This can be seen in one way in a film like Contempt, where the subject matter is filmmaking itself, allowing for the intrusion of the filmmaker into the film in a very self-referential way.
illiam . Demastes discusses dramatic realism and finds that it lies most specifically in the area of motivations:

To break with the rules of reality is to create something other than realism. hen melodrama transforms a villain into a reformed penitent without sufficient preparation, it has broken accepted rules of psychological credibility. hen a letter magically arrives exactly when the plot requires it -- to save the farm at the last moment -- temporal credibility is shattered for most of us. e usually deride poetry from the mouths of dock workers. hen sudden confessions of love resolve apparently irreconcilable conflicts, we usually call it romantic comedy and write it off as unrealistic. And when an innocent suddenly…...

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Works Cited

Carringer, Robert L. The Making of Citizen Kane. Berkeley: University of California Press, 1985.

Demastes, William W. Realism and the American Dramatic Tradition. Tuscaloosa, Alabama: University of Alabama Press, 1996.

Ebert, Roger. "Citizen Kane." The Great Movies (2005).  http://www.suntimes.com/ebert/greatmovies/kane.html .

The Power and the Glory." TV Guide Online - Movie Database.  http://www.tvguide.com/movies/database/ShowMovie.asp?MI=10992 .

Citizen Kane
Many people consider Citizen Kane to be one of the greatest films ever made. Orson ells was age 25 when he directed, produced, and starred in this film. There are many particular aspects to Citizen Kane is a memorable film. One of the primary reasons the film was a success is that it focused on a controversial topic. The fictional life of illiam Randolph Hearst, a powerful newspaper publisher, has an interesting relationship with a mistress. Many people feel that events in the film may be based on events that actually happened in ells life.

This movie tells the story of the life and death of Charles Foster Kane. Kane is narcissistic newspaper runner, politician, and a wealthy millionaire. The symbolism and the cinematic effects in the movie are one of the most appealing aspects to the movie. ells uses creative techniques within cinematography which really brings this film to…...

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Works Cited

Digital History. (N.d.). The Introduction of Sound. Retrieved from Digital History: http://www.digitalhistory.uh.edu/historyonline/sound.cfm

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 so effectively.
The photography in this film is…...

Citizen Kane" is known for creating many new filmmaking techniques, and has been hailed as one of the greatest films ever made. "oaring Twenties" is known as one of the best gangster films ever made and director Walsh is often heralded for his dramatic, memorable gun scenes, where the action is extremely fast, the camera stays with the action, and it is so fast and furious that the audience is literally drawn into the film. The depth-of-field or focus of both films comes into play in the overall success of the films, in that in "Citizen Kane," they show the grandeur of Kane's mansion, and the violence of the gunplay in the gangsters' world. Dutch-angled scenes in "Twenties" indicate the very canted world of the 20s gangsters, and even though Eddie becomes successful, it is clear he is a world away from the opulence, excess, and power of the mighty…...

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References

Naremore, James, ed. Orson Welles's Citizen Kane: A Casebook. New York: Oxford University Press, 2004.

Villarejo, Amy. Film Studies: The Basics. New York, Routledge, 2007.

Walsh, Raoul, dir. Roaring Twenties. Perf. James Cagney, Humphrey Bogart, Priscilla Lane. 1939. Warner Brothers.

"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 her now aged husband. The song, the ranting, the sound of the slap and most startlingly the disembodied screaming of the young girl outside all play upon the structure of the scene, making it a telling and symbolic message of the changed relationship and the fear and anger associated with it. "Loudness, pitch, and timbre also shape our experience of a film as a whole. Citizen Kane, for example, offers a wide range of sound manipulations. Echo chambers alter timbre…...

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References

Andrew, D. (1984). Concepts in Film Theory. Oxford: Oxford University Press.

Bordwell, D., & Thompson, K. (2004) Film Art, 8th Edition. New York: McGraw Hill.

Cohan, S., & Shires, L.M. (1988). Telling Stories: A Theoretical Analysis of Narrative Fiction. London: Routledge.

Elam, K. (2002). The Semiotics of Theatre and Drama. London: Routledge.

Orson elles' Film Citizen Kane (1941) on Expression in Film; the Film Industry; and on the Theory of Director as "Auteur"
The expressive meaning of the cinematic masterpiece Citizen Kane, directed by Orson elles in 1941, cannot be summed up succinctly. ithin Citizen Kane, everything is significant; not a single frame is wasted or extraneous. Each separate portion of the film contributes to its overall impact as one of the greatest cinematic achievements, if not the greatest, ever. The film is, quite simply, a tour de force of film directing; cinematography; mise-en-scene; editing; sound (it is considered the best sound film ever made (Mast and Kawin; Giannetti); acting; "aesthetic realism" (Bazin, p. 43) and an amazing (even to this day) synthesis of all these elements and more. Therefore, analyzing one line, or one key scene, or even a long series of scenes from Citizen Kane and declaring any of these…...

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Works Cited

Bazin, Andre. What is Cinema, Vol. II. Berkeley and Los Angeles, California:

University of California Press, 1971. 40-45.

Giannetti, Louis. Understanding Movies. Englewood Cliffs, New Jersey: Prentice-Hall,

1993. 445-480.

Those two instances music was used to tell the story vs. simply dialog.
The film is filled with Capra quips, parts of business, and artistic tropes such as the invisible baseball game Willoughby performs when discussing fixing up his arm. Norton constantly cleaning his glasses and a duet between John and his fellow tramp the Colonel with the harmonica and ocarina are just some of the memorable and charming scenes Capra became well-known for. Capra also did, much like Welles, an assortment of montages and self-parody. Meaning, Capra had vertically challenged people signifying the "little people" in promotional photos for Doe.

The setting and set design of "Citizen Kane" was quite lush and grandiose. Everything from the animals in the zoo and the fake octopus puppet were larger than life. Music seemed narrate the movie just as much if not more than the dialog. Even when in the newspaper setting, Kane…...

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References

Welles, O. (Director). (1941). Citizen Kane [Motion picture]. United States: Warner Home Video.

Hawks, H. (Director). (1940). His girl Friday [Motion picture]. United States: Columbia TriStar Home Video.

Capra, F. (Director). (1941). Meet John Doe [Motion picture]. United States: Alpha Video Distributors.

trip: Pack and re-Pack your goals and dreams
Isn't it everybody's dream to be rich, talented and world famous? Well you better prepare for the worst.

Unless you get a grip on reality before it's too late, the road to superstardom is an unfulfilling and pitiful path that dead-ends in a tragic nightmare, according to the storyline of three modern films.

The main characters of the films "Nashville," "The Rose" and "Citizen Kane," all worked hard to make it to the top but hit the downhill slide as their original goals were lost in the quagmire of excessive behavior that followed meteoric success. The characters of these films illustrate that fame, wealth and superstardom without direction can blind us and isolate us from the very real people with whom we share the world. Where did they go wrong?

Let's take a look to avoid the pitfalls.

In all three pictures, the main characters' successes…...

Shattered Glass
Stephen Glass, the protagonist of the film, played by Hayden Christensen, works for The New Republic as a reporter. His use of colorful stories to draw attention from readers earns him a solid reputation amongst his peers and his employers. Michael Kelly, an editor that backs Glass' eventually discovered false stories, gets fired for standing up for himself. Glass then writes a hacker story that he himself did not check and is therefore caught in the first real instance of the movie of corruption. A reporter, wishing to earn or maintain a good reputation, fabricates a story.

How it was discovered, was when Charles Lane becomes weary of the so called, "credible sources," of Glass' piece. When he discovers that Glass never went to the restaurant he said he did and never went to a hacking convention, and only relied on online, false sources, Glass gets suspended. Many times…...

Orson elles to Visual Arts
One of the most influential motion picture directors and producers of the 20th century was Orson elles, whose well-known radio rendition of "ar of the orlds" in 1938 panicked an entire country long before September 11, 2001. Shortly after "ar of the orlds," elles would go on to direct "Citizen Kane" in 1941, regarded by some film critics as the greatest motion picture ever made. Although "Citizen Kane" would remain his crowning achievement, elles went on to make several more movies, including some of the biggest money-makers of their time. To determine how elles' career started and what his contributions to the visual arts have been, this paper provides a review of the relevant literature, followed by a summary of the research, important findings, and an assessment concerning what was learned regarding this topic and rationale in support of that conclusion.

Review and Analysis

The contributions to…...

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Works Cited

Belsey, Catherine. Culture and the Real. New York: Routledge, 2005.

Benamou, Catherine L. (2009). "Everybody's Orson Welles: Treasures from the Special

Collections Library at the University of Michigan." Michigan Quarterly Review 48(2):

187-188.

Luis Bunuel and Orson Welles: Influential and evolutionary Filmmakers in Film History
In the history of film, two important directors are recognized all over the world because of their great contribution to the development of film throughout the years. These two directors are Luis Bunuel, director of the Surrealist film "Un Chien Andalou" (An Andalusian Dog) and Orson Welles, director of the American classic film, "Citizen Kane." Both directors have given significant contributions to the history of film that are currently and still in practice. There are numerous filmmakers who are equally qualified to be considered as influential filmmakers, but Bunuel and Welles' contribution surpasses the other directors' contributions and revolutionary practices that changed and shaped the world and history of film at present.

Luis Bunuel is a Spanish director who was known primarily for his contribution the Surrealist movement that emerged along with the French Impressionist movement during the latter part…...

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References

Bordwell, David and Kristin Thompson. "Film Art: An Introduction." New York: McGraw-Hill Book Co. 1997. p. 455.

Sarris, Andrew (Ed.). "Interview with Film Directors." New York: Bobbs-Merrill Company, Inc. 1995. pp. 457-78.

Stone, Judy. "Conversations with International Filmmakers." California: Silman-James Press. 1997. pp. 569-77.

The setting then shifts to ashington, 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, is also a frequent film noir element, although in general, within film noir films, the main character's quest is more mysterious than Louise's overt, obsessive quest for David's love.
Film noir often also contains plot coincidences, or odd confluences of events (e.g., Kane just happens to meet Susan Alexander on a dreary night when his marriage has just come apart). Such a coincidence within Possessed takes place when David happens to turn up at the home of Louise's employer, a wealthy…...

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Water, e.g., lakes, swimming pools, puddles, reservoirs, steamy showers, etc., especially when tied to mysterious or ominous circumstances or events, is another common element often used within film noir. Roman Polanski's Chinatown (1974), a later film noir classic, for example, features swimming pools; mysterious trickles of water; a reservoir, etc., all of them tied to the nefarious activities of the film's villain. In Possessed, Pauline, also a villain of sorts (Louise's tormenter) drowns herself.

Film noir often frequently contains a "femme fatale," such as the female main characters in The Maltese Falcon; The Big Sleep; and Chinatown. The femme fatale is a beautiful and seductive woman. She seldom actually kills anyone, although she may be involved in a plot to kill someone, or may otherwise contribute toward another person's (usually a man's) death. In Possessed, Louise's character is an odd a twist on the "femme fatale" stereotype, in that she is, quite literally, the person fatal to David, when she shoots and kills David in the end.

All in all, Curtis Bernhardt's film Possessed (1947) is neither a pure woman's film nor a pure example of film noir, but instead contains elements of each. If it is a woman's film, a woman's film, it is a twisted and ironic example of that, since its main female character is not one with which female (or any) viewers can identify, and her circumstances are atypical of most women's. However, the film does possess elements of unrequited love; of a woman alone facing difficulties, and of a love triangle: all typical elements of women's films. Possessed contains some, but not all key elements of film noir; including images of darkness; shadows, or haze; stark lighting; unusual camera angles; stark, washed-out appearances, and the element of water in connection with death.

Man ho Shot Liberty Valance and the Brilliance of John Ford
John Ford's The Man ho Shot Liberty Valance (1962), a classic western with a few film noir elements included, is elegiac in the sense that its narrative strategy is that of eulogistic remembrance by now-Senator Ransom Stoddard, of horse rancher Tom Doniphan, who once saved Stoddard's life and changed it much for the better, and who was the real man who shot Liberty Valance. According to Robert Horton, "This may be the saddest estern ever made, closer to an elegy than an action movie, and as cleanly beautiful as its central symbol, the cactus rose" ("Editorial Reviews"). Upon Tom Doniphan's death in the small fictional town of Shinbone (state unknown) Ransom and Hallie Stoddard arrive back in town to pay their final respects to Doniphan who sacrificed so much of himself, and so much of his own future happiness,…...

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Works Cited.

Berardinelli, James. "Dances with Wolves: A Film Review." Top 10 of the 90's.

Retrieved May 28, 2005, from: .

Ford, John. (Dir.). The Man Who Shot Liberty Valance. With John Wayne and Vera Miles.

Paramount, 1962.

Production: Gaumont-British; Producer: Michael Balcon; Screenplay and Adaptation: Charles Bennett and Alma Reville from the novel by John Buchan; Principal Actors: Madeleine Carroll, Robert Donat, Lucie Mannheim and Godfrey Tearle
The 39 Steps was based on the John Buchan novel, written in 1915. Hitchcock freely adapted and changed the premise of the novel that very little of the original plot remained. Buchan, who was also the British Governor General in Canada at that time, was initially upset; but, after he saw the final product, he admitted that the film was much better than his novel.

This was the first time that Hitchcock used the now often-repeated theme of sympathy for the man unjustly framed and on the run, all the while attempting to clear his besmirched name and find the real culprit. Hitchcock also used the techniques of combining two scenes unrelated visually but by sound. The director relied more on action…...

Scorsese equates him with "a magician enchanted by his own magic." This freedom allowed Welles to create from narrative techniques and filmic devices a masterpiece that is self-aware of its own form. It intends to communicate this self-consciousness to the audience, thus contradicting the classical canons of filmmaking whereby the camera ought not to be noticed and the shots should be seamless. In other words, Welles expanded the art form of cinema, using the camera the way a poet uses a pen. He even created fake news footage in unique ways to enhance the film's appearance. His immense influence can be seen more on the art form as later with Stanley Kubrick's 2001: A Space Odyssey.
Censorship was still rife in Hollywood. The league of decency suppressed adult themes. Elia Kazan's adaptation of A Streetcar Named Desire (1951) was censored. What we would see now as almost innocent -- a…...