Since Charles Foster Kane was taken from his family as a child, he never really knew how to maintain a relationship in his life The camera zooms in on Kane and Norton standing at the door and finally a medium shot is obtained Citizen Kane The corruption of idealism by wealth can be seen throughout the film, especially through the thoughts and actions of Kane and the other characters. For example, when Kane publishes his first newspaper for the Inquirer he prints his "Declaration of Principles" Mainly because I am not a big fun of black and white movies, but when I get to see them I find them very fascinating Citizen Kane that has a light turned on.
As the backgrounds begin to change into a closer view of the castle, then a view of the castle from the reflection of the water surrounding it, we are drawn into the window as a man falls dead with the last words "Rosebud" coming from his mouth Orson Welles was a child genius, and very passionate artist.
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Covers the demands of the rubric well, analyses key scenes, and how to integrate critical theory in support of your argument. Received a band 6. Journalist Ignacio Ramonet has cited the film as an early example of mass media manipulation of public opinion and the power that media conglomerates have on influencing the democratic process.
Ramonet believes that this early example of a media mogul influencing politics is outdated and that "today Citizen Kane would be a dwarf. He owned a few papers in one country. The forces that dominate today have integrated image with text and sound and the world is their market. There are media groups with the power of a thousand Citizen Kanes. To ensure that Hearst's life's influence on Citizen Kane was a secret, Welles limited access to dailies and managed the film's publicity.
A December feature story in Stage magazine compared the film's narrative to Faust and made no mention of Hearst. Gossip columnist Hedda Hopper and Hollywood correspondent for Hearst papers Louella Parsons' arch rival showed up to the screening uninvited. Most of the critics at the preview said that they liked the film and gave it good advanced reviews.
Hopper wrote negatively about it, calling the film a "vicious and irresponsible attack on a great man" and criticizing its corny writing and old fashioned photography. The magazine quoted Welles as saying that he couldn't understand why she was so nice to him and that she should "wait until the woman finds out that the picture's about her boss.
Welles apologized to Parsons and assured her that he had never made that remark. Shortly after Friday ' s article, Hearst sent Parsons an angry letter complaining that he had learned about Citizen Kane from Hopper and not her. The incident made a fool of Parsons and compelled her to start attacking Welles and the film.
Parsons demanded a private screening of the film and personally threatened Schaefer on Hearst's behalf, first with a lawsuit and then with a vague threat of consequences for everyone in Hollywood.
On January 10 Parsons and two lawyers working for Hearst were given a private screening of the film. Stewart was present at the screening and said that she walked out of the film.
When Schaefer did not submit to Parsons she called other studio heads and made more threats on behalf of Hearst to expose the private lives of people throughout the entire film industry. Hearst began preparing an injunction against the film for libel and invasion of privacy, but Welles's lawyer told him that he doubted Hearst would proceed due to the negative publicity and required testimony that an injunction would bring.
The Hollywood Reporter ran a front-page story on January 13 that Hearst papers were about to run a series of editorials attacking Hollywood's practice of hiring refugees and immigrants for jobs that could be done by Americans. The goal was to put pressure on the other studios to force RKO to shelve Kane. Schaefer brought Welles to New York City for a private screening of the film with the New York corporate heads of the studios and their lawyers.
The cuts satisfied the corporate lawyers. Hearing about Citizen Kane enraged Hearst so much that he banned any advertising, reviewing, or mentioning of it in his papers, and had his journalists libel Welles.
The reviews for this screening were positive. A Hollywood Review headline read, "Mr. Time magazine wrote that "The objection of Mr. Hearst, who founded a publishing empire on sensationalism, is ironic. For to most of the several hundred people who have seen the film at private screenings, Citizen Kane is the most sensational product of the U.
When Schaefer rejected Hearst's offer to suppress the film, Hearst banned every newspaper and station in his media conglomerate from reviewing—or even mentioning—the film.
He also had many movie theaters ban it, and many did not show it through fear of being socially exposed by his massive newspaper empire. The film did decent business at the box office; it went on to be the sixth highest grossing film in its year of release, a modest success its backers found acceptable.
Nevertheless, the film's commercial performance fell short of its creators' expectations. Hearst's attacks against Welles went beyond attempting to suppress the film. Welles said that while he was on his post-filming lecture tour a police detective approached him at a restaurant and advised him not to go back to his hotel.
A year-old girl had reportedly been hidden in the closet of his room, and two photographers were waiting for him to walk in. Knowing he would be jailed after the resulting publicity, Welles did not return to the hotel but waited until the train left town the following morning. Native Son received positive reviews, but Hearst-owned papers used the opportunity to attack Welles as a communist. Welles described his chance encounter with Hearst in an elevator at the Fairmont Hotel on the night Citizen Kane opened in San Francisco.
Hearst and Welles's father were acquaintances, so Welles introduced himself and asked Hearst if he would like to come to the opening.
Hearst did not respond. That was his style—just as he finished Jed Leland's bad review of Susan as an opera singer. In Hearst journalist Robert Shaw wrote that the film got "a full tide of insensate fury" from Hearst papers, "then it ebbed suddenly. With one brain cell working, the chief realized that such hysterical barking by the trained seals would attract too much attention to the picture. But to this day the name of Orson Welles is on the official son-of-a-bitch list of every Hearst newspaper.
Despite Hearst's attempts to destroy the film, since references to his life and career have usually included a reference to Citizen Kane , such as the headline 'Son of Citizen Kane Dies' for the obituary of Hearst's son. Schaefer stood by Welles and opposed the board of governors.
Schaefer managed to book a few theaters willing to show the film. Hearst papers refused to accept advertising. RKO still had problems getting exhibitors to show the film. For example, one chain controlling more than theaters got Welles's film as part of a package but refused to play it, reportedly out of fear of Hearst.
Citizen Kane received good reviews from several critics. New York Daily News critic Kate Cameron called it "one of the most interesting and technically superior films that has ever come out of a Hollywood studio".
Mosher of The New Yorker called the film's style "like fresh air" and raved "Something new has come to the movie world at last. Upon the screen he discovered an area large enough for his expansive whims to have free play. And the consequence is that he has made a picture of tremendous and overpowering scope, not in physical extent so much as in its rapid and graphic rotation of thoughts. Welles has put upon the screen a motion picture that really moves.
In the UK C. Lejeune of The Observer called it "The most exciting film that has come out of Hollywood in twenty-five years"  and Dilys Powell of The Sunday Times said the film's style was made "with the ease and boldness and resource of one who controls and is not controlled by his medium. A few reviews were mixed. Otis Ferguson of The New Republic said it was "the boldest free-hand stroke in major screen production since Griffith and Bitzer were running wild to unshackle the camera", but also criticized its style, calling it a "retrogression in film technique" and stating that "it holds no great place" in film history.
More power to Welles! Some prominent critics wrote negative reviews. In his review for Sur , Jorge Luis Borges famously called the film "a labyrinth with no center" and predicted that its legacy would be a film "whose historical value is undeniable but which no one cares to see again. Citizen Kane received nine nominations at the Academy Awards: It was widely believed the film would win most of its Oscar nominations, but it received only the award for Best Writing Original Screenplay , shared by Welles and Mankiewicz.
Variety reported that block voting by screen extras deprived Citizen Kane of Academy Awards for Best Picture and Best Actor Welles , and similar prejudices were likely to have been responsible for the film receiving no technical awards. Citizen Kane was the only film made under Welles's original contract with RKO Pictures, which gave him complete creative control.
In the new contract Welles was an employee of the studio  and lost the right to final cut, which later allowed RKO to modify and re-cut The Magnificent Ambersons over his objections. It was shown in France for the first time on July 10, at the Marbeuf theatre in Paris.
The film is in the past tense, whereas we all know that cinema has got to be in the present tense. These theories were diametrically opposed to both the popular Soviet montage theory : In his essay "The Evolution of the Language of Cinema", Bazin placed Citizen Kane center stage as a work which ushered in a new period in cinema. He has enriched his filmic repertory with new or forgotten effects that, in today's artistic context, take on a significance we didn't know they could have.
Bazin's praise of the film went beyond film theory and reflected his own philosophy towards life itself. It portrayed the world as ambiguous and full of contradictions, whereas films up until then simply portrayed people's actions and motivations. The world of Citizen Kane , that mysterious, dark, and infinitely deep world of space and memory where voices trail off into distant echoes and where meaning dissolves into interpretation, seemed to Bazin to mark the starting point from which all of us try to construct provisionally the sense of our lives.
By Citizen Kane had run its course theatrically and, apart from a few showings at big city arthouse cinemas, it largely vanished and both the film's and Welles's reputation fell among American critics.
In the United States, it was neglected and forgotten until its revival on television in the mids. Three key events in led to its re-evaluation in the United States: The American Baroque" for Film Culture , and described it as "the great American film" and "the work that influenced the cinema more profoundly than any American film since Birth of a Nation.
During Expo 58 , a poll of over film historians named Kane one of the top ten greatest films ever made the group gave first-place honors to The Battleship Potemkin. When a group of young film directors announced their vote for the top six, they were booed for not including the film.
In the decades since, its critical status as the greatest film ever made has grown, with numerous essays and books on it including Peter Cowie's The Cinema of Orson Welles , Ronald Gottesman's Focus on Citizen Kane , a collection of significant reviews and background pieces, and most notably Kael's essay, "Raising Kane", which promoted the value of the film to a much wider audience than it had reached before. The rise of art house and film society circuits also aided in the film's rediscovery.
The film has also ranked number one in the following film "best of" lists: Roger Ebert called Citizen Kane the greatest film ever made: They ask, 'What's your favorite movie? Citizen Kane was an inductee of the inaugural group of 25 films that established the National Film Registry list. Art director Perry Ferguson represents the behind-the-scenes craftsmen of filmmaking in the series; he is depicted completing a sketch for Citizen Kane.
Citizen Kane was ranked number one in the American Film Institute 's polls of film industry artists and leaders in  and In , the Motion Picture Editors Guild published a list of the 75 best-edited films of all time based on a survey of its membership.
Citizen Kane was listed second. The website's critical consensus states: Citizen Kane has been called the most influential film of all time. Cinematographer Arthur Edeson used a wider-angle lens than Toland and the film includes many long takes, low angles and shots of the ceiling, but it did not use deep focus shots on large sets to the extent that Citizen Kane did. Edeson and Toland are often credited together for revolutionizing cinematography in Its cinematography, lighting, and flashback structure influenced such film noirs of the s and s as The Killers , Keeper of the Flame , Caught , The Great Man : American filmmakers in the s combined these two approaches by using long takes, rapid cutting, deep focus and telephoto shots all at once.
The film's structure influenced the biographical films Lawrence of Arabia and Mishima: A Life in Four Chapters —which begin with the subject's death and show their life in flashbacks—as well as Welles's thriller Mr.
Arkadin , as well as the theme of nostalgia for loss of innocence throughout Welles's career, beginning with Citizen Kane and including The Magnificent Ambersons , Mr.
Arkadin and Chimes at Midnight. Rosenbaum also points out how the film influenced Warren Beatty 's Reds. The film depicts the life of Jack Reed through the eyes of Louise Bryant, much as Kane's life is seen through the eyes of Thompson and the people who he interviews. Rosenbaum also compared the romantic montage between Reed and Bryant with the breakfast table montage in Citizen Kane.
Akira Kurosawa 's Rashomon is often compared to the film due to both having complicated plot structures told by multiple characters in the film. Welles said his initial idea for the film was "Basically, the idea Rashomon used later on," : The films of Paul Thomas Anderson have been compared to it.
Variety compared There Will Be Blood to the film  and called it "one that rivals Giant and Citizen Kane in our popular lore as origin stories about how we came to be the people we are. Ron Hubbard has been compared to Citizen Kane ' s depiction of Hearst.
Above all, the performances are worthless. The amount of respect that movie has is absolutely unbelievable! William Friedkin said that the film influenced him and called it "a veritable quarry for filmmakers, just as Joyce 's Ulysses is a quarry for writers. Welles's Oscar for Best Original Screenplay was believed to be lost until it was rediscovered in In , Mankiewicz's personal copy of the Citizen Kane script was auctioned at Christie's. The leather-bound volume included the final shooting script and a carbon copy of American that bore handwritten annotations—purportedly made by Hearst's lawyers, who were said to have obtained it in the manner described by Kael in " Raising Kane ".
The composited camera negative of Citizen Kane was destroyed in a New Jersey film laboratory fire in the s. Subsequent prints were derived from a master positive a fine-grain preservation element made in the s and originally intended for use in overseas distribution. RKO kept the non-broadcast television rights to its library. In , when home video was in its infancy, entrepreneur Snuff Garrett bought cassette rights to the RKO library for what United Press International termed "a pittance.
It was a hobby with me which became big business. This version had an improved transfer and additional special features, including the documentary The Legacy of Citizen Kane and Welles's early short The Hearts of Age.
Turner Broadcasting System acquired broadcast television rights to the RKO library in  and the full worldwide rights to the library in It was simultaneously released on VHS. In , Welles's daughter Beatrice Welles sued Turner Entertainment, claiming the Welles estate is the legal copyright holder of the film. She claimed that Welles's deal to terminate his contracts with RKO meant that Turner's copyright of the film was null and void.
In she was allowed to proceed with the lawsuit, overturning the decision in favor of Turner Entertainment on the issue of video rights. Its packaging extras included a hardcover book and a folio containing mini reproductions of the original souvenir program, lobby cards, and production memos and correspondence.
This was partially rectified in with the release of the 75th Anniversary Edition in both the UK and US, which was a straight repackaging of the main disc from the 70th Anniversary Edition. In the s, Citizen Kane became a catalyst in the controversy over the colorization of black-and-white films.
I'm thinking of colorizing it. Criticism increased when filmmaker Henry Jaglom stated that shortly before his death Welles had implored him "don't let Ted Turner deface my movie with his crayons. In February , Turner Entertainment president Roger Mayer announced that work to colorize the film had been stopped due to provisions in Welles's contract with RKO that "could be read to prohibit colorization without permission of the Welles estate.
The colorization controversy was a factor in the passage of the National Film Preservation Act in which created the National Film Registry the following year. ABC News anchor Peter Jennings reported that "one major reason for doing this is to require people like the broadcaster Ted Turner, who's been adding color to some movies and re-editing others for television, to put notices on those versions saying that the movies have been altered".
From Wikipedia, the free encyclopedia. Citizen Kane Theatrical release poster. Favored to win election as governor, Kane makes a campaign speech at Madison Square Garden. Screenplay for Citizen Kane. Mankiewicz co-wrote the script in early He and Welles separately re-wrote and revised each other's work until Welles was satisfied with the finished product.
Sources for Citizen Kane. Although various sources were used as a model for Kane, William Randolph Hearst was the primary inspiration. Hearst was disturbed by the film's supposed depiction of Marion Davies , but Welles always denied that Susan Alexander Kane was based on Davies.
Welles and cinematographer Gregg Toland prepare to film the post-election confrontation between Kane and Leland, shot from an extremely low angle that required cutting into the set floor. Welles placed Toland's credit with his own to acknowledge the cinematographer's contributions.
The Technique of Citizen Kane. Les Temps modernes 2, number 17, My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles.
Bogdanovich, Peter and Welles, Orson. This is Orson Welles. A Biography of Orson Welles. Charles Scribner's Sons, The Road to Xanadu. The Making of Citizen Kane. Berkeley and Los Angeles: University of California Press, A History of Narrative Film. Focus on Citizen Kane. Perspectives on Citizen Kane.
The Complete Films of Orson Welles. Carol Publishing Group, The Citizen Kane Book. Little, Brown and Company, Orson Welles, A Biography. William Morrow and Company, British Film Institute, Orson Welles's Citizen Kane: A Casebook in Criticism. Oxford University Press, The Life of William Randolph Hearst. Southern Illinois University Press, Illinois, We designed every camera setup and everything else—did enormous research in aboriginal, Stone Age cultures in order to reproduce what the story called for.
I'm sorry not to have got the chance to do it. He's in the pilot house and he can see himself reflected in the glass through which you see the jungle. So it isn't that business of a hand-held camera mooching around pretending to walk like a man. He wrote that many biographers may wrongly assume that Carringer included all of its facts in his later book, The Making of Citizen Kane. I drew a lot from that from my Chicago days.
Everybody in the movie is in it. Gregg deserved it, didn't he? John Ford had also shared his title card with the cinematographer in the opening credits for The Long Voyage Home Years later Welles thanked David Lean for the article. Bordwell believes that Bazin was aware of the legend of film's innovations before having seen it.
British Board of Film Classification. Retrieved December 23, University of California Press — via Google Books. Retrieved January 16, Retrieved April 14, The Magic World of Orson Welles 2nd ed. Southern Methodist University Press. Retrieved 27 July Ranking All 87 Best Picture Winners".
The Saturday Evening Post: Retrieved 5 December University of California Press. William Morrow and Company , Inc. The Man Who Was Magic. Little, Brown and Company. Retrieved 18 August Retrieved January 7, Why Pauline Kael was bad for world cinema". Retrieved January 6, The New York Times. University Press of Mississippi. Retrieved January 14, In My Father's Shadow: A Daughter Remembers Orson Welles.
Citizen Kane, directed and produced by Orson Welles, defies the conventional style of classic Hollywood films. The film introduced a variety of radical techniques and cinematography way ahead of its time.
Citizen Kane Essay Examples. 60 total results. An Analysis of the Accuracy of William Randolph Hearst's Portrayal in the Movie Citizen Kane. 3, words. An Analysis of Citizen Kane by Orson Welles and Other Movies Composed by Bernard Herrmann. 2, words. 5 pages. A Movie Analysis of Citizen Kane by Orson Welles. 3, words.
Citizen Kane essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Citizen Kane directed by Orson Welles. Rosebuds and Sinuous Rills: The Romantic Fragment of Orientalism in Samuel Taylor Coleridge's "Kubla Khan" and Citizen Kane . Citizen Kane Review - Essay #2: Citizen Kane Review Orson Welles’ production of Citizen Kane revolutionized film making by mastering the art of using cutting edge techniques to make it one of the most single revolutionary and groundbreaking films in the history of movies.
Citizen Kane cinematics advanced on many levels, the technique known as deep focus was a very significant contribution to cinematography. Deep focus refers to acquire everything in a single frame, including the background, converging at the same time, instead of having people and things in the foreground in focus. Citizen Kane essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Citizen Kane directed by Orson Welles.