As with the lipstick-stained handkerchief, the articles in Rebecca’s bedroom provide an ominous presentation of her lingering presence in Cornwall. Here, Rebecca’s room space depicts that her presence is represented in her bedroom.
Because of this, the new Mrs. de Winter is overwhelmed by the sheer strength of Rebecca’s spirit, as she cannot escape her signs whenever she turns in the house (8). The continuous remain of Rebecca’s presence overwhelms her, thus believing that her husband is still in love with Rebecca. Even Mrs. Danvers suggests that Rebecca wanders the hall of the apartment and watches the second wife when she is with Maxim. These mansion settings turn into haunted houses since the inhabitants are preyed upon, stalked, and often eventually killed in them.
In Notorious (1946), Hitchcock explores the meanings of familiar domestic and architectural spaces. Observe, for example, what the film is doing with the balcony in the apartment scenes. Initially, the balcony provides a view for which back-projected picture-postcard of exotic romance; subsequently, it virtually disappears, dissolves, as we draw towards, gets absorbed in the lovers. In other words, Hitchcock depicts that it is a private space, a place for intimacy (Brandt 13). Later, the balcony is represented as cold and dark as well as airy. It mirrors the mismatches and distances between the characters as they squabble.
In Alicia’s apartment in the first scene is the perfect, blissful moment of love. The space of the apartment is depicted as everything in it. Starting from the level of staging, cutting, framing, and lighting. It creates that sense and sensation of perfect union, which is of the oneness of the lovers (Brandt 13). Both the outer and inner parts of the house are joined, opening in one continuous strip of space that is bound by a firm sensual luminosity.
In the film, Psycho (1960), Hitchcock