Orson Welles’ Citizen Kane is one of the first modern sound films. However, it was innovative in more than just sound, it introduced various cinematography techniques and structural ideas. With the help of Barry Fesler and Jamos D. Stewart, Welles introduced subjects such as deep focus sound, the use of voice texture, and the “lighting mix.” Moreover, he explored different camera angles, deep focus photography, elaborated on fluid continuity, and experimented with structure. Citizen Kane was produced during a rather unusual time as many studios were having financial troubles due to war in Europe. France was being invaded by the Nazis, which caused a shift from movies being shot in sound stages. Nevertheless, this politically intense period, gave rise to America’s press lord, William Randolph Hearst, who build an immense newspaper chain and published over the top stories. His ruthless behavior and troubled personal life inspired Welles to write Citizen Kane.
Having only done few short-films and never being on a soundstage, Orson Welles was relatively new to the world of features. Nonetheless, his vast experience in theatre and radio were large factors in the production of Citizen Kane. He had directed and acted in various Broadway and off-Broadway
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As a result, Kane often appears as a giant on the screen, leaving only the middlegound and background to other characters in order to represent his alienation and even arrogance. Through these techniques, Welles was able to not only include psychological aspects of the characters, but foreshadow what was to come, done in the first scene where Kane’s mother is signing him off to Mr. Tatcher and Kane can be seen in the
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
Mise-en-scène, cinematography and editing are used in all forms of cinema. Within the “Declaration of Principles” scene of Citizen Kane, lighting, blocking and panning are three of the main sub aspects that work in unison to consistently demonstrate important aspects of the film. Welles uses these attributes to portray to the audience how this younger Kane is an important newspaper owner, with an even more important document. He creates a scene that has a heavy emphasis on panning to continuously preserve a frame that centers Kane while also lighting the document so viewers can constantly see the important plot and characters of the movie.
Citizen Kane is often recognized as one of the greatest films ever created because of how advanced it was compared to other films of its time. The producer, cinematrogropher, actros, and editors should all be equally credited for how well constructed this film was. Orson Welles used many different aspects of editing,sound, and Mise-en-Scene to create the world of the film. After watching this film and the scene "Breakfast Montage" its pretty obvious as to why the film was nominated for nine Acadamy Awards.
In your view, how does Welles’ portrayal of the complex nature of happiness contribute to the enduring value of Citizen Kane?
The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and
When Kane enters the Newspaper building, there are straight lines that surround him from the molding on the ceilings, the door frames, and the poles. These lines symbolize how straightforward and ambitious Kane is when he comes in, he assertively takes control of the newspaper business with no trouble. Lines can also be seen later on in the film when Kane is finishing Leland’s editorial. Kane is on the left side of the screen typing covered in shadows of the bars reflecting from a railing nearby, while Leland is on the right side of the screen looking over his shoulder, and Berinstein placed in the background. This evenly separates Kane and Leland with Bernstein behind, creating a frame that is divided into three. By framing the characters, Welles exemplifies crucial moments in the
How does it feel starting over in a completely new place? In the movie “The Karate Kid”, Daniel, the main character, and his mom moved to the California from New Jersey because of his mom’s new job offer. Daniel started going to school in California and met a girl named Ali, whom he started to like. He started going out with her. Daniel was getting beat up by some bullies; one of them was Ali’s ex-boyfriend. They knew karate very well, but Daniel did not. So Daniel decided to learn karate. Daniel and his mom were living in an apartment and one day he discovers that the handyman at his apartment, Mr.Miyagi, knows karate very well. He asked Mr.Miyagi to teach him karate, and Mr.Miyagi became his karate teacher. It was hard for him to make new friends in a new place and he believed that Mr.Miyagi would be the only best friend he ever met.
Moreover, the film Mildred Pierce follows the struggles of a hard-working mother, Mildred Pierce, as she divorces her husband and supports herself and her spoiled daughter, Veda, by starting a successful restaurant business chain. In different ways, the film challenges the notions of masculinity and femininity as gender roles are reversed with different characters but identify this, you have to look at the films ideology. Ideology is a system of ideas that structure and make sense of society. If you look at 1940s America, post World War 2, the society at the time adhered to a very hegemonic patriarchy in which men were the ones with power, the ones providing for the family; where as the women of the time were seen subordinate and were more
The core concept of narrative therapy is rooted in postmodern theory. This includes having a positive and hopeful view of clients and their power to create change. Also, taking a “not-knowing” stance is essential in order to enhance collaboration between clients and therapist. Narrative Therapy encourages therapists to remain curious and acknowledge
Orson Welles ' introduced innovating editing and sound design in the 1940s with Citizen Kane (1941). Welles uses editing and sound to show the audience the passing of time, this is seen the breakfast montage. Welles uses sound bridges during the transitional wipes of fast moving images which fade into the next shot. The sound bridges act as links between the two scenes and make the time difference apparent to the audience. At the beginning of the montage Welles uses a slow zoom combined with romantic music to show the love between Kane and Emily. Both characters appear in the frame together with deep focus and slow paced editing which shows the closeness of the couple in the early years. This is juxtaposed by the end of the montage showing
The research complied for this report was gathered from various Journals dedicated to the discourse surrounding the practices of narrative therapy and family therapy. Search terms used to collect relevant articles were ‘narrative therapy’, ‘Michael White’ and ‘externalising’. The results from these terms were extensive and required narrowing further by way of peer reviewed status, content type and discipline. Data gathered was then critically analysed to explicate firstly, the socially constructed knowledge surrounding the process of narrative therapy, and the technique of externalising. Secondly, any discrepancies or conflicts in the discourse related to the application of the externalising technique. And lastly, the successes, efficacy, and limitations of externalising as a technique. There was no primary research conducted in the process of compiling this report.
For this reason, some of the brief therapies, such as strategic family therapy or solution-focused therapy, that focus on rapid change without much attention to understanding, might be more appropriate. However, I believe these brief therapies do not give clients enough time to really parse out their problem. I am wary of counseling that limits clients’ ability to tell their stories fully, which seems like just one more way of silencing people, oppressing them, and keeping them in line. In working with my clients I want to collectively understand how problem-saturated stories developed, the cultural, familial, or biological factors that might be involved, and the availability of choices. I believe that narrative therapy is the most flexible approach in this respect because although not brief, it is efficient and seems to be effective long-term, although more research is needed, which is challenging because of the subjective nature of this approach (Madigan, 2011). In my therapy practice, I want to leave clients feeling hopeful and liberated by helping them to see the problem as separate from their identities and as only one story to choose from several, and by acknowledging the contextual factors contributing to the
The movie I decided to analyze for this course was American History X (1998), which stars Edward Norton. Though this movie isn’t widely known, it is one of the more interesting movies I have seen. It’s probably one of the best films that depict the Neo Nazi plague on American culture. The film takes place from the mid to late 1990’s during the Internet boom, and touches on subjects from affirmative action to Rodney King. One of the highlights of this movie that really relates to one of the key aspects of this course is the deterrence of capital punishment. Edward Norton’s portrayal as the grief stricken older brother who turns to racist ideologies and violence to cope with his fathers death, completely disregards the consequences of his actions as he brutally murders someone in front of his family for trying to steal his car. The unstable mentality that he developed after his father’s death really goes hand-to-hand specifically with Isaac Ehrlich’s study of capital punishment and deterrence. Although this movie is entirely fictional, a lot of the central themes (racism, crime punishment, gang pervasiveness, and one’s own vulnerability) are accurate representations of the very problems that essentially afflict us as a society.
The counselor accomplishes the above by expressing empathy, developing discrepancies, going along with resistance and supporting self-efficacy. Moreover, the counselor guides the client toward a solution that will lead to permanent posi...
Also, Welles furthers the image of how demanding Kane is of Susan and many others. Mr. Welles conveys the message that Kane has suffered a hard life, and will continue until death. Welles conveys many stylistic features as well as fundamentals of cinematography through use of light and darkness, staging and proxemics, personal theme development and materialism within the film, Citizen Kane. Welles prominently portrays his figures with a specific amount of light or darkness, stunningly affecting whole scenes stylistically. The scene at Xanadu establishes Mr. Kane as an overbearing, controlling character.