Citizen Kane is one of the most influential films in Hollywood history. Director Orson Welles used many camera, lighting, and musical techniques that seem quite common now, but were quite revolutionary when the film was made in 1941. For example, throughout the film, the music clearly follows the mood of the film, from striking march during the newsreel scenes to somber and even dirge-like in the opening and death scenes. However, there are certain musical vignettes that denote certain characters in the film, and the sound itself is highly matched with the many photographic techniques used in the film. If the shot is long, then the sound may be more unclear or distant than sound used in a close-up. It is an interesting technique, and the film would be far different without the close attention to sound and music that match the photography...
While many of the different types of photography, such as deep-focus and crane shots were used before "Citizen Kane," Welles put more of them together in one film than just about anyone had done before. One of the most famous scenes may be the long, continuous crane shot of Susan Alexander's billboard that continues through the neon sign, over the roof of the building, and through the skylight into the nightclub where Alexander slumps over a table. The shot is fantastic even today, and was startling at the time. There are numerous deep-focus shots in the film, such as the scene with Kane at one end of the dining table, and Joseph Cotton at the other. This technique allows more of the scene to reach the audience, and gives a feeling of depth to the film. These deep-focus shots were accomplished with a wide-angle lens. Another excellent example of both deep-focus and true mise en scene is the scene where young Kane plays outside in the snow, while his parents decide to send him off to the city for his own good. Kane remains in focus through the cabin window as he frolics in the snow, while the family gathers inside around a…
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
"I'm not sorry." The close-up of Susan that closes the scene demonstrates that she has had an epiphany and will likely no longer maintain the shadow of her lonely life. The crooner is all the while singing the blues classic, "It Can't Be Love" while Susan reiterates the message of the work in a step-by-step angry rant, associated with dire unhappiness, reflective of the ignorance and unfeeling nature of
The setting then shifts to Washington, D.C., where a younger Louise is in love with an unmarried construction engineer, David (Van Heflin). David, however, finds Louise overbearing and does not return her love, which only makes her want David even more, to the point of obsession. An obsession or a quest (e.g., Sam Spade's quest for the Maltese falcon; the young reporter's quest to find "Rosebud" in Citizen Kane,
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the "studios"
French New Wave/Auteur Theory and Tarantino Quentin Tarantino: An Auteur French New Wave cinema is a cinematic movement of the 1950s and 1960s established by French filmmakers and film critics who founded the Cahiers du Cinema that felt cinema had become too commercialized, formulaic, and unoriginal. This critical contention eventually led to the development of the auteur theory. Throughout various essays and critiques, Cahiers du Cinema critics sought to revolutionize cinema and
Indeed, this seems a direct response to the prevailing understanding of how one must ultimately achieve organizational effectiveness by seizing on common ground. As our research denotes, "humans are primordial team players. Our uniquely complex social relationships have been a crucial survival advantage. Our extraordinarily sophisticated talent for cooperation culminated in the modern organization." (Goleman, 199) Indeed, this is the very premise by which the judicial system is allowed
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