The camera movement and shots create the many illusions which make up Citizen Kane. The moving camera creates a sense of omniscience (lecture notes). The way in which the camera moves towards things and the use of cranes and tracks gives the anticipation that the secrets of Kane’s character might be revealed (Bordwell and Thompson, 2003). The way that it can appear to go straight through solid walls and window panes makes the audience feel like they can see everything that is happening from every direction, almost like being in the room with the characters. The use of dissolves and the, whip pans and cuts also enforce the sense of omniscience (lecture notes).
Photography is the key element of mise en scene that determines how an audience will interpret the visual information in film. Orson Welles used the photography of his 1941 film Citizen Kane to emphasize aspects of the film he wanted viewers to focus on, and to remove non-essential information from the frame. This was accomplished through various camera techniques including manipulation of angles and proxemic patterns. Approaching the end of the film, there is a scene just after Susan (played by Dorothy Comingmore) has left her husband, Charles Foster Kane (played by Orson Welles), where he proceeds to trash her bedroom in a fit of anger. As Kane stumbles around the room, sweeping items onto the floor and throwing things into walls, (Welles
Two films, although created years apart yet have a lot in common, including their content of it’s narrative techniques. Both films, even though black and white with strokes of genius of cinema offer a vast stretch for study. I will be looking at Sir Orson Welles “Citizen Kane” (1941) and Akira Kurosawa’s “Rashomon” (1950). We see in Citizen Kane he values for the American life. The three abstract themes that constantly follow through Citizen Kane are Wealth, Power and Love.
This is a staple act for heroes because most people would put themselves before other, but that’s not the case for Keanu. For instance, he turned down a contract to perform the same role in a sequel of the movie Speed. He chose to rather participate in a theatre version of Hamlet. The contract for Speed was $11 million dollars, but he stayed true to himself and performed for 750 people instead. Keanu continued playing serious roles to help people realize he wasn’t the goofball people thought he was by playing the role of a lawyer in the film The Devil’s Advocate In the film, Reeve’s character is supposed to defend people that have obviously done wrong.
Ewa, living in less than desirable conditions, must use her body to provide for the most important person in her life. In Citizen Kane, directed by Orson Welles, a news reporter must uncover the mystery behind Charles Kane 's (Orson Welles) last words, "Rosebud". Kane, a wealthy man by inheritance, led a vapid life filled with materialistic desire and a hunger for power. When Kane 's newspaper doesn 't gain traction he implements a new way to catch the eyes of customers called, 'yellow journalism, ' using headlines to attract readers instead of meaningful content. This type of journalism at the time was used for swaying the public eye to push the agenda of whoever owned the paper.
Orson Welles 1941 film, Citizen Kane, depicts the American dream through the protagonist Charles Foster Kane. In the film, Orson Welles relies heavily on his understanding of the audience by using pathos and ethos in order to convince them of his purpose for writing the film. The appeal to pathos convinces the viewer as to how depressing Charles Foster Kane's life is even with all his fame and fortune. The use of pathos is apparent in the scene where Jedediah Leland says, "That's all he ever wanted out of life...was love. That's the tragedy of Charles Foster Kane.
Normally, films will use shallow focus in order to show importance. This was not the case for Citizen Kane. In this film, they used deep focus to show importance to multiple figures. This can be difficult because mise-en-scene becomes so much more important since the audience can clearly see everything. Also, the director has to strategically use deep focus in order to convey information to the audience without leaving the audience confused.
Orson Welles’s debut on a big screen, “Citizen Kane,” undoubtedly could be considered as one of the greatest masterpieces of the world cinematography. “Citizen Kane” was highly appraised both by the critics and the general audience, nominated for Academy Awards in nine categories and even topped the list of the greatest films of all times by the American Film Institute. The film was created in 1941, and it contained innovative visual and musical techniques as well as revolutionary plot, which has not lost its topicality. I do consider, that in his film Welles throws American society a challenge: he questions generally accepted values and destroys the American Dream. Basing on real material, the young director created a mythological personality and at the same time tried to destroy the myth itself.
Introduction This essay examines the Cassavetes’s unique approach in his films he directed especially in Faces (1968) and Shadow (1959) in creating alternative forms of performative expression. Cassavetes’s approach focus on spontaneous, unstructured performance of characters, contradict to Stanislavski 's system that focus on emotion memory or actor’s past experience to bring out the expression on stage. In this essay, Cassavetes’s first film, Shadow, will be compared to his fourth film, Faces, to see development in Cassavetes’s approach in performance of character. Shadow is a film about interracial relations between African-American and white Americans in 1950’s New York, starring Ben Carruthers as Ben, Lelia Goldoni as Lelia and Hugh Hurd as Hugh, the only dark-skinned among three siblings. The film directed by John Cassavetes
Scorsese’s expertise as the director of the film Goodfellas, and Luhrmann’s direction of The Great Gatsby (2013), set the stage in New York, which fashionably suits both directors, and drives those hit films shoot to frame their nominations for Academy Awards, and leave the viewers dramatically in the mood of the film’s wise guy era or roaring in a 1920’s