belonging to Marion and her sister.[49] He also found a girl who looked just like he imagined Marion and photographed her whole wardrobe, which would enable Hitchcock to demand realistic looks from Helen Colvig, the wardrobe supervisor.[49] The look of the Bates house was modeled on Edward Hopper's painting The House by the Railroad,[51] a fanciful portrait of the Second Empire Victorian home at 18 Conger Avenue in Haverstraw, New York.[52]

text: Both the leads, Perkins and Leigh, were given freedom to interpret their roles and improvise as long as it did not involve moving the camera.[53] An example of Perkins' improvisation is Norman's habit of eating candy corn.[54]

text: Throughout filming, Hitchcock created and hid various versions of the "Mother corpse" prop in Leigh's dressing room closet. Leigh took the joke well, and she wondered whether it was done to keep her on edge and thus more in character or to judge which corpse would be scarier for the audience.[55]

text: During shooting, Hitchcock was forced to uncharacteristically do retakes for some scenes. The final shot in the shower scene, which starts with an extreme close-up on Marion's eye and pulls up and out, proved very difficult for Leigh, since the water splashing in her face made her want to blink, and the cameraman had trouble as well since he had to manually focus while moving the camera.[53] Retakes were also required for the opening scene, since Hitchcock felt that Leigh and Gavin were not passionate enough.[56] Leigh had trouble saying "Not inordinately" for the real estate office scene, requiring additional retakes.[57] Lastly, the scene in which the mother is discovered required a complicated coordinating of the chair turning around, Vera Miles (as Lila Crane) hitting the light bulb, and a lens flare, which proved to be the sticking point. Hitchcock forced retakes until all three elements were to his satisfaction.[58]

text: According to Hitchcock, a series of shots with Arbogast going up the stairs in the Bates house before he is stabbed were helmed by assistant director Hilton A. Green, working with storyboard artist Saul Bass' drawings only while Hitchcock was incapacitated with the common cold. However, upon viewing the dailies of the shots, Hitchcock was forced to scrap them. He claimed they were "no good" because they did not portray "an innocent person but a sinister man who was going up those stairs".[59] Hitchcock later re-shot the scene, though a little of the cut footage made its way into the film. Filming the murder of Arbogast proved problematic owing to the overhead camera angle necessary to hide the film's twist. A camera track constructed on pulleys alongside the stairway together with a chairlike device had to be constructed and thoroughly tested over a period of weeks.[60]

text: Alfred Hitchcock's cameo is a signature occurrence in most of his films. In Psycho, he can be seen through a window—wearing a Stetson hat—standing outside Marion Crane's office.[61] Wardrobe mistress Rita Riggs has said that Hitchcock chose this scene for his cameo so that he could be in a scene with his daughter (who played one of Marion's colleagues). Others have suggested that he chose this early appearance in the film in order to avoid distracting the audience.[62]

text: The shower scene[edit]

text: The murder of Leigh's character in the shower is the film's pivotal scene and one of the best-known in all of cinema. As such, it spawned numerous myths and legends. It was shot from December 17–23, 1959, with 77 different camera angles.[63] The finished scene runs three minutes and includes 50 cuts.[64] Most of the shots are extreme close-ups, except for medium shots in the shower directly before and directly after the murder. The combination of the close shots with their short duration makes the sequence feel more subjective than it would have been if the images were presented alone or in a wider angle, an example of the technique Hitchcock described as "transferring the menace from the screen into the mind of the audience".[65]

text: To capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner holes on the shower head were blocked and the camera placed a sufficient distance away so that the water, while appearing to be aimed directly at the lens, actually went around and past it.[66]

text: The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann titled "The Murder". Hitchcock originally intended to have no music for the sequence (and all motel scenes),[67] but Herrmann insisted he try his composition. Afterward, Hitchcock agreed it vastly intensified the scene, and nearly doubled Herrmann's salary.[68][69][70] The blood in the scene is reputed to have been Bosco chocolate syrup,[71] which shows up better on black-and-white film, and has more realistic density than stage blood.[72] The sound of the knife entering flesh was created by plunging a knife into a casaba melon.[73][74]

text: There are varying accounts whether Leigh was in the shower the entire time or a body double was used for some parts of the murder sequence and its aftermath. In an interview with Roger Ebert and in the book Alfred Hitchcock and the Making of Psycho, Leigh stated she was in the scene the entire time and Hitchcock used a stand-in only for the sequence in which Norman wraps Marion's body in a shower curtain and places it in the trunk of her car.[75] The 2010 book The Girl in Alfred Hitchcock's Shower by Robert Graysmith contradicts this, identifying Marli Renfro as Leigh's body double for some of the shower scene's shots.[76] Graysmith also stated that Hitchcock later acknowledged Renfro's participation in the scene.[77]

text: A popular myth emerged that, in order for Leigh's scream in the shower to sound realistic, ice-cold water was used. Leigh denied this on numerous occasions, saying the crew was very accommodating, supplying hot water throughout the week-long shoot.[78] All of the screams are Leigh's.[10]

text: Another myth concerns Saul Bass, the graphic designer who created many of the title sequences of Hitchcock's films and storyboarded some of Psycho's scenes, claiming he had directed the shower scene. This was refuted by several figures associated with the film, including Leigh, who stated: "absolutely not! I have emphatically said this in any interview I've ever given. I've said it to his face in front of other people ... I was in that shower for seven days, and, believe me, Alfred Hitchcock was right next to his camera for every one of those seventy-odd shots."[79] Hilton A. Green, the assistant director, also refutes Bass' claim: "There is not a shot in that movie that I didn't roll the camera for. And I can tell you I never rolled the camera for Mr. Bass."[79] Roger Ebert, a longtime admirer of Hitchcock's work, summarily dismissed the rumor, stating, "It seems unlikely that a perfectionist with an ego like Hitchcock's would let someone else direct such a scene."[80]

text: However, commentators such as Stephen Rebello and Bill Krohn have argued in favor of Bass' contribution to the scene in his capacity as visual consultant and storyboard artist.[81] Along with designing the opening credits, Bass is termed "Pictorial Consultant" in the credits. When interviewing Hitchcock in 1967, François Truffaut asked about the extent of Bass' contribution, to which Hitchcock replied that in addition to the titles, Bass had provided storyboards for the Arbogast murder (which he claimed to have rejected), but made no mention of Bass providing storyboards for the shower scene.[82] According to Bill Krohn's Hitchcock At Work, Bass' first claim to have directed the scene was in 1970, when he provided a magazine with 48 drawings used as storyboards as proof of his contribution.[83]

text: Krohn's analysis of the production of Psycho in his book Hitchcock at Work, while refuting Bass' claims for directing the scene, notes that these storyboards did introduce key aspects of the final scene—most notably, the fact that the killer appears as a silhouette, and details such as the close-ups of the slashing knife, Leigh's desperate outstretched arm, the shower curtain being torn down, and the transition from the hole of the drainage pipe to Marion Crane's dead eyes. Krohn notes that this final transition is highly reminiscent of the iris titles that Bass created for Vertigo.[83]

text: Krohn's research also notes that Hitchcock shot the scene with two cameras: one a BNC Mitchell, the other a handheld French Éclair camera which Orson Welles had used in Touch of Evil (1958). In order to create an ideal montage for the greatest emotional impact on the audience, Hitchcock shot a lot of footage of this scene which he trimmed down in the editing room. He even brought a Moviola on the set to gauge the footage required. The final sequence, which his editor George Tomasini worked on with Hitchcock's advice, however did not go far beyond the basic structural elements set up by Bass' storyboards.[83]

text: According to Donald Spoto in The Dark Side of Genius, Hitchcock's wife, Alma Reville, spotted a blooper in one of the last screenings of Psycho before its official release: after Marion was supposedly dead, one could see her blink. According to Patricia Hitchcock, talking in Laurent Bouzereau's "making of" documentary, Alma spotted that Leigh's character appeared to take a breath. In either case, the postmortem activity was edited out and was never seen by audiences.[19] Although Marion's eyes should be dilated after her death, the contact lenses necessary for this effect would have required six weeks of acclimation to wear them, so Hitchcock decided to forgo them.[84]

text: It is often claimed that, despite its graphic nature, the "shower scene" never once shows a knife puncturing flesh.[85][86][87] However, a frame by frame analysis of the sequence shows one shot in which the knife appears to penetrate Leigh's abdomen, but the effect may have been created by lighting and reverse motion.[88] Leigh herself was so affected by this scene when she saw it, that she no longer took showers unless she absolutely had to; she would lock all the doors and windows and would leave the bathroom and shower door open.[89] She never realized until she first watched the film "how vulnerable and defenseless one is".[19]

text: Leigh and Hitchcock fully discussed what the scene meant:

text: Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped into the bathtub it was as if she were stepping into the baptismal waters. The spray beating down on her was purifying the corruption from her mind, purging the evil from her soul. She was like a virgin again, tranquil, at peace.[79]

text: Film theorist Robin Wood also discusses how the shower washes "away her guilt". He comments upon the "alienation effect" of killing off the "apparent center of the film" with which spectators had identified.[90]

text: Soundtrack[edit]

text: Score[edit]

text: Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget.[91] The resulting score, according to Christopher Palmer in The Composer in Hollywood (1990) is "perhaps Herrmann's most spectacular Hitchcock achievement."[92] Hitchcock was pleased with the tension and drama the score added to the film,[93] later remarking "33% of the effect of Psycho was due to the music."[94] The singular contribution of Herrmann's score may be inferred from the unusual penultimate placement of the composer's name in the film's opening credit sequence, as it is followed only by Hitchcock's directing credit.

text: Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble,[91] contrary to Hitchcock's request for a jazz score.[95] He thought of the single tone color of the all-string soundtrack as a way of reflecting the black-and-white cinematography of the film.[96] The strings play con sordini (muted) for all the music other than the shower scene, creating a darker and more intense effect. Film composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have.[97]

text: The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack.[98][99] Though nothing shocking occurs during the first 15–20 minutes of the film, the title music remains in the audience's mind, lending tension to these early scenes.[98] Herrmann also maintains tension through the slower moments in the film through the use of ostinato.[94]

text: There were rumors that Herrmann had used electronic means, including amplified bird screeches to achieve the shocking effect of the music in the shower scene. The effect was achieved, however, only with violins in a "screeching, stabbing sound-motion of extraordinary viciousness."[100] The only electronic amplification employed was in the placing of the microphones close to the instruments, to get a harsher sound.[100] Besides the emotional impact, the shower scene cue ties the soundtrack to birds.[100] The association of the shower scene music with birds also telegraphs to the audience that it is Norman, the stuffed-bird collector, who is the murderer rather than his mother.[100]

text: Herrmann biographer Steven C. Smith writes that the music for the shower scene is "probably the most famous (and most imitated) cue in film music,"[96] but Hitchcock was originally opposed to having music in this scene.[100] When Herrmann played the shower scene cue for Hitchcock, the director approved its use in the film. Herrmann reminded Hitchcock of his instructions not to score this scene, to which Hitchcock replied, "Improper suggestion, my boy, improper suggestion."[101] This was one of two important disagreements Hitchcock had with Herrmann, in which Herrmann ignored Hitchcock's instructions. The second one, over the score for Torn Curtain (1966), resulted in the end of their professional collaboration.[102] A survey conducted by PRS for Music, in 2009, showed that the British public consider the score from 'the shower scene' to be the scariest theme from any film.[103]

text: To honor the fiftieth anniversary of Psycho, in July 2010, the San Francisco Symphony[104] obtained a print of the film with the soundtrack removed, and projected it on a large screen in Davies Symphony Hall while the orchestra performed the score live. This was previously mounted by the Seattle Symphony in October 2009 as well, performing at the Benaroya Hall for two consecutive evenings.

text: Recordings[edit]

text: Several CDs of the film soundtrack have been released, including:

text:
The 1970s soundtrack recording with Bernard Herrmann conducting the National Philharmonic Orchestra [Unicorn CD, 1993].[105]
The 1997 Varèse Sarabande CD features a re-recording of the complete score performed by the Royal Scottish National Orchestra and conducted by Joel McNeely .[106][107]
The 1998 Soundstage Records SCD 585 CD claims to feature the tracks from the original master tapes. However, it has been asserted that the release is a bootleg recording.[106]
The 2011 Doxy Records DOY650 (Italy) 180 gram LP release of the complete original 1960 score conducted by Herrmann.

text:
[show]Track listing

No.
Title
Length

1.
"Prelude"

2.
"The City"

3.
"Marion"

4.
"Marion & Sam"

5.
"Temptation"

6.
"Flight"

7.
"Patrol Car"

8.
"The Car Lot"

9.
"The Package"

10.
"The Rainstorm"

11.
"Hotel Room"

12.
"The Window"

13.
"The Parlor"

14.
"The Madhouse"

15.
"The Peephole"

16.
"The Bathroom"

17.
"The Murder"

18.
"The Body"

19.
"The Office"

20.
"The Curtain"

21.
"The Water"

22.
"The Car"

23.
"The Swamp"

24.
"The Search (A)"

25.
"The Shadow"

26.
"Phone Booth"

27.
"The Porch"

28.
"The Stairs"

29.
"The Knife"

30.
"The Search (B)"

31.
"The First Floor"

32.
"Cabin 10"

33.
"Cabin 1"

34.
"The Hill"

35.
"The Bedroom"

36.
"The Toys"

37.
"The Cellar"

38.
"Discovery"

39.
"Finale"

text: Controversy[edit]

text: Psycho is a prime example of the type of film that appeared in the United States during the 1960s after the erosion of the Production Code. It was unprecedented in its depiction of sexuality and violence, right from the opening scene in which Sam and Marion are shown as lovers sharing the same bed, with Marion in a bra.[108] In the Production Code standards of that time, unmarried couples shown in the same bed would be taboo.[109]

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text: Another controversial issue was the gender bending element. Perkins, who was allegedly a homosexual,[110] and Hitchcock, who previously made the LGBT film Rope, were both experienced in the film's transgressive subject matter. The viewer is unaware of the gender dysphoria until at the end of the movie. It is revealed that Bates is a crossdresser in the attempted murder of Sam. At the station, Sam asks why was Bates dressed that way. The police officer, ignorant of Bates' split personality, bluntly utters that Bates is a transvestite. The psychiatrist corrects him and says, "Not exactly." He explains that Bates believes that he is his own mother when he dresses in her clothes.[citation needed]

text: According to the book Alfred Hitchcock and the Making of Psycho, the censors in charge of enforcing the Production Code wrangled with Hitchcock because some of them insisted they could see one of Leigh's breasts. Hitchcock held onto the print for several days, left it untouched, and resubmitted it for approval. Each of the censors reversed their positions: those who had previously seen the breast now did not, and those who had not, now did. They passed the film after the director removed one shot that showed the buttocks of Leigh's stand-in.[111] The board was also upset by the racy opening, so Hitchcock said that if they let him keep the shower scene he would re-shoot the opening with them on the set. Since they did not show up for the re-shoot, the opening stayed.[111]

text: Another cause of concern for the censors was that Marion was shown flushing a toilet, with its contents (torn-up note paper) fully visible. No flushing toilet had appeared in mainstream film and television in the United States at that time.[112][113][114]

text: Internationally, Hitchcock was forced to make minor changes to the film, mostly to the shower scene. In Britain, the BBFC requested cuts to stabbing sounds and visible nude shots, and in New Zealand the shot of Norman washing blood from his hands was objected to. In Singapore, though the shower scene was left untouched, the murder of Arbogast, and a shot of Norman's mother's corpse were removed.[115]

text: The most controversial move was Hitchcock's "no late admission" policy for the film, which was unusual for the time. It was not entirely original as Clouzot had done the same in France for Diabolique.[116] Hitchcock thought that if people entered the theater late and never saw the star actress Janet Leigh, they would feel cheated.[33] At first theater owners opposed the idea, claiming that they would lose business. However, after the first day, the owners enjoyed long lines of people waiting to see the film.[33]

text: Promotion[edit]

text: Hitchcock did most of the promotion on his own, forbidding Leigh and Perkins to make the usual television, radio, and print interviews for fear of their revealing the plot.[117] Even critics were not given private screenings but rather had to see the film with the general public, which, despite possibly affecting their reviews,[115] certainly preserved the secret.

text: The film's original trailer features a jovial Hitchcock taking the viewer on a tour of the set, and almost giving away plot details before stopping himself. It is "tracked" with Herrmann's Psycho theme, but also jovial music from Hitchcock's comedy The Trouble with Harry; most of Hitchcock's dialogue is post-synchronized. The trailer was made after completion of the film, and since Janet Leigh was no longer available for filming, Hitchcock had Vera Miles don a blonde wig and scream loudly as he pulled the shower curtain back in the bathroom sequence of the preview. Since the title, "Psycho", instantly covers most of the screen, the switch went unnoticed by audiences for years. However, a freeze-frame analysis clearly reveals that it is Miles and not Leigh in the shower during the trailer.[33]

text: Release[edit]

text: The film was so successful that it was reissued to theaters in 1965.

text: A year later, CBS purchased the television rights for $450,000. CBS planned to televise the film on September 23, 1966 as an installment of its new movie night The CBS Friday Night Movies.[118] Three days prior to the scheduled telecast, Valerie Percy, daughter of Illinois senate candidate Charles H. Percy, was murdered. As her parents slept mere feet away, she was stabbed a dozen times with a double-edged knife. In light of the murder, CBS agreed to postpone the broadcast. As a result of the Apollo pad fire of January 27, 1967, the network washed its hands of Psycho,[119].

text: Shortly afterward Paramount included the film in its first syndicated package of post-1950 movies, "Portfolio I". WABC-TV in New York City was the first station in the country to air Psycho (with some scenes significantly edited), on its late-night movie series, The Best of Broadway, on June 24, 1967.[120]

text: Following another successful theatrical reissue in 1969, the film finally made its way to general television airing in one of Universal's syndicated programming packages for local stations in 1970. Psycho was aired for twenty years in this format, then leased to cable for two years before returning to syndication as part of the "List of a Lifetime" package.[119]

text: The film was re-released on September 20 & 23, 2015, as part of the "TCM Presents" series by Turner Classic Movies and Fathom Events.[121]

text: Reception[edit]

text: Initial reviews of the film were thoroughly mixed.[122] Bosley Crowther of The New York Times wrote, "There is not an abundance of subtlety or the lately familiar Hitchcock bent toward significant and colorful scenery in this obviously low-budget job." Crowther called the "slow buildups to sudden shocks" reliably melodramatic but contested Hitchcock's psychological points, reminiscent of Krafft-Ebing's studies, as less effective. While the film did not conclude satisfactorily for the critic, he commended the cast's performances as "fair".[123] British critic C. A. Lejeune was so offended that she not only walked out before the end but permanently resigned her post as film critic for The Observer.[124] Other negative reviews stated, "a blot on an honorable career", "plainly a gimmick movie", and "merely one of those television shows padded out to two hours."[122][125] Positive reviews stated, "Anthony Perkins' performance is the best of his career ... Janet Leigh has never been better", "played out beautifully", and "first American movie since Touch of Evil to stand in the same creative rank as the great European films."[122][126] A good example of the mix is the New York Herald Tribune's review, which stated, "... rather difficult to be amused at the forms insanity may take ... keeps your attention like a snake-charmer."[122]

text: The public loved the film, with lines stretching outside of theaters as people had to wait for the next showing. This, along with box office numbers, led to a reconsideration of the film by critics, and it eventually received a very large amount of praise. It broke box-office records in Japan and the rest of Asia, France, Britain, South America, the United States, and Canada, and was a moderate success in Australia for a brief period.[122] It was the most profitable black-and-white sound film ever made,[citation needed] and Hitchcock personally realized well in excess of $15 million. He then swapped his rights to Psycho and his TV anthology for 150,000 shares of MCA, making him the third largest shareholder in MCA Inc., and his own boss at Universal, in theory; however, this did not stop them from interfering with his later films.[127][128] Psycho was, by a large margin, the most profitable film of Hitchcock's career, earning over $12 million for the studio on release, and $15 million by the end of the year. Hitchcock's second most profitable was Family Plot ($7,541,000), and third place was a tie between Torn Curtain (1966) and Frenzy (1972), each earning $6,500,000. Around the time of the run's end, the film had grossed $32 million in domestic theaters.[2]

text: In the United Kingdom, the film shattered attendance records at the London Plaza Cinema, but nearly all British critics gave it poor reviews, questioning Hitchcock's taste and judgment. Reasons cited for this were the critics' late screenings, forcing them to rush their reviews, their dislike of the gimmicky promotion, and Hitchcock's expatriate status.[129] Perhaps thanks to the public's response and Hitchcock's efforts at promoting it, the critics did a re-review, and the film was praised. TIME switched its opinion from "Hitchcock bears down too heavily in this one" to "superlative" and "masterly", and Bosley Crowther put it on his Top Ten list of 1960.[129]

text: The Catholic Legion of Decency gave the film a B rating, meaning "morally objectionable in part".[130]

text: Psycho was criticized for making other filmmakers more willing to show gore; three years later, Blood Feast, considered to be the first "splatter film", was released.[131] Psycho's success financially and critically had others trying to ride its coattails. Inspired by Psycho, Hammer Film Productions launched a series of mystery thrillers including The Nanny[132] (1965) starring Bette Davis and William Castle's Homicidal (1961) was followed by a slew of more than thirteen other splatter films.[131]

text: On the review aggregator website RottenTomatoes.com, Psycho holds a 'Certified: Fresh' score of 97%, with the critical consensus stated as, "Infamous for its shower scene, but immortal for its contribution to the horror genre. Because Psycho was filmed with tact, grace, and art, Hitchcock didn't just create modern horror, he validated it".[133]

text: Interpretations[edit]

text: Subversion of romance through irony[edit]

text: In Psycho, Hitchcock subverts the romantic elements that are seen in most of his work. The film is instead ironic as it presents "clarity and fulfillment" of romance. The past is central to the film; the main characters "struggle to understand and resolve destructive personal histories" and ultimately fail.[134] Lesley Brill writes, "The inexorable forces of past sins and mistakes crush hopes for regeneration and present happiness." The crushed hope is highlighted by the death of the protagonist, Marion Crane, halfway through the film.[135] Marion is like Persephone of Greek mythology, who is abducted temporarily from the world of the living. The myth does not sustain with Marion, who dies hopelessly in her room at the Bates Motel. The room is wallpapered with floral print like Persephone's flowers, but they are only "reflected in mirrors, as images of images—twice removed from reality". In the scene of Marion's death, Brill describes the transition from the bathroom drain to Marion's lifeless eye, "Like the eye of the amorphous sea creature at the end of Fellini's La Dolce Vita, it marks the birth of death, an emblem of final hopelessness and corruption." [136]

text: Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers elements of human happiness. There exists among Psycho's secondary characters a lack of "familial warmth and stability", which demonstrates the unlikelihood of domestic fantasies. The film contains ironic jokes about domesticity, such as when Sam writes a letter to Marion, agreeing to marry her, only after the audience sees her buried in the swamp. Sam and Marion's sister Lila, in investigating Marion's disappearance, develop an "increasingly connubial" relationship, a development that Marion is denied.[137] Norman also suffers a similarly perverse definition of domesticity. He has "an infantile and divided personality" and lives in a mansion whose past occupies the present. Norman displays stuffed birds that are "frozen in time" and keeps childhood toys and stuffed animals in his room. He is hostile toward suggestions to move from the past, such as with Marion's suggestion to put his mother "someplace" and as a result kills Marion to preserve his past. Brill explains, "'Someplace' for Norman is where his delusions of love, home, and family are declared invalid and exposed."[138]

text: Light and darkness feature prominently in Psycho. The first shot after the intertitle is the sunny landscape of Phoenix before the camera enters a dark hotel room where Sam and Marion appear as bright figures. Marion is almost immediately cast in darkness; she is preceded by her shadow as she reenters the office to steal money and as she enters her bedroom. When she flees Phoenix, darkness descends on her drive. The following sunny morning is punctured by a watchful police officer with black sunglasses, and she finally arrives at the Bates Motel in near darkness.[139] Bright lights are also "the ironic equivalent of darkness" in the film, blinding instead of illuminating. Examples of brightness include the opening window shades in Sam's and Marion's hotel room, vehicle headlights at night, the neon sign at the Bates Motel, "the glaring white" of the bathroom tiles where Marion dies, and the fruit cellar's exposed light bulb shining on the corpse of Norman's mother. Such bright lights typically characterize danger and violence in Hitchcock's films.[140]

text: Motifs[edit]

text: The film often features shadows, mirrors, windows, and, less so, water. The shadows are present from the very first scene where the blinds make bars on Marion and Sam as they peer out of the window. The stuffed birds' shadows loom over Marion as she eats, and Norman's mother is seen in only shadows until the very end. More subtly, backlighting turns the rakes in the hardware store into talons above Lila's head.[141]

text: Mirrors reflect Marion as she packs, her eyes as she checks the rear-view mirror, her face in the policeman's sunglasses, and her hands as she counts out the money in the car dealership's bathroom. A motel window serves as a mirror by reflecting Marion and Norman together. Hitchcock shoots through Marion's windshield and the telephone booth, when Arbogast phones Sam and Lila. The heavy downpour can be seen as a foreshadowing of the shower, and its cessation can be seen as a symbol of Marion making up her mind to return to Phoenix.[141]

text: There are a number of references to birds. Marion's last name is Crane and she is from Phoenix. Norman comments that Marion eats like a bird. The motel room has pictures of birds on the wall. Brigitte Peucker also suggests that Norman's hobby of stuffing birds literalizes the British slang expression for sex, "stuffing birds", bird being a British slang for a desirable woman.[142] Robert Allan suggests that Norman's mother is his original "stuffed bird", both in the sense of having preserved her body and the incestuous nature of Norman's emotional bond with her.[143]

text: Psychoanalytic interpretation[edit]

text: Psycho has been called "the first psychoanalytical thriller."[144] The sex and violence in the film were unlike anything previously seen in a mainstream film. "The shower scene is both feared and desired," wrote French film critic Serge Kaganski. "Hitchcock may be scaring his female viewers out of their wits, but he is turning his male viewers into potential rapists, since Janet Leigh has been turning men on ever since she appeared in her brassiere in the first scene."[144]

text: In his documentary The Pervert's Guide to Cinema, Slavoj Žižek remarks that Norman Bates' mansion has three floors, paralleling the three levels of the human mind that are postulated by Freudian psychoanalysis: the top floor would be the superego, where Bates' mother lives; the ground floor is then Bates' ego, where he functions as an apparently normal human being; and finally, the basement would be Bates' id. Žižek interprets Bates' moving his mother's corpse from top floor to basement as a symbol for the deep connection that psychoanalysis posits between superego and id.[145]

text: Recognition[edit]

text:
Award
Category
Name
Outcome

Academy Awards (33rd)
Best Director
Alfred Hitchcock
Nominated

Best Supporting Actress
Janet Leigh
Nominated

Best Cinematography, Black-and White
John L. Russell
Nominated

Best Art Direction-Set Decoration, Black-and-White
Joseph Hurley, Robert Clatworthy, George Milo
Nominated

Directors Guild of America Award
Outstanding Directorial Achievement in Motion Pictures
Alfred Hitchcock
Nominated

Edgar Allan Poe Awards
Best Motion Picture
Joseph Stefano (screenwriter), Robert Bloch (author)
Won

International Board of Motion Picture Reviewers
Best Actor
Anthony Perkins
Won (tie)

Golden Globe Awards (18th)
Best Supporting Actress
Janet Leigh
Won

Writers Guild of America, East
Best Written American Drama
Joseph Stefano
Nominated

text: In 1992, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry.

text: In 1998, TV Guide ranked it #8 on their list of the 50 Greatest Movies on TV (and Video).[146]

text: Leigh asserted, "no other murder mystery in the history of the movies has inspired such merchandising."[147] Any number of items emblazoned with Bates Motel, stills, lobby cards, and highly valuable posters are available for purchase. In 1992, it was adapted scene-for-scene into three comic books by the Innovative Corporation.[147]

text: Psycho has appeared on a number of lists by websites, television channels, and magazines. The shower scene was featured as number four on the list of Bravo Network's 100 Scariest Movie Moments,[148] whilst the finale was ranked number four on Premiere's similar list.[149] Entertainment Weekly's book titled The 100 Greatest Movies of All Time ranked the film as #11.[72]

text: In 2012, the Motion Picture Editors Guild listed the film as the twelfth best-edited film of all time based on a survey of its membership.[150]

text: American Film Institute has included Psycho in these lists:

text:
AFI's 100 Years...100 Movies – #18
AFI's 100 Years...100 Thrills – #1
AFI's 100 Years...100 Heroes and Villains:

Norman Bates – #2 Villain

AFI's 100 Years...100 Movie Quotes:

"A boy's best friend is his mother." – #56

AFI's 100 Years of Film Scores – #4
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #14

text: Legacy[edit]

text: Impact[edit]

text: Psycho has become one of the most recognizable films in cinema history, and is arguably Hitchcock's best known film.[151][152] In his novel, Bloch used an uncommon plot structure: he repeatedly introduced sympathetic protagonists, then killed them off. This played on his reader's expectations of traditional plots, leaving them uncertain and anxious. Hitchcock recognized the effect this approach could have on audiences, and utilized it in his adaptation, killing off Leigh's character at the end of the first act. This daring plot device, coupled with the fact that the character was played by the biggest box-office name in the film, was a shocking turn of events in 1960.[108]

text: The most original and influential moment in the film is the "shower scene", which became iconic in pop culture because it is often regarded as one of the most terrifying scenes ever filmed. Part of its effectiveness was due to the use of startling editing techniques borrowed from the Soviet montage filmmakers,[153][154] and to the iconic screeching violins in Bernard Herrmann's musical score. The iconic shower scene is frequently spoofed, given homage to and referenced in popular culture, complete with the violin screeching sound effects (see Charlie and the Chocolate Factory, among many others).[155]

text: Psycho is now considered to be the first film in the slasher film genre,[156][157] and has been referenced in films numerous times; examples include the 1974 musical horror film Phantom of the Paradise, 1978 horror film Halloween (which starred Jamie Lee Curtis, Janet Leigh's daughter),[158] the 1977 Mel Brooks tribute to many of Hitchcock's thrillers, High Anxiety, the 1980 Fade to Black, the 1980 Dressed to Kill and Wes Craven's 1996 horror satire Scream.[159] Bernard Herrmann's opening theme has been sampled by rapper Busta Rhymes on his song "Gimme Some More" (1998).[160] Manuel Muñoz's 2011 novel What You See in the Dark includes a sub-plot that fictionalizes elements of the filming of Psycho, referring to Hitchcock and Leigh only as "The Director" and "The Actress".[161] In the comic book stories of Jonni Future, the house inherited by the title character is patterned after the Bates Motel.[162]

text: A documentary titled "78/52" on the production of Psycho was released on Oct 13, 2017 by director Alexandre O. Philippe running 91 minutes. The cast of participants included Guillermo del Toro, Peter Bogdanovich, Bret Easton Ellis, Jamie Lee Curtis, Karyn Kusama, Eli Roth, Oz Perkins, Leigh Whannell, Walter Murch, Danny Elfman, Elijah Wood, Richard Stanley, and Neil Marshall.[163]

text: Sequels[edit]

text: Three sequels were produced: Psycho II (1983), Psycho III (1986), and Psycho IV: The Beginning (1990), the last being a part-prequel television movie written by the original screenplay author, Joseph Stefano. Anthony Perkins returned to his role of Norman Bates in all three sequels, and also directed the third film. The voice of Norman Bates' mother was maintained by noted radio actress Virginia Gregg with the exception of Psycho IV, where the role was played by Olivia Hussey. Vera Miles also reprised her role of Lila Crane in Psycho II.[164] The sequels were well received but considered inferior to the original.[165][166]

text: Ratings[edit]

text: Psycho has been rated and re-rated several times over the years by the MPAA. Upon its initial release, the film received a certificate stating that it was "Approved" (certificate #19564) under the simple pass/fail system of the Production Code in use at that time. Later, when the MPAA switched to a voluntary letter ratings system in 1968, Psycho was one of a number of high-profile motion pictures to be retro-rated with an "M" (Mature Audiences).[167] This remained the only rating the film would receive for 16 years, and according to the guidelines of the time "M" was the equivalent of a "PG" rating.[168][169] Then, in 1984, during the uproar of increased parental concern regarding violence in "PG" films,[168][169] Psycho was retro-rated again to its current rating of "R". This rating took effect, however, before the institution of the "PG-13" rating by the MPAA that same year, and there are those who have speculated that if the rating had existed at the time, or if Psycho were rated in America today, it would receive a "PG-13".[170]

text: Home media[edit]

text: The film has been released several times on videotape, LaserDisc, DVD, and Blu-ray Disc. MCA DiscoVision Incorporated (parent company, MCA Inc) first released Psycho on the LaserDisc format in "standard play" (5 sides) in 1979, and "extended play" (2 sides) in October 1981. MCA/Universal Home Video released a new LaserDisc version of Psycho in August 1988 (Catalog #: 11003). In May 1998, Universal Studios Home Video released a deluxe edition of Psycho as part of their Signature Collection. This THX® certified Widescreen (1.85:1) LaserDisc Deluxe Edition (Catalog #: 43105) is spread across 4 extended play sides and 1 standard play side, and includes a new documentary and isolated Bernard Herrmann score. A DVD edition was released in at the same time as the LaserDisc.[171]

text: A version with alternate footage of Norman cleaning up after the murder and additional footage of Marion undressing and Arbogast's death has been shown on German TV and released on VHS in Germany.[172][173] Sources differ on whether these cuts were made prior to the U.S. theatrical release or prior to the re-rated re-release. Universal has never officially commented on this version.

text: Laurent Bouzereau produced a documentary looking at the film's production and reception for the initial DVD release. Universal released a fiftieth Anniversary edition on Blu-ray in the United Kingdom on August 9, 2010,[174] with Australia following with the same edition (featuring a different cover) being made available on September 1, 2010.[175] A Blu-ray in US was released on October 19, 2010 to mark the film's 50th anniversary, featuring yet another different cover.[176] The film is also included on two different Alfred Hitchcock Blu-ray boxsets from Universal.[177][178]


document_title: It takes a village

question_text: where did it takes a village to raise a child come from

root

text: It takes a village

text: It takes a village to raise a child is a proverb which means that it takes an entire community of different people interacting with children in order for children to experience and grow in a safe environment. The villages would look out for the children. This does not mean an entire village is responsible for raising your children.

tag: p

text: Attributions[edit]

text: The proverb has been attributed to African cultures. In 2016, NPR decided to research the origins of the proverb, and concluded it was unable to pinpoint its origins, though academics said the proverb nevertheless holds the true spirits of some African cultures.[1]

text: Examples of African societies with proverbs which translate to 'It takes a village …' include the following:[2]

text:
In Lunyoro (Bunyoro) there is a proverb that says “Omwana takulila nju emoi,” whose literal translation is “A child does not grow up only in a single home.”
In Kihaya (Bahaya) there is a saying, “Omwana taba womoi,” which translates as “A child belongs not to one parent or home.”
In Kijita (Wajita) there is a proverb which says “Omwana ni wa bhone,” meaning regardless of a child's biological parent(s) its upbringing belongs to the community.
In Swahili, the proverb “Asiye funzwa na mamae hufunzwa na ulimwengu” approximates to the same.

tag: ul

text: Books titled It takes a village[edit]

text:
It Takes a Village by Jane Cowen-Fletcher, published in 1994
It Takes a Village: And Other Lessons Children Teach Us, by Hillary Rodham Clinton, published in 1996


document_title: 1960 Winter Olympics

question_text: who was the chairman of the opening and closing ceremonies at the 1960 winter olympics

text: 1960 Winter Olympics

text: Host city selection[edit]

text: Squaw Valley was a struggling ski resort with minimal facilities, which made its selection to host the 1960 Winter Olympics a surprise.[1][2] Wayne Poulsen and Alexander Cushing, who were inspired to an Olympic bid by a newspaper article mentioning that Reno, Nevada, and Anchorage, Alaska, had expressed interest in the Games.[1][3] Poulsen, president of the Squaw Valley Development Company, petitioned California Governor Goodwin Knight to support a bid to host the Olympic Games. Knight's administration agreed and recommended that the California Legislature appropriate $1,000,000 to the effort.[4] Based on the financial support received from the State of California, the United States Olympic Committee (USOC) approved the bid on January 7, 1955. Cushing and the USOC received a resolution passed by the United States Congress and signed by President Dwight Eisenhower, calling on the International Olympic Committee (IOC) to consider Squaw Valley's bid for the 1960 Games.[4] Preliminary reports were drafted and submitted to the IOC, which was considering bids from Innsbruck, Austria, St. Moritz, Switzerland and Chamonix, France.[2] Squaw Valley was provisionally awarded the right to host the Games, but IOC president Avery Brundage warned the Organizing Committee that unless more funds were secured by April 1956, the bid would be awarded to Innsbruck.[5] Another $4,000,000 were committed by the State Legislature, which met Brundage's requirements. On April 4, 1956, the right to host the 1960 Winter Olympics was officially awarded to Squaw Valley.[6] Competitors and officials from European nations were angered by the selection; they felt that the alpine ski courses were not up to specifications and that the altitude would prove too stressful on the athletes.[7]

text:
1960 Winter Olympics bidding results[8]

City/Site
Country
Round 1
Round 2

Squaw Valley
 United States
30
32

Innsbruck
 Austria
24
30

Garmisch-Partenkirchen
 West Germany
5
—

St. Moritz
  Switzerland
3
—

tag: table

text: Organization[edit]

text: Squaw Valley in 1956 consisted of one chair lift, two rope tows, and a fifty-room lodge. Cushing presented the site as a blank canvas of unspoiled environment, where a world-class ski resort could be constructed.[2] The obscurity of the location was underscored at the closing ceremonies of the 1956 Winter Olympics. Traditionally the mayor of the current host city passes a flag to the mayor of the next host city signalling the transfer of the Games. Since Squaw Valley was an unincorporated village it had no city government. John Garland, an IOC member from California, was asked to stand in and received the flag from the mayor of Cortina d'Ampezzo.[2]

text: After winning the right to host the Games, the California Olympic Commission was formed.[9] They were given four years to build venues, an Olympic Village, and expand infrastructure. With the expansion of roads, bridges, water and electrical capacity the resort of Squaw Valley became the city of Squaw Valley. Hotels, restaurants, administration buildings, a Sheriff's office and a sewage pumping and treatment plant were all constructed to support the influx of visitors for the Games.[10] Organizers wanted the Olympics to be intimate with the venues close to one another.[7] The Blyth Memorial Ice Arena was built along with three outdoor skating rinks, a 400-meter speed skating oval and four dormitories to house athletes. One venue deemed impractical to build was the bobsled run. Organizers felt the lack of possible entrants and the high cost of building the run were sufficient deterrents to leave the bobsled events off the 1960 Olympic program.[9][11]

text: Several design innovations and new technologies were used for the 1960 Games. The speed skating, figure skating and ice hockey events were held on artificial ice for the first time in Olympic history. A refrigeration plant capable of heating 4,800 homes had to be built to generate and maintain the ice. The heat generated from the refrigeration plant was used to warm spectators, provide hot water, and melt the snow off of roofs. New timing equipment provided by Longines was installed that used a quartz clock to measure to the hundredths of a second. IBM provided a computer that was capable of tabulating results and printing them in English and French. Blyth Arena, site of the opening and closing ceremonies as well as the figure skating and ice hockey competitions, was built with a 22 in (56 cm) gap in the roof, which would slide closed as the cables supporting the roof contracted during cold weather.[12]

text: Funding for Cushing's initial bid to the IOC came from the California Legislature and investors in the "Squaw Valley Development Company", who were owners of the existing resort.[2] To fund the construction, organizers turned to the federal government, which provided about a quarter of the $80 million required to host the Games. The monies were used to build sports arenas and provide military support during the Games.[13] Further funding was secured from private sponsorships and from the State of California. Governor Knight and his successor Edmund "Pat" Brown remained behind the project, seeing it as a means to showcase the state of California to the world.[9]

text: Television[edit]

text: Television was not new to the Olympic Winter Games; broadcasts of events to European audiences had begun in 1956.[14] What was unprecedented was the sale of exclusive United States television rights to broadcast the Games. The Organizing Committee decided to sell the television broadcast rights to CBS for $50,000.[15][16] Unknown at the time was how lucrative the sale of broadcast rights would become. For example, CBS purchased the rights to broadcast the 1960 Summer Olympics for $550,000.[15] During the Games, CBS broadcast 15 and a quarter hours of television focusing on ice hockey, speed skating, figure skating, alpine skiing and ski jumping.[17] The impact of television was felt during the Games; in the men's slalom event, officials who were unsure if a skier had missed a gate asked CBS if they could review tape of the event. This request gave CBS the idea for what is now known as instant replay.[3]

text: Politics[edit]

text: Athletic competition between the Soviet Union and United States had grown intense during the 1950s. Their opposing ideologies and interests in nations such as East and West Germany, China and North and South Korea created a delicate situation as the 1960 Winter Games approached. Of particular interest was the question of whether China would be allowed to participate.[18] Chinese athletes last competed at the 1952 Summer Games but had since withdrawn from the IOC due to a dispute over Taiwan's participation as a separate country.[19] The United States supported Taiwan while the Soviet Union stood behind China. Given the fact that the 1960 Games were to be held in America, there was concern among IOC members that the United States would not allow China or any other Communist country to participate.[18] In 1957 IOC president Avery Brundage, himself an American, announced that if the United States refused entry to any country recognized by the IOC, then they would revoke Squaw Valley's invitation to host the Games and he would resign the presidency.[20] Bowing to international pressure, the United States allowed athletes from Communist countries to participate. China continued to demand that Taiwan be expelled from the IOC, demands that were refused until China broke off relations ending any hope that they would participate in 1960.[21]

text: Problems similar to the issue with China broke out over North Korea and East Germany. Prior to the Korean War the IOC had recognized the Olympic committee of Korea, which was headquartered in Seoul. North Korea was not recognized as a separate country by the IOC who maintained the existence of one Olympic committee. A unified team compromise was proposed but rejected, which meant only athletes from South Korea participated due to their prior recognition.[22] Pressure for full recognition of East Germany continued despite the fact that both East and West Germany had participated as a unified team in 1956. One of the conditions for a unified German team was that the athletes be represented by a neutral flag. Initially West German officials refused to agree to this stipulation citing the fact that the West German flag had been used at both the 1956 Winter and Summer Games. Eventually the neutral flag was adopted and a unified German team participated.[23]

text: Events[edit]

text: The Games were held from February 18 to 28.[3] Medals were awarded in 27 events contested in 4 sports (8 disciplines).[7] The sport of biathlon was added to the program as were speed skating events for women. After a poll was taken indicating that only nine countries would send a bobsled team, the organizers determined that bobsled would be removed from the Olympic program. Despite petitions from the International Bobsleigh and Tobogganing Federation to reconsider, the organizers felt they could not justify the costs of constructing a bobsled run for nine competing nations. It would be the only time in Winter Olympic history that the bobsled events were not held.[7][11]

text:
Biathlon (1) (details)
 Ice hockey (1) (details)
Skating

 Figure skating (3) (details)
 Speed skating (8) (details)

Skiing

 Alpine skiing (6) (details)
 Nordic skiing (details)

 Cross-country skiing (6) (details)
 Nordic combined (1) (details)
 Ski jumping (1) (details)

text: Opening ceremonies[edit]

text: The chairman of the Pageantry Committee was Walt Disney, who was responsible for producing both the opening and closing ceremonies.[7] He organized an opening that included 5,000 entertainers, the release of 2,000 pigeons, and a military gun salute of eight shots, one for each of the previous Winter Olympic Games.[24][25] The opening ceremonies were held on February 18, 1960, at Blyth Arena in the midst of a blizzard. The heavy snow fall caused traffic problems that delayed the ceremony by an hour. The festivities began with a sustained drum roll as the flags of each participating nation were raised on specially designed flag poles. Vice President Richard Nixon represented the United States government and declared the Games open.[26] The Olympic cauldron was lit by Kenneth Henry, Olympic champion of the 500 meter speed skating race at the 1952 Winter Olympics in Oslo. The Olympic oath was taken by Carol Heiss on behalf of all the athletes. As the national delegations left the stadium fireworks concluded the ceremonies.[27]

text: Ice hockey[edit]

text: The ice hockey tournament took place at Blyth Arena and the Squaw Valley Olympic Skating Rink.[28] Controversy over the amateur status of some of the players overshadowed the event. Canadian Olympic officials objected to the use of "professional amateurs" by Eastern Bloc countries, and especially the Soviet Union. They alleged that the Soviets were giving their elite hockey players phantom jobs in the military that allowed them to play hockey full-time, which gave Soviet teams an advantage that they used to dominate Olympic hockey tournaments for nearly 30 years.[29] This issue started coming to light during the 1960 Games and would culminate in a Canadian boycott of the Olympic hockey tournament at the 1972 and 1976 Winter Olympics.[30] The team from the United States won an improbable gold medal, defeating the favored Canadian and Soviet teams, who took silver and bronze respectively.[31] This was the first Olympic gold medal in ice hockey for the United States and it would mark the last time a Soviet team did not win the Olympic tournament until the United States victory at the 1980 Winter Olympics.[32]

text: Cross-country skiing[edit]

text: There were six cross-country skiing races at the 1960 Olympics, four for men and two for women, all held at the McKinney Creek Cross-Country Complex. Soviet women swept the 10 kilometer race, which was the first medal sweep for the Soviets at the Winter Olympics.[33][34] They were however upset by Sweden in the 3×5 kilometer relay.[33] Nordic countries dominated the men's competition. Swedish lumberjack Sixten Jernberg added a gold and silver to the four medals he won in 1956. He would add two golds and a bronze in 1964 to finish his Olympic career with nine medals, which made him the most decorated Winter Olympian.[35][36] Finnish skier Veikko Hakulinen added a gold, silver and bronze to the two golds and two silvers he had won in 1952 and 1956.[37][38]

text: Biathlon[edit]

text: Biathlon made its Olympic debut in 1960. The precursor to biathlon, military patrol, was on the Olympic program for the first Olympic Games in 1924. It was a demonstration sport at the 1928, 1936, and 1948 Winter Olympics, though the competition was only open to members of the armed forces. Military patrol fell out of favor in 1948 due to anti-military sentiments in the post World War II era.[39] Biathlon took its place and was instated as a full Olympic sport in 1960. It encompassed a 20 kilometer cross-country race with four shooting stations at ranges from 100 to 250 m (330 to 820 ft).[40] Klas Lestander from Sweden became the first Olympic champion, Antti Tyrväinen from Finland and Soviet Aleksandr Privalov placed second and third respectively.[41]

text: Nordic combined[edit]

text: The Nordic combined competition was held on February 21 at the Squaw Valley normal hill and the McKinney Creek Cross-Country Complex. The athletes had three jumps on February 21 followed by a 15 kilometer cross-country race.[42] German skier Georg Thoma became the first non-Nordic athlete to win the event. He would win bronze medal in the Nordic combined in 1964.[43] Tormod Knutsen of Norway and Nikolay Gusakov of the Soviet Union placed second and third, respectively. Gusakov's wife, Maria Gusakova, competed in the cross-country events, winning a gold and silver.[42][44]

text: Ski jumping[edit]

text: There was one ski jumping event at the 1960 Games, the men's normal hill, which was held on February 28. In 1964 the competition would be expanded to include a men's large hill event. Helmut Recknagel became the first German to win the event.[45][46] In 1994 he would be joined by Jens Weißflog as the only German ski jumping Olympic champions.[47] Niilo Halonen from Finland and Austrian Otto Leodolter earned the silver and bronze medals.[45]

text: Figure skating[edit]

text: Held at Blyth Memorial Arena, the figure skating competition took place between February 19 and 26. Though this was not the first time figure skating had been held indoors, it would never be contested outdoors again.[48] There were three events: men's and women's singles and the pairs competition. In the men's event, David Jenkins of the United States, brother of 1956 Winter Olympic figure skating champion Hayes Jenkins, won the gold medal.[37] It was his second Olympic medal, having won the bronze in 1956.[49] Czechoslovakian Karol Divín took the silver medal, and Canadian Donald Jackson won the bronze.[48][50] American Carol Heiss, winner of the silver medal in 1956, became the Olympic champion in 1960. A year later she married Hayes Jenkins and starred in Snow White and the Three Stooges.[51] Dutch skater Sjoukje Dijkstra took the silver medal; she would finish her amateur career with an Olympic gold medal in 1964.[52] Barbara Ann Roles gave the United States its third figure skating medal of the competition when she took the bronze. The Soviet Union made its Olympic figure skating debut by sending two couples to compete in the pairs competition; the result belied the fact that Soviet skaters would soon come to dominate this event.[48] The competition was won by the Canadian pair of Barbara Wagner and Bob Paul who had won the last three world championships. The German pair Marika Kilius and Hans-Jürgen Bäumler followed their recent European championship victory with the Olympic silver medal, and the American husband-and-wife team of Ron and Nancy Ludington took the bronze.[53]

text: Speed skating[edit]

text: Women were allowed to compete in the Olympic speed skating competition for the first time in 1960. The Soviet Union had requested the inclusion of women's speed skating events in the program for the 1956 Games, but the request was rejected by the IOC.[54] The issue was revisited for the 1960 Games, and since women had been competing internationally since 1936 and there was a World Championship for women's speed skating, the IOC agreed to four events; 500, 1,000, 1,500, and 3,000 meters.[55] Most of the events were held on the Squaw Valley Olympic Skating Rink, which was an outdoor skating oval, and featured artificial ice, a first for the Olympic speed skating competition. Given the altitude and the artificial ice, the rink was the fastest in the world, as evidenced by Norwegian Knut Johannesen’s world record in the 10,000 meter event. At 15:46.6 he was the first skater ever to break the 16-minute barrier, and eclipsed the previous world record by 46 seconds.[55] Despite Johannesen's victory, the Soviets dominated the speed skating events, winning all but two of the races. Yevgeny Grishin won both the 500 and 1,500 meter races, though he shared the 1,500 meter gold medal with Norwegian Roald Aas.[56] Lidiya Skoblikova from the Soviet Union was the other double gold medalist, when she won the 1,500 and 3,000 meter events. Polish skaters Helena Pilejczyk and Elwira Seroczyńska placed second and third in the 1,500 meter event, which were Poland's only medals of the Games. They were just the second and third Poles ever to win Winter Olympic medals.[57]

text: Alpine skiing[edit]

text: Despite the lack of facilities at Squaw Valley, the resort did have steep mountain slopes in close proximity, resulting in some of the most difficult alpine skiing courses in Olympic history.[37] Both men and women competed in the downhill, giant slalom and slalom with all 6 events held between February 20 and 26.[58] The men's downhill was won by Frenchman Jean Vuarnet who changed the sport by becoming the first Olympic champion to use metal skis.[37] Swiss skier Roger Staub won the giant slalom and Ernst Hinterseer from Austria was the slalom champion. German Heidi Biebl won the women's downhill, Yvonne Rüegg of Switzerland won the giant slalom and Anne Heggtveit from Canada won the slalom. Penny Pitou of the United States was the only multiple medal winner with two silvers in the downhill and giant slalom.[58]

text: Closing ceremonies[edit]

text: The Games were brought to a close on February 28 in Blyth Memorial Arena in front of 20,000 people. Flags of the participating nations were followed by the athletes who marched as a group with no national distinctions, a tradition carried over from the 1956 Summer Olympics. The flag bearers made a semi-circle around the rostrum and the national anthems of Greece (even though the nation didn't compete), United States, and Austria were played as their respective flags were raised.[59] IOC president Avery Brundage declared the Games closed, at which point the Olympic flame was extinguished. The Games concluded with the release of several thousand balloons.[60]

text: Calendar[edit]

text: The opening ceremony was held on February 18, along with the first games of the Ice hockey tournament. From February 19 to 28, at least one event final was held each day.[61]

text:
OC
Opening ceremony
  ●
Event competitions
 1
Event finals
 CC
Closing ceremony

text:
February
18
Thu
19
Fri
20
Sat
21
Sun
22
Mon
23
Tue
24
Wed
25
Thu
26
Fri
27
Sat
28
Sun
Events

 Ceremonies
OC

CC
N/A

 Ice hockey
●
●
●
●
●
●
●
●

●
1
1

 Figure skating

1

1

1

3

 Speed skating

1
1
1
1
1
1
1
1

8

 Alpine skiing

1
1
1
1
1

1

6

 Cross-country skiing

1
1

1

1
1
1

6

 Nordic combined

●
1

1

 Ski jumping

1
1

 Biathlon

1

1

Daily medal events

2
3
3
3
4
2
2
4
2
2
27

Cumulative Total

2
5
8
11
15
17
19
23
25
27

February
18
Thu
19
Fri
20
Sat
21
Sun
22
Mon
23
Tue
24
Wed
25
Thu
26
Fri
27
Sat
28
Sun
Total events

text: † The numeral indicates the number of event finals for each sport held that day.

text: Venues[edit]

text: The lack of facilities prior to the Olympics gave organizers freedom to tailor the layout of the venues to fit the needs of the athletes.[62] Their vision was for an intimate Games in which athletes and spectators could walk between venues.[2] This was accomplished with the exception of the cross-country events, which were held at McKinney Creek, a 12 mi (19 km) drive from Squaw Valley.[9] In prior Winter Olympics the athletes were housed in hotels or billeted with local families. Since no such facilities existed in Squaw Valley, the organizers decided to build the first Olympic Village at the Winter Games.[63] Competitors slept in one of four dormitories and ate together in a dining room. The complex was located centrally, with access to all the sporting facilities.[62]

text: The peaks surrounding Squaw Valley were used for the alpine skiing events. The ladies' downhill and men's slalom and giant slalom were on KT-22 mountain, while the ladies' slalom and giant slalom were contested on Little Papoose Peak. Squaw Peak was the site of the men's downhill competition. Prior to the Games, concerns persisted that the courses would not meet international standards. To address these concerns, a test event was held in 1959 and the attending delegates from the International Ski Federation (FIS) left assured that the events would comply with FIS rules and specifications. Bleachers were constructed for officials, coaches and spectators, along with broadcast booths for radio and television.[64] Papoose Peak Jumps was located on Little Papoose Peak directly opposite Blyth Memorial Arena. Designed by Heini Klopfer, the hill was innovative in that it had 40-, 60-, and 80–meter jumps. Tall trees on both sides protected athletes from the wind, and it was situated so that the sun would be at the jumper's back during the competition.[65]

text: McKinney Creek Stadium was built to host all of the cross-country races, which included the biathlon and a portion of the Nordic combined competition. It consisted of a timing building, two Quonset huts for competitors and course workers, a scoreboard, and bleachers to accommodate 1,200 people. Shooting ranges were interspersed throughout the biathlon course, and were supervised by non-commissioned officers of the United States military.[66]

text: Blyth Memorial Arena was the centerpiece of the Games. It hosted the opening and closing ceremonies jointly with Squaw Valley Olympic Skating Rink, and also hosted the figure skating competition, a few of the speed skating events, as well as most of the games in the hockey tournament.[67] All three of the sports were held indoors on artificial ice for the first time in Olympic history.[28] At full capacity, the arena accommodated 11,000 people, 8,500 of whom were seated.[68] One end of the stadium could be opened and closed, depending on the event. During the ceremonies it was open to allow for the entrance of the athletes; during the competitions it was closed to accommodate more spectators. A special machine was created to resurface the ice for all three competitions. It could lay a new ice surface on the 400-meter speed skating track in 45 minutes. In addition to resurfacing the ice, the machine created the snow dividers that delineated the racing lanes.[28] The roof was designed on a suspension principle, using cables rather than vertical supports; this removed any visual impediments for the audience, but it weakened the strength of the roof. Given the amount of annual snowfall designers planned on using heat generated by the refrigeration plant to melt the snow.[12][28] There were flaws in the design and miscalculations in the load the roof could bear, and during a particularly heavy snowfall in 1983, a portion of the roof collapsed and the building was subsequently demolished.[31]

text: As of 2016, only three buildings from the 1960 Winter Olympics remain in Squaw Valley.[69] An expansion of the resort's village, currently in the planning stages, would see two of these buildings demolished.[69]

text: Participating nations[edit]

text: Athletes from 30 nations competed at the 1960 Games. South Africa competed at the Winter Games for the first time; it would be the last for many years, as apartheid policies prevented South African participation until 1994. Athletes from West Germany (FRG) and East Germany (GDR) competed together as the United Team of Germany from 1956 to 1964. The number at the end of each country denotes the number of athletes each country sent.[70]

text:
[hide]Participating National Olympic Committees

 Argentina (6)
 Australia (30)
 Austria (26)
 Bulgaria (7)
 Canada (44)
 Chile (5)
 Czechoslovakia (21)
 Denmark (1)
 Finland (48)
 France (26)
 United Team of Germany (74)
 Great Britain (17)
 Hungary (3)
 Iceland (4)
 Italy (28)
 Japan (41)
 South Korea (7)
 Lebanon (2)
 Liechtenstein (5)
 Netherlands (7)
 New Zealand (4)
 Norway (29)
 Poland (13)
 South Africa (4)
 Soviet Union (62)
 Spain (4)
 Sweden (47)
 Switzerland (21)
 Turkey (2)
 United States (79) (host)

text: Number of athletes by National Olympic Committees[edit]

text:
[show]IOC
Country
Athletes

USA
 United States
79

EUA
 United Team of Germany
74

URS
 Soviet Union
62

FIN
 Finland
48

SWE
 Sweden
47

CAN
 Canada
44

JPN
 Japan
41

AUS
 Australia
30

NOR
 Norway
29

ITA
 Italy
28

AUT
 Austria
26

FRA
 France
26

TCH
 Czechoslovakia
21

SUI
 Switzerland
21

GBR
 Great Britain
17

POL
 Poland
13

BUL
 Bulgaria
7

KOR
 South Korea
7

NED
 Netherlands
7

ARG
 Argentina
6

CHI
 Chile
5

LIE
 Liechtenstein
5

ISL
 Iceland
4

NZL
 New Zealand
4

RSA
 South Africa
4

ESP
 Spain
4

HUN
 Hungary
3

LIB
 Lebanon
2

TUR
 Turkey
2

DEN
 Denmark
1

Total
665

text: Medal count[edit]

text: Below is a list of nations that won medals at the Games:

text:
Rank
Nation
Gold
Silver
Bronze
Total

1
 Soviet Union
7
5
9
21

2
 United Team of Germany
4
3
1
8

3
 United States
3
4
3
10

4
 Norway
3
3
0
6

5
 Sweden
3
2
2
7

6
 Finland
2
3
3
8

7
 Canada
2
1
1
4

8
 Switzerland
2
0
0
2

9
 Austria
1
2
3
6

10
 France
1
0
2
3

11
 Netherlands
0
1
1
2

 Poland
0
1
1
2

13
 Czechoslovakia
0
1
0
1

14
 Italy
0
0
1
1

Total (14 NOCs)
28‡
26‡
27
81

text: The host nation is highlighted in blue.

text: ‡ Since there was a tie in the men's 1,500 meter speed skating race (like in 1956), two gold medals and no silver medals were awarded.[71]


document_title: Dolophones conifera

question_text: where do you find the wrap around spider

text: Dolophones conifera

text:
Wrap-around spider

Scientific classification

Kingdom:
Animalia

Phylum:
Arthropoda

Subphylum:
Chelicerata

Class:
Arachnida

Order:
Araneae

Infraorder:
Araneomorphae

Family:
Araneidae

Genus:
Dolophones

Species:

D. conifera

Binomial name

Dolophones conifera(Keyserling, 1886)[1]

Synonyms[1]

Tholia conifera Keyserling, 1886

text: Dolophones conifera, known as the Wrap-around spider,[2] is a species of spider in the family Araneidae indigenous to Australia.[1] It is named for its ability to flatten and wrap its body around tree limbs as camouflage.[2] It is found in Western Australia along with several other species from the genus Dolophones,[3] and was first described in 1886.[1][4]

text: Behavior[edit]

text: During the evening, D. conifera stay in webs, and during the day take up their characteristic camouflaged form on tree branches and trunks. They also travel along the ground.[5]