The setting is extremely important in Gothic literature: after all, the setting is really the foundation of the story and can make or break the atmosphere that the author tries to create create. The same goes for movies, and Psycho's most used setting is undoubtedly the film's most gothic element. The motel is set back from the main road and several characters say it is difficult to find. Norman says they don't do much business and, aside from his mother, he lives alone. When we first see the hotel, the camera slowly moves towards it, returning to Marion searching the empty property for any signs of life. There is a sense of isolation surrounding the place that is a common theme in Gothic literature, both in the case of the place and the people, and both are true of Psycho; here as elsewhere, Hitchcock skillfully adapts Gothic conventions and themes from literature to film. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The house where Norman and his mother live is even further away. As captured by Hitchcock, the exterior is dimly lit to the point of appearing black, and is surrounded by weeds and unkempt landscaping. Mansions, especially those in ruins and overgrown, are very common settings for Gothic tales such as Edgar Allan Poe's “The Fall of the House of Usher” or Bram Stoker's Dracula. The nearby swamp highlights the danger of nature that is less common but can be found in gothic stories such as Sir Arthur Conan Doyle's The Hound of the Baskervilles. The interior of the house and the woman it supposedly contains remain a mystery until the end of the film. The house and motel are often shown with storm clouds overhead and it rains more often than not. Time aggravates the dark and disturbing atmosphere of the house and motel. The lighting key also contributes to this. It is low profile, which causes several areas of the set to be shrouded in shadow. The killer doesn't appear until halfway through the film, and when he does, he's shrouded in shadow to keep the viewer wondering who he is. While talking to Marion in the living room, Norman's face tends to be split half in shadow and half in light, perhaps to illustrate his dual personality, while Marion's face remains in full illumination, showing her relative innocence. The two are shown in the same shot for only a brief moment. For the rest of the scene, the camera flashes between them, perhaps to emphasize their differences and how awkward they are with each other. Norman and Marion also seem to fit common character archetypes in Gothic literature. Norman is the sensitive, socially awkward man who is usually the one to commit an evil act, either in a fit of passion or under some kind of spell. In Norman's case it is mental illness, another trope often found in Gothic literature. There are countless examples of this trope, such as Egaeus in Poe's "Berenice". Mental illness often causes some kind of strange event, or causes the main character to forget things they've done, the latter of which is similar to what happens to Norman. Another trope in Gothic literature is the death or suffering of a beautiful woman, often with whom the main character is in love, and it is used in all the examples I have provided here. Marion seems to fit this trope quite well. Much of what makes literature gothic is its eerie, suspenseful atmosphere or tone. This can be done in part by using certain words that describe normal things in a disturbing way or by discussing uncomfortable topics. Psycho parallels this with the dialogue scattered throughout the film..