A couple things: One recent post mentioned Psycho's black and white photography as an economic strategy for a story that would be "iffy" at the box office. But I wonder how much the films' color differences-- one in b/w and one in wonderful, evocative (and a lot of red) color--had to do with their different receptions. Is it too essentializing to suggest that the b/w allowed even more audience distanciation from the violent and perverse events? Remember--Psycho actually "shows" a slashing scene, but Peeping Tom only suggests the slashing--until Mark does himself in. On Peeping Tom veering away from the subject matter of Powell's other films: I haven't watched many of Powell's films, but I'm struck by the similarities (granted, they aren't on the surface) of Peeping Tom with, say The Red Shoes: the lengths to which one is willing to go for "art", the masochistic relationship of the artist to the art work, the exploration of behind-the-scenes machinations (in the ballet troupe and the cinema studio), etc. Am I going too far? Maybe. Susan Crutchfield University of Michigan ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]