Shot Analysis: Citizen Kane

The notion of death and a stress inducing life are presented in a relaxed, yet effective way, primary through the choices of music and presence of comedy. It is as if both directors tell the audience to take a breath and stop worrying about these large concepts. Zack Handlen communicates in his A.V. Club review of The Seventh Seal that the film expresses that “We may all be the punchline in some cosmic joke that no one will ever hear, but we can still be kind to one another. (2009)”.

Citizen Kane is definitely a complex movie with all of the contextuality that is beyond preliminary comprehension. Mulvey’s article expressed how important it was to go back and look for hints and hidden meanings throughout the mise-en-scène of the movie. These multiple layers of narrative serve a psychologic purpose to retain the viewer in the diegetic world of the film while feeding continuously an enormous amount of information. One of the interesting things the article mentioned was how the camera’s movement which “functions both literally and figuratively” (101). This actually plays out quite well considering we are at times in the viewpoint of reporter in search of the true meaning of “Rosebud”.

It means that shooting makes rite an object of studying, or just observing. In this case, camera record everything and produces visual information, which is, basically, easier to perceive and understand. Moreover, it gives an opportunity to see again and again and make more reflection on it. Secondly, shooting reveals debates on the performance. Shooting gives an opportunity to repeat action, as well as, transform it by including additional information, for example backstage scenes, thereby, changing the meaning of rite.

It is not until the sequence cuts to an extreme close up of Norman’s reaction, that the audience realises it has been placed in the viewpoint of the villain. Hitchcock deliberately uses this technique to blur the moral distinction between the innocent and the guilty. This is a fantastic move at crafting tension as it becomes an indictment of the viewer’s capacity for voyeurism and Norman’s own potential for depravity. From this unseemly action, the viewer is placed in a position in which they become personally engaged with the characters on screen. Moreover, Hitchcock evokes an emotional response from his viewers by the very act of

To the unknown eye, Hitchcock has carefully and skillfully used Mise-en-scene to his advantage, causing the audience to feel fear and a sense of caution towards the character of Norman Bates. It isn’t until we reflect back on the scene and notice how intelligently Hitchcock uses the positioning of props and the characters, lighting, camera angle and staging, that we notice how he has added meaning to his characters but has also to the film, creating suspense and fear from one scene to the end of the film. Ultimately proving the point that Hitchcock “the master of suspense” uses Mise-en-scene to not only help make a brilliant film but also uses it as his disposal to add meaning in his

Pulp Fiction, directed by Quentin Tarantino uses shock, surprise, and mystery, all paired with bizarre humor to surprise and possibly offend his audience. The film is supported with ample suspense and sincerity; Tarantino tells three interrelated stories of thieves, mobsters, and power that are filled with violence, sex, and drugs but also an underlying of religious representation. Compelling roles are utilized to construct a sense of reality and entertainment, and the interest of the film is increased by various implausibility’s that only seem possible in Hollywood. As the main character Mia would suggest, this film commands the audience to “not be square” and to step outside of the box. The film originates to another level, supported by

At the point when Radmann 's secretary leaves the meeting room with a shocked appearance all over, the movie producers make their point with an effect undiminished by their conscious nuance. Radmann unavoidably is radicalized — however not generally for the benefit of his reason. Labyrinth of Lies is an account of aspiration and also optimism, and the young prosecutor turns out to be so plan on rebuffing war culprits that, for a perilously long extend, he dismisses the quest for minor criminals while setting his sights on the slippery Dr. Josef Mengele. It is never completely clear how vast a part conscience plays in blurring his judgment. Be that as it may, this enticing equivocalness is one of a couple good components that add unpredictability to a popular, even

Everyone, except for Cash, begins to think he is mad when in reality he tried to “hide her away from the sight of man” (215). Cash saw this in Darl thinking that “Sometimes I think it aint none of us pure crazy and aint none of us pure sane until the balance of us talks him that-a-way” (233) Cash is the only person in the Bundren family who saw Darl going to the mad-house as a good thing without having to hide their “inner truth.” Cash said Darl going away from the family “is better so for him. This world is not his world; this life his life”

Huck demonstrates not all people are morally corrupt in this time period. After he thought about the letter he decides, “All right, then, I’ll go to hell- and tore it up. It was awful thoughts, and awful words, but they was said” (Twain 162.) Huck perseveres and makes the morally correct decision. The compassion Huck feels for Jim drives Huck’s actions, not the lessons society teaches him on slavery.

Based on this idea, viewers believe that film is about the way Burton feels about himself and how he considers himself to be an outsider. Burton's amazing directing techniques can be seen in this film as it sets the entire mood of the film and allows him to focus the viewer in as well as keep the viewer entertained. Burton's use of emotion, sound, lighting, and other techniques contribute to the film's overall quality.