The “mother” personality is one of the personalities in Norman’s mind. In another aspect, this part can be understood as the model structure of psyche. There are three floors in Norman and his mother’s house. Norman dresses and talks like his mother in the first floor. In the ground floor, he is a soft and urbane young man. He puts his mother’s dead body in the basement. In the film, the old lady’s voice all comes from the room in the first floor. The voice is full of bossy and illiberal. Norman’s mother called the light dinner cheap and erotic, saying that young men are with cheap and erotic minds. Besides, she always tells her son not to do something. As we all know, Norman’s mother is a part of personality in his psyche.
This personality is full of control and judgment and is the super-ego in Norman’s psyche. The basement where Norman hid his mother’s dead body is a symbol of hiding Norman’s original desire and invasive drives. Norman’s mother is his original desire and sexual desire which is presented since his birth and his childhood. The dead body of his mother embodies his invasive drives, which is the unreasonable part and full of outlawed drives in Norman’s psyche. Norman cannot recognize this part in his normal life. It appears in some particular condition. Therefore, the basement is a concretization of Norman’s Id. Obviously, in the ground floor, Norman is a normal young man and a normal owner-manager of the mother. His action in the ground floor is in accordance with the reality principle. This is like the ego in Norman’s psyche.
Then it comes to the scopophilia in Hitchcock films. In Psycho, Norman spies on Marion through the peephole when Marion is preparing to take a shower. It is a typical scene to reflect the scopophilia. The other Hitchcock film Rear Window is a magnum opus of scopophilia, in which Jefferies is a professional cameraman. After breaking his leg, he is confined to his Greenwich Village apartment. Because of the boring life, he begins to observe his neighbors through the window.