In cinema, this dynamic found its apex in the character of Mrs. Bates in Alfred Hitchcock’s Psycho (1960). Though she is a corpse for most of the film, her voice dominates Norman Bates’ mind.
The mother-son relationship is often fraught with complexities, as exemplified by the Oedipal complex. This psychological phenomenon, first introduced by Sigmund Freud, describes the unconscious desire of sons for their mothers and the subsequent rivalry with their fathers. Cinematic works like "The Lion King" (1994) and "The Royal Tenenbaums" (2001) subtly explore this theme, while literary masterpieces like James Joyce's "Ulysses" (1922) and Albert Camus's "The Stranger" (1942) more explicitly examine the tensions and contradictions inherent in the mother-son dynamic.
The mother is the first "other" a son encounters. Psychoanalytic theory (Freud, Jung, Chodorow) posits that a son’s identity is forged in differentiation from the mother, while the mother’s identity is often socially constructed through her son’s achievements. Consequently, artistic representations swing between two poles: idealization (the Madonna) and demonization (the Medusa). This report examines key works from Sophocles to contemporary streaming series to map this evolution.
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