Citizen Kane (Orson Wells, 1941): New developments in Expressionism and the introduction of the ‘Deep Focus’ technique.
This week a lecture about a single film: Citizen Kane (Orson Wells, USA, 1941). It is genreally recognised as an seminal film so it justufiable that we have had the oppurtunity to study it. Though as part of the lesson we also discussed the impact of the ‘Deep Focus’ technique and related it to the development of narrative film.
This week’s lessons led to discussions on cinematography and authorship. In regards to cinematography we considered the work of Gregg Toland and how ‘Deep Focus’, with the introduction of a greater depth of field and the possibilities of several planes of action, led to new aesthetic possibilities; especially in relation in the creation of meaning (e.g. spatial relations and staging) through the mise-en-scène. Due to the collaborative nature of filmmaking we discussed the debatable issue of whether it was either Orson Welles or Herman J. Mankiewicz who could be given authorship over Citizen Kane. We also explored the themes and aesthetic influences of Citizen Kane and related it to our previous study of
German Expressionism.
Despite this week’s lesson consisting of a single film, prior to the lesson I had done some extended reading in relation Citizen Kane. I also have watched the film on several occasions. As usual I took notes during the lesson.
I was also able to watch other films directed by Orson Welles and some who were significant in their use of ‘Deep Focus’.
This week a lecture about a single film: Citizen Kane (Orson Wells, USA, 1941). It is genreally recognised as an seminal film so it justufiable that we have had the oppurtunity to study it. Though as part of the lesson we also discussed the impact of the ‘Deep Focus’ technique and related it to the development of narrative film.
This week’s lessons led to discussions on cinematography and authorship. In regards to cinematography we considered the work of Gregg Toland and how ‘Deep Focus’, with the introduction of a greater depth of field and the possibilities of several planes of action, led to new aesthetic possibilities; especially in relation in the creation of meaning (e.g. spatial relations and staging) through the mise-en-scène. Due to the collaborative nature of filmmaking we discussed the debatable issue of whether it was either Orson Welles or Herman J. Mankiewicz who could be given authorship over Citizen Kane. We also explored the themes and aesthetic influences of Citizen Kane and related it to our previous study of
German Expressionism.
Despite this week’s lesson consisting of a single film, prior to the lesson I had done some extended reading in relation Citizen Kane. I also have watched the film on several occasions. As usual I took notes during the lesson.
I was also able to watch other films directed by Orson Welles and some who were significant in their use of ‘Deep Focus’.
Bibliography
Bordwell, David., 1971. Citizen Kane. In: B. Nichols ed. Movies and Methods, Volume 1. 1976. Berkeley and Los Angeles: University of California Press, pp. 96-106, pp. 309-316.
Bordwell, David., Thompson, Kristin. 2006. Film Art: An Introduction. 8th ed. New York: McGraw-Hill Higher Education. pp. 453-456.
Bordwell, David., Thompson, Kristin. 2009. Film History: An Introduction. 3rd ed. New York: McGraw-Hill Higher Education, pp. ‘Chapter 10: The Hollywood Studio System 1930-45’.
Bordwell, David., 1988. ‘Deep Focus’. In: D. Bordwell, J. Staiger, K. Thompson, Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge, pp. 341-352.
Carringer, Robert L. 1985. The Making of Citizen Kane. Berkeley and Los Angeles: University of California Press.
Cook, Pam., ed., 2008. The Cinema Book. London: BFI Publishing. pp. 402-404, 526-527.
Bordwell, David., 1971. Citizen Kane. In: B. Nichols ed. Movies and Methods, Volume 1. 1976. Berkeley and Los Angeles: University of California Press, pp. 96-106, pp. 309-316.
Bordwell, David., Thompson, Kristin. 2006. Film Art: An Introduction. 8th ed. New York: McGraw-Hill Higher Education. pp. 453-456.
Bordwell, David., Thompson, Kristin. 2009. Film History: An Introduction. 3rd ed. New York: McGraw-Hill Higher Education, pp. ‘Chapter 10: The Hollywood Studio System 1930-45’.
Bordwell, David., 1988. ‘Deep Focus’. In: D. Bordwell, J. Staiger, K. Thompson, Classical Hollywood Cinema: Film Style and Mode of Production to 1960. London: Routledge, pp. 341-352.
Carringer, Robert L. 1985. The Making of Citizen Kane. Berkeley and Los Angeles: University of California Press.
Cook, Pam., ed., 2008. The Cinema Book. London: BFI Publishing. pp. 402-404, 526-527.
Kael, Pauline. 1971. ‘Raising Kane’. In: Raising Kane and other Essays. 1996. London: Marion Boyars.
Larden, J. (2010). Citizen Kane (Orson Wells, 1941): New developments in Expressionism and the introduction of the ‘Deep Focus’ technique., [Lecture]. Introduction to Film and Cinema Studies. The University of Warwick. Open Studies Certificate. Stone Hall Adult Education Centre, 1083 Warwick Road, Acocks Green, Birmingham, 6th November.
Maltby, Richard. 2003. Hollywood Cinema. 2nd ed. Oxford: Blackwell Publishing. Pp. 256-257.
Mulvey, Laura. 1992. Citizen Kane. London: BFI Publishing.
Salt, Barry., 2009. Film Style and Technology: History and Analysis. 3rd ed. London: Starwood Press, ‘Chapter 17: Film Style and Technology in the 1940’s’ pp. 251-266.
Orson Welles Filmography
Citizen Kane (Orson Welles, Mercury Productions/RKO Radio Pictures, USA, 1941)
F for Fake (Orson Welles, Janus Film/ Les Films de l'Astrophore/SACI, France/Iran/West Germany, 1973)
Journey into Fear (Norman Foster, Mercury Productions/RKO Radio Pictures,
The Lady From Shanghai (Orson Welles, Columbia Pictures Corporation, USA, 1947)
Macbeth (Orson Welles, Mercury Productions, USA, 1948)
The Orson Welles Story Part One, Part 1, Arena, UK, BBC, tx. 1982.
The Orson Welles Story Part Two, Part 2, Arena, UK, BBC, tx. 1982.
The Stranger (Orson Welles, International Pictures, USA, 1946)
Touch of Evil (Orson Welles, Universal International Pictures, USA, 1958)
Deep Focus Filmography
L'avventura (Michelangelo Antonioni, Cino del Duca/ Produzioni Cinematografiche Europee (P.C.E.)/ Societé Cinématographique Lyre, Italy/France, 1960)
The Heiress (William Wyler, Paramount Pictures,USA,1949)
The Letter (Williams Wyler, Warner Bros. Pictures, USA,1940)
The Manchurian Candidate (John Frankenheimer, M.C Productions, USA, 1962)
Paper Moon (Peter Bogdanovich, Directors Company, The/Paramount Pictures/Saticoy Productions, USA, 1973)
Roman Holiday (William Wyler, Paramount Pictures , USA/Italy , 1953)
La Règle du Jeu (Jean Renoir, Nouvelles Éditions de Films (NEF), France, 1939)
Visions of Light (Arnold Glassman/Todd McCarthy/Stuart Samuels, American Film Institute (AFI)/NHK USA, 1992)
Wuthering Heights (William Wyler, The Samuel Goldwyn Company, USA, 1939)
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