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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 and volume. A motif is formed by the inability of Kane's wife Susan to sing..." (Bordwell & Thompson, 2004, p. 351) the development of sound in the film determine the whole of the changing characters and their relationships within the film.
The meanings and effects of the four differing aspects of the film, taken separately, as above, demonstrate significant messaging and coding in the work. They all work together to demonstrate how the world of Kane becomes exceedingly separate from his desires, i.e. To be an honest and simple man, clinging to his childhood memories in Colorado. His whole life was an attempt to reject his...
Kane builds his character to match demands that he does not desire, in fact much like his own father, who is stripped of any power or say as to where and with whom Charles will live and be raised, as he is not named as the owner of the land, that profits the family.
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.
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. William W. 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. When melodrama transforms a villain
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.
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,
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
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"
film noir movement by examining two films from the genre made at two different times within the movement. This will first mean looking at definitions of what classifies a film as noir and then looking at conventions of the movement such as: story, character and setting. This will explore how production value expresses the story and acts as an important filmic tool. The first movie to be discussed is