Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Orson welles citizen kane analysis
Citizen kane movie analysis
Critical analysis of the movie citizen kane
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Orson welles citizen kane analysis
Orson Welles’ Citizen Kane tells the story of Charles Foster Kane (Orson Welles) and his rise to power and his downfall. With this rise and fall of power comes an overarching theme of control of others, or their inability to control. This portrayal of power is shown through numerous aspects of the film. A specific element used constantly in the movie is depth of composition. In clip 1, the film utilizes depth of composition to demonstrate who controls the power. Throughout most of the clip, the characters seen in the shot are almost lined up in the order of who has most control in the situation. When you see Mr. Thatcher (George Coulouris), Kane’s mother (Agnes Moorehead) and Kane’s father (Harry Shannon) in the room discussing what they’re going to do about Kane’s future, the mother is appeared closest to the camera, followed by Mr. Thatcher in the chair behind her, then the father on the outside of the room, and finally Kane seen from the window playing outside. These characters’ placement in the shot demonstrates the amount of control they have in the situation; the mother was the owner of the mine, thus the holder of the wealth, Mr. …show more content…
The use of depth of composition in this clip is slightly different from the other two clips. In this clip, Kane is portrayed in a long shot for most of this scene, and when you see him interact with Susan Kane (Dorothy Comingore) he is in front of her during the shot and is seen mostly behind her by a considerable distance. This distance between characters shows the disconnect of their relationship, but also alludes to his loss of control of his wife since she eventually leave to go back to New York despite Kane’s wishes. This loss of control gives this movie a diamond effect to the character development of Charlie Kane because he had no power in the beginning of his life, and also had no control toward the
Hitchcock has a way of throwing clues in the face of the spectator, yet still allows some room for the spectator to find their own less obvious details. In the same museum scene, Hitchcock shows the viewer exactly what he wants them to see. In a sense, Hitchcock can be very manipulative with the camera. The audience sees the picture containing the women with a curl in her hair holding flowers, and then the direct connection is made by the camera, by showing the curl in Madeline’s hair, and the flowers sitting next to her. The spectator is led to believe that they have solved the mystery and she is truly possessed by the women in the picture. However, Hitchcock does this on purpose to lead the audience away from the truth that she is only acting. It is for these reasons that Hitchcock’s work at an auteur adds a level of depth and intrigue.
Have you ever heard about the hippie who had to go to a Middle School after living on a remote farm in the novel Schooled by Gordon Korman? Well, Capricorn Anderson is a flower child who lives at Garland Farms until his grandmother, Rain, falls out of a plum tree, which changes this hippie’s life. Now, Cap has to go to a public middle school and live with Mrs.Donnelley, a social worker, which he is not prepared for.He is just a hippie with a soul of good, who is not prepared for physical fights, cursing, and even video games! He doesn’t understand this modern world; he’s as lost as a kit who couldn’t find her mother.
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.
Through his choice of setting, camera angles and lighting, Hitchcock makes the conversation at the bar a pivotal scene. The audience and young Charlie are finally brought into Uncle Charlie’s world. This scene’s contrast to the stereotypical American town is what makes this scene so important. Even though Uncle Charlie was able to conceal his true self from most of Santa Rosa, a few people saw him for what he really was. Just like there is a bar in every American town, there is evil as well.
One major attribute in Hitchcock films is how creatively Hitchcock tricks the audience about the fate of the characters and the sequence of events. Many people argue that it is a tactic by Hitchcock to surprise his audience in order to increase the suspense of the movie. For example, in Shadow of a Doubt, the audience assumes that young Charlie is an innocent young girl who loves her uncle dearly. However as the movie progresses, Young Charlie is not as innocent as the audience suspects. Young Charlie, once a guiltless child, ends up killing her evil uncle. In Vertigo, the same Hitchcock trickery takes place. In the beginning, the audience has the impression that the Blond women is possessed by another woman who is trying to kill her. The audience also has the notion that the detective is a happy man who will solve the murder case correctly. Just before the movie ends, the audience realizes that the detective was specifically hired by a man to kill his wife. The detective, in the end, seems to be the hopeless, sad victim.
Citizen Kane, Orson Welles’ cinematic classic, is a film that centers on a group of reporter’s investigation into the meaning of Charles Foster Kane’s last uttered word, “Rosebud.” Citizen Kane ' brings into light many social problems between countries, relationships, and also between competing newspaper companies. It brings into light how a newspaper should react and also brings the corruption of politics. War was breaking out in Europe and throughout the entire film Kane states there will be no war. He ignores the fact people are being killed, tortured, and rounded up like livestock.
In both productions, fear was a critical element in the story line and subtle techniques were used to convey this. In ‘Psycho’, Alfred Hitchcock used strategic camera angles and shots throughout the film to position the viewer to understand the relationships between the characters. An example of an effective camera angle is the notorious parlor scene where Norman Bates invited Marion Crane in to converse. As they are speaking, the tension between them is high and while the focus was purely on the two, the surrounding environment of the parlor portrays a much deeper and more disturbing scene. By this stage in the film, Norman was categorised as an awkward yet polite young man and
Well’s uses lighting to represent who has the power and also shows the shift in power from Thatcher to Kane. In the scene where Wells montages Thacher, Kane’s legal guardian and financial advisor, Kane shows the power he has over Thatcher using his newspaper, The Inquirer,through high-key lighting.The scene begins with a letter written by Thatcher, immediately showing
The cast members were classically trained theatrical actors, and none had ever made a movie. While there are many unimpressive performances in Citizen Kane none of them were weak. It was filled with an A-rate cast and the actors worked together well as an ensemble. Perhaps, no performance was better than Orson Welles portraying all of Kane’s walks of life. From young and charismatic, to middle aged somber and assuming the end justified the mean instead of arguing it, to old quiet and wounded a man who had fought and lost time and time again Orson Welles delivers stunningly convincing performances at every “age”.
Often regarded as one of the greatest films ever made, Citizen Kane written and directed by Orson Welles is a classic film that defied the conventional styles of the Hollywood Cinema. Welles was committed to the Mise-En-Scene of his movies by using his characters, props, settings, and even the camera to tell the story of his characters. The Lighting, the camera shots, and the character 's actions to depict the life of Charles Foster Kane. The Mise-En-Scene of this narrative creates a film that is ahead of it’s time and a genius innovation to the cinema.
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.
Sarah Street said, “in Citizen Kane Welles is criticizing fundamental contradictions within monopolistic journalism and political rhetoric.” He wasn’t only showcasing his talents in film he was conveying a real message to the public. He was criticizing the way people’s agenda can truly affect the world as seen through Hearst these individuals have great power, but often lack honesty in the way of doing things. Another critic Armstrong says the script “asks you to ponder the meaning of someone's life. What makes living worthwhile? What makes a person happy: money, love, power? How do we make sense of that life--by what was said, what was done, or by what is left?” This great description entails many of the other elements Welles wanted to face. Although Kane had all he ever wanted what did he accomplish and what was he missing and searching for all his life. This draws back to the main search in the story for Rosebud. Welles while creating a wonderful visual piece also had the thrilling unique story to go along with
Alistair Deacon from As Time Goes By once said that, “The people in the book need to be people.” The main character in a story or in a play always has to be somewhat likeable or relatable. Who doesn’t like to feel like they can relate to their favorite character in a story? In many cases the authors of stories or books always try to make the reader feel like they are not the only ones with problems or going through a crazy situation. Wanting the reader to become engaged in the characters' conflicts is what they aim for. In Arthur Miller’s play, Death of a Salesman, many people were gripped by Willy Loman’s, the main character, problems because they too struggle with many of the conflicts that Willy faces. Willy could not keep his life together, failing to see reality and pursuing the wrong dream, with a wrong viewpoint, ended up causing others around him and himself to hurt.
Don and Michael are both powerful Godfathers that vary in many ways. Don became a Don because it was all that he really knew and he needed to take care of his family. On the other hand, Michael had a choice. In The Godfather, Michael rises to power as the head of the family. Michael’s character endures an intense change as the film goes on. At the beginning of the film, Michael seems to be a moral and an upright character, but that changes. Power is a major theme in The Godfather, and Michael and Don both pertain to this theme of power. Corruption is closely linked to that of power also, which is seen throughout this film.
In suspense moments the viewer gets involved in what is happening on the screen, he feels as a direct participant in the events that unfold in the film. The most important thing is the ability of the director to suspense and mystery. Hitchcock had the ability to involve the viewer in a movie. The verdict of the three movies Sabotage, The Man Who Knew Too Much, and Psycho is Alfred Hitchcock designed everything to achieve what he believe was the important distinction “mystery” vs. “suspense”. He has done it with great attention to the applicable musical accompaniment, delivery of information to the audience, and penetration of