film‚ the foreground‚ background and everything in between are all in sharp focus. Another unorthodox method used in the film was the way low-angle cameras were used to display a point of view facing upwards‚ showing the ceilings in the background (Toland‚ G.). Since movies were primarily filmed on sound stages with the Hollywood studio system‚ it was impossible to film at an angle that showed ceilings because they shot on stages (Kstryker). Mise-en-scene is used to
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Fading in on an ominous nighttime exterior‚ the camera slowly focuses on a high wrought-iron fence with the initial "K." carved into the metal. Beyond spreads Xanadu‚ the vast estate of one of the world’s wealthiest men.Within this estate is a dying man who clutches a snow globe with its make-believe snow swirling about. He utters one word‚ "Rosebud‚" and dies‚ dropping the ball‚ which breaks into tiny shards. So begins Orson Welles’s “Citizen Kane”. “Citizen Kane” chronicles the life of Charles
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“In almost all movies before Citizen Kane‚ you couldn’t see the ceilings in rooms because there weren’t any. That’s where you’d see the lights and microphones. Welles wanted to use a lot of low-angle shots that would look up toward ceilings‚ and so Toland devised a strategy of cloth ceilings that looked real but were not. The microphones were hidden immediately above the ceilings‚ which in many shots are noticeably low.” The deep focus used in the scene includes all of the characters‚ both at the table
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release of the film caused a lot of controversy‚ because Hearst didn’t want the movie released however‚ he made some progress with pulling all his resources and some theatres delayed the release of the film (www.filmsite.org/citi.html). ~ Gregg Toland was an American cinematographer noted for his innovative use of lighting and techniques such as deep focus. His claim to fame was the visual contributions he made to the film including camera placement‚ and lighting effects. 2a). Deep focus:
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Orson Welles’ film Citizen Kane has been consistently ranked as one of the best films ever made. A masterpiece of technique and storytelling‚ the film helped to change Hollywood film-making and still exerts considerable influence today. However‚ at the time of its premiere in 1941‚ it was a commercial failure that spelled disaster for Welles’ Hollywood career. Citizen Kane tells the story of millionaire press magnate Charles Foster Kane (played by Welles). The film opens with Kane on his death
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Color in film went through a self-contained evolution much like sound. Many films of the silent era‚ for instance‚ used processes such as tinting and toning to give an overall color to the frame (Thomspon & Bordwell 34). Thompson and Bordwell comment on the process that “color could provide information about the narrative situation and hence make the story clearer to the spectator” (34)‚ much like the use of photogénie and mise-en-scene by the Impressionists and Expressionists. Other films‚ such
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learning experience. The Last 100 Days helped to me to see things that happened in the war in a different way. It wasn’t the usual great men of valor triumphing over the evil Germans. That was probably my most favorite part of the book. I think that Toland did a nice job of bringing unknown facts and perspectives to light. In conclusion‚ reading The Last 100 Days was a stimulating and enlightening
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beautiful and brilliantly made film in its own right. If‚ however‚ the team of Orson Welles and Greg Toland had produced the same film it would take on an entirely different look and feel. The film would reflect Wells love for creating physical representations of thematic metaphors and the long take and Toland ’s brilliant use of deep space photography and mobile framing. Under the direction of the Wells-Toland team‚ the film would take on subtle‚ yet significant differences from the very beginning. In
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impair the memory of an original event (Toland‚ Hoffman & Loftus‚ 1991). However‚ although this phenomenon is well-established its interpretation is not. This debate about why the misinformation effect occurs relates to a fundamental issue about human memory - whether or not memory traces are permanently stored. Two of the mechanisms which have been offered to explain the misinformation effect are: the alteration hypothesis and the coexistence hypothesis (Toland et al.‚ 1991). Both hypotheses share
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and defiance towards the formal rules that made up the classical Hollywood cinema film style between 1917 and 1960 (David Bordwell‚ Janet Staiger and Kristin Thompson 1985). Effectively‚ its director and his associates‚ notably cinematographer Gregg Toland and screenwriter Herman J. Mankievicz‚ dared to challenge and to some extent revolutionise Hollywood’s strict cinematic codes‚ pioneering a wide range of technical innovations‚
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