Cinema As A Reflection Of Reality In The Film Citizen Kane

Cinema and its role in society has evolved since its conception centuries ago, however as a form of media, an art, and an industry, it is still quite new and continues to change both in itself and in its impact. In film theory, cinema has been analyzed through the two contrasting traditions of realist and formative. While the former stresses recreating reality through film and the latter stresses the changing of reality through film, it may also be said that cinema can accomplish both. Cinema, in the most basic terms, it is a series of images. Therefore, through the manipulation of these images and the illusion of motion, an endless variety of meanings and interpretations can be attributed, whether a film is a reflection of everyday life or

The first instances of “film” in film history consists of still photographs, and later progresses to the succession of these still images, such as Eadweard Muybridge’s successive still images of horses in 1877. Film theorist Rudolf Arnheim noted film’s ability to distort reality and showing it in a new way. Images can be manipulated through a number of techniques to distinguish cinema from reality, such as distortion, black and white, and the discontinuity of space and time. All of these particular techniques can be seen in the 1941 film Citizen Kane. The film utilizes a variety of innovative techniques in cinematography and non-linear narrative structure, pushing the boundaries of what was capable in cinema. As a technical and visual spectacle, Citizen Kane is an example of cinema as an art form. Its visually expressive nature distinguishes the film from reality, presenting life to its audience in a new and creative way. In this way, cinema can be used to express ideas in a visually and aesthetically pleasing

These three purposes may overlap, and then one must identify the individual factors of the film and recognize that judging a film’s merits is subjective and may vary among individuals. For example, many people find A Single Man (2009) to be an aesthetically pleasing expression of art. However, I find the film to be too heavily reliant on color symbolism, but I recognize its merits in storytelling and its exploration of the human