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Luis Bunuel and Orson Welles, 2002.
A look at the life and works of Luis Bunuel and Orson Welles--influential and revolutionary filmmakers in film history.
1,185 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
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Abstract
This paper looks at the contributions of Luis Bunuel, director of the Surrealist film "Un Chien Andalou"; (An Andalusian Dog) and Orson Welles, director of the American classic film, "Citizen Kane". It shows how both directors have given significant input to the history of film that are currently and still in practice.
From the Paper
"Luis Bunuel is a Spanish director who was known primarily for his contribution the Surrealist movement that emerged along with the French Impressionist movement during the latter part of 1920s. ?Un Chien Andalou? (An Andalusian Dog), which was produced in the year 1928, marked the beginning of the use of surrealism in films. During this time period, surrealism is fast becoming a popular movement, and is prevalent in the visual arts, such as the paintings of Andre Breton and Salvador Dali. Incidentally, Dali is influential in Bunuel?s works because his works include those of Dali?s paintings, one of which was shown in ?Un Chien Andalou.? The Surrealist movement is characterized to be the anti-thesis of the normative formula of most films. Instead of adapting a narrative form and style, Surrealist films are antinarrative, and appeals mainly to the subconscious thoughts of people. Surrealist works are also devoid of logic, as can be seen in Bunuel?s portrayal of a woman sucking the toes of a statue, and the popular scene wherein Bunuel himself cut with a razor the eyeballs of a woman. These scenes are evidently devoid of any logic, and in fact, surrealist films do not aim to explain at all whatever message (if there is a message) a film has."
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Orson Welles: His Art as it Manifests itself in "Citizen Kane", 2006.
A review of Orson Welles' epic film "Citizen Kane".
1,515 words (approx. 6.1 pages), 1 source, MLA, $ 49.95
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Abstract
This paper examines the signature film in Orson Welles' directorial career - "Citizen Kane". The paper explores how Welles constructs his narrative, how his fairly elegant style as a director is on full display in the film and how he builds the character of Charles Foster Kane via introducing the recollections of others (by using superbly-rendered visual images). The paper also discusses how Citizen Kane shows Welles' ability to take the film-making art of his time and elevate it to a new level of sophistication never before seen in American cinema, by making images on the screen act with a metaphorical power and vividness. The paper looks at Gregg Toland's (cinematographer of "Citizen Cane") artful use of cinematographic tools that were far more advanced than anything which had been attempted up to that time.
From the Paper
"In Citizen Kane, Welles' extraordinary ability to create a storyline that is simultaneously complex yet (fairly) easy-to-follow is on display. The noted American film critic Roger Ebert has written that the film is circular, adding more depth each and every time it returns to the life of the Kane character. Ebert also adds that the decision on the part of Welles' to open his 1941 opus with a scene featuring newsreel obituary footage is intended to be both portentous (obviously) and is also meant to serve as an anchor that will keep the thoughtful audience member oriented as the screenplay moves seemingly haphazardly from one memory to another of the man as recalled by those who knew him."
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Chaos Versus Order: Orson Welles' "Othello", 1999.
An examination of the use of lighting, camera angles and props to symbolize the changing characters of Othello and Iago in Orson Welles' film version of William Shakespeare's "Othello".
2,976 words (approx. 11.9 pages), 9 sources, MLA, $ 87.95
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Abstract
This paper discusses how, in his play "Othello", Shakespeare establishes Iago as a manipulative character who brings chaos and pain to Othello's world of order and respect. Iago's influence on Othello is seen in the text as Othello's lines become progressively shorter and more violent, and Othello loses everything he loves. The paper then looks at how Welles, in his 1952 adaptation of the play, brings these men's opposing styles, chaos and order, to film through the use of visuals and how he emphasizes Othello's loss of power and order at the hands of Iago with the use of lighting, props and confining sets.
From the Paper
"In his play Othello, Shakespeare establishes Iago as a manipulative character who brings chaos and pain to Othello's world of order and respect. Iago's influence on Othello is seen in the text as Othello's lines become progressively shorter and more violent, and Othello loses everything he loves. Welles brings these men's opposing styles, chaos and order, to film through the use of visuals. In his 1952 adaptation of William Shakespeare's Othello, Orson Welles emphasizes Othello's loss of power and order at the hands of Iago with the use of lighting, props, and confining sets."
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D.W. Griffith, John Ford, Orson Welles, Alfred Hitchcock and Ingmar Bergman, 1999.
Examines these five directors' major films, contributions to cinema, innovations, styles and techniques.
3,825 words (approx. 15.3 pages), 9 sources, $ 135.95
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Abstract
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking.
From the Paper
"This paper is a discussion of the works of five of the greatest directors in international cinema. D. W. Griffith, John Ford, Orson Welles, Alfred Hitchcock, and Ingmar Bergman have each had enormous influence in their art because of their individual vision and striking approach to filmmaking. Their visual concerns have been dramatically different, but the commitment of each has led them to create powerful, effective films that continue to affect the work of filmmakers in every genre and every nation today. All five have made significant contributions toward turning filmmaking into an art, while developing different aspects of cinema and varying genres, and all five can be considered great artists.
David Wark Griffith was born in Kentucky on January 22, 1875. He began his career as an actor in small touring ..."
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"Citizen Kane" (Orson Welles, 1940), 2002.
The paper reviews the film "Citizen Kane" and analyzes its importance and originality in 20th Century cinema.
1,006 words (approx. 4.0 pages), 3 sources, MLA, $ 35.95
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Abstract
The paper examines how the film reflects a sense of the history of the U.S. in the first four decades of the 20th Century. It looks at the American values embodied in the title character, Charles Foster Kane. The paper also discusses the synthesis of techniques used in the film, including German expressionism and spatial relations, which contributed to the film's originality.
From the Paper
"This is an ambitious film. Its subject is not just the life of one man but the development of American society, politics, business, and journalism over the course of the century from around 1890 to 1940. The film is highly successful at both its main endeavors--making the wealthy and powerful Kane into a human figure standing as a sort of American tragedy, and giving a sense of how American history flowed through the media as the latter became more important in this century. For Kane, owning a newspaper starts as something he thinks would be fun and becomes a means to attain and consolidate power. He tries politics himself but is driven away when his own peccadilloes are about to be revealed, then he uses the paper to make and break others in politics as in other realms of business and social life."
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Citizen Kane ( Orson Welles ), 1987.
Discusses the techniques, purposes & effects of narrative approach.
1,350 words (approx. 5.4 pages), 0 sources, $ 47.95
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From the Paper
"The cinematic world invites---even requires---concept-ualization. The images presented to us, their arrangement and juxtapositioning, are narrational blue prints for a fiction that must be constructed by the viewer's narrativity." This essay will discuss this quotation in relationship to Citizen Kane.
Orson Welles and co-writer, Herman J. Mankiewiez, created
a complexly structured story. Welles invites the viewer to
piece together the various segments of Kane's life rather like
the jigsaw puzzles that Kane's second wife, Susan, plays with
in Kane's castle. The film begins outside the castle, Xanadu,
at the "No Trespassing" sign, then moves through the dark eerie night to the castle, then on into the bedroom. The camera moves slowly toward the bed, where an ugly old man lies dying, Charles Foster Kane (Orson Welles). The camera moves in to hear the man's(...)"
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Hearst and Welles, 2004.
This paper discusses the similarities in the lives of journalist William Randolph Hearst and filmmaker Orson Welles, known for his masterpiece, ?Citizen Kane?.
1,835 words (approx. 7.3 pages), 15 sources, MLA, $ 58.95
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Abstract
This paper explains that Welles?s controversial film, "Citizen Kane", cast a negative light on the way Hearst operated his newspaper franchises, creating a struggle in which Hearst tried and succeeded in blocking the film from the public for many years. The author points out that William Randolph Hearst is commonly known as the originator of ?yellow journalism?, a type of news that distorts facts or makes them up to catch people's attention. The paper relates that Orson Welles also broke into prominence and became very well-known, just like Hearst. He was seen by many people to be a 'boy genius', and his dramatic skills as a public persona who could publicize himself were a lot like Hearst?s.
From the Paper
"Hearst acquired his fortunes by ruthlessly competing with other newspapers until they folded under his pressure. No tactic was too low for him: if a newspaper had a popular comic-strip, he would steal the artist. He even stole being recognized by the term ?yellow journalism,? which was originally used to describe one of Hearst?s competitors,
Joseph Pulitzer. ?Though the term was originally coined to describe the journalistic practices of Joseph Pulitzer, William Randolph Hearst proved himself worthy of the title?. Hearst and Pulitzer competed mercilessly: ?in 1895, William Hearst purchased the New York Morning Journal and entered into a head-to-head circulation war with this former mentor, Joseph Pulitzer, owner of the New York World?."
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The Art of the Past, 2007.
An analysis of John Berger's "Ways of Seeing" and Orson Welles' "F For Fake", discussing the history of art.
1,712 words (approx. 6.8 pages), 2 sources, MLA, $ 55.95
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Abstract
This paper discusses the essay by John Berger, "Ways of Seeing" and the video by Orson Welles, "F for Fake". The paper discusses the history of art and how it has changed over the years. It discusses forgeries and how paintings can be viewed by people using their senses, as opposed to just what they physically see on the canvas. The paper concludes that we need art from the past in order to guide us how to act in the present.
From the Paper
"Berger demonstrates the change of perception to a particular image to his reader through the painting by Van Gogh. In this painting we have a peaceful outlook which is misrepresented by words into a most violent scenario when we read that this was the last work that Van Gogh painted before he ended his life. In some way words and paintings can never exist in complete harmony and nevertheless we can not have one without the other. Berger is also worried of that fact that when we see images, we often be likely to mystify them with the usage of money-oriented or acquisitive objects."
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"Citizen Kane", 2008.
An analysis of the techniques used in the film "Citizen Kane" by Orson Welles
1,128 words (approx. 4.5 pages), 5 sources, MLA, $ 39.95
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Abstract
The paper discusses the film "Citizen Kane" by Orson Welles and analyzes its style and structure. The paper shows how the various elements used in telling this story contribute to its symbolism while centering on the mystery of the nature of Kane's character.
From the Paper
"Citizen Kane is a rich film in which one can find a wide variety of American values reflected or subverted in the actions of Kane and others in the film. The film also reflects a sense of the history of this country in the first four decades of this century, a period of change in the economic and political realms embodied in the changes in Charles Foster Kane himself. He begins as an idealist in the American mold, a man who wants his newspaper not merely to report the news but to provide a forum for the truth. However, this entails the accumulation of a good deal of power, and the growth of this power becomes a rationale for trying not merely to report the news but to make it."
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"Citizen Kane", 2002.
Analyzes this film by Orson Welles.
1,900 words (approx. 7.6 pages), 10 sources, $ 71.95
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Abstract
This paper examines the Orson Welles' film, "Citizen Kane". It focuses on the opening scene featuring a 'News on the March' newsreel outlining the life of Charles Foster Kane. It relates this montage to the film as a whole both thematically and cinematically.
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An Analysis of "Citizen Kane", 2006.
An analysis of the four minute boarding house scene in the film, "Citizen Kane" and what this scene reveals about the style of the director, Orson Welles.
1,217 words (approx. 4.9 pages), 1 source, MLA, $ 41.95
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Abstract
This paper analyzes Orson Welles' film, "Citizen Kane", and describes the plot of the story and the personality of the main character in the film. The paper specifically focuses on Mrs. Kane's boarding house scene and how it affected the childhood of Charlie Kane, the main character in the film. The paper then describes how this four-minute scene displays Welles' artistic talent in an exceptional manner.
From the Paper
"Orson Welles created a masterpiece in his film Citizen Kane and the four-minute scene of Mrs. Kane's Boarding House displays Welles' artistic talent in an exceptional manner while creating the image of Charles Kane as a happy, playful boy that becomes raged at everything about his new guardian, and leads to Kane being in a lifelong search of what he lost that day. Welles painted a canvas that showed how inspiring Charlie's mother was to Kane and that Charles was committed to being in control of his environment just as his mother was. The love and affection that was lost as boy from Kane's mother was sought after by the radiance that Charles demanded from his empire. Welles' depiction of Kane's childhood showed what Charles wanted to replace in his life as an adult by the wealth and empowerment gained. Through the uses of camera angles, character placement, sounds, and symbolism, Welles brought about the undiminished story of Charles Kane's life in this one scene. As Charlie's sled of security and love of his childhood lay alone, cold, and lifeless in the snow, he had much wealth and many people with him as his journey with Thatcher began. As Kane died an old man, he also was alone, cold and lifeless with great wealth and many people."
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"Rosebud", 2005.
Examines the meaning behind the word "rosebud" in the film "Citizen Kane" by Orson Wells.
1,245 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
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Abstract
The film "Citizen Kane" by Orson Welles, creates its deep inner meaning by displaying its characters in numerous interrogations and situations from the past. Not only are we presented with an excellent use of lighting, cuts, and angles, but also a great use of the technique of time distortion. This paper looks at how the word "rosebud" is interwoven throughout several scenes by describing the scene and the meaning behind the word. The paper includes many quotes from scenes in the movie.
From the Paper
"Rosebud is used to show how Kane had an unsatisfying childhood that lead to an adult life filled with sadness due to his inability to love or be loved. The film uses this symbol to pronounce that wealth and power cannot create everything we need to get by. Kane is never loved, nor can he show love. He never learns these key elements of life because he is always given material items to purchase his happiness."
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"A Touch of Evil", 2005.
Analyzes the opening sequence of the film, "A Touch of Evil," by Orson Wells.
1,611 words (approx. 6.4 pages), 0 sources, $ 52.95
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Abstract
This paper presents an analysis of the famous opening sequence of Orson Welles's film noir, "A Touch of Evil". The paper focuses on the cinematography and the long tracking shot that begins the film.
From the Paper
"Orson Welles is widely considered to be one of the masters of modern cinema. His work on films, though originally considered a diversion to raise money for his theater projects and marred by clashes with the Hollywood studio system, created some of the greatest American films. Though not as acclaimed as his masterpiece Citizen Kane, Welles?s film noir Touch of Evil is a remarkable piece of cinema in its own right, especially the striking opening sequence."
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"Othello": The Movie, 2006.
A comparative analysis of Orson Welles and Tim Blake Nelson's cinematic versions of William Shakespeare's "Othello".
1,672 words (approx. 6.7 pages), 2 sources, APA, $ 54.95
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Abstract
This paper compares two well-known cinematic versions of Othello, Orsen Welles' "Othello" (1952) and Tim Blake Nelson's film titled "O" (2001). It focuses on the ultimate scene of the play - the killing of Desdemona and Othello's final speech and pays attention to important dramatic elements, while discussing and analyzing the central thematic concerns of the play.
From the Paper
"The final scene in Nelson's film takes place in the student dormitories; this allows Nelson to surround his hero with all the characters involved. The Othello which Nelson and Kaaya create, Odin, is substantially less reserved and composed than the original: he cries a number of times throughout the film, most importantly while killing Desi (Julia Stiles) in the penultimate scene. It is important to point out, in this respect, that Odin becomes disposed to the notion of ending Desi's life only after Hugo fools him into believing she and Mike have called him a "nigger". "
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Gatsby and Kane: A Character Comparison, 2006.
A comparison between F. Scott Fitzgerald's Jay Gatsby and Orson Welles' Charles Foster Kane.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper claims that the characters of Jay Gatsby and Charles Foster Kane have many correlations in their construction. It explains that each character represents a man that is led by the past to overcome inner turmoil and right the wrongs that they perceive as assaults on their existence. It also mentions that the characters both believe that monetary gain will resolve these issues and that money demonstrates control over others in the world. It explores what they truly desire, love, which is unobtainable because even when the opportunity for love presents itself the characters cannot release the anger that has flourished inside of them.
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