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."

Tags:film, cinematography, screenplay, screen, movie, epic

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."

Tags:Chien, Andalou, Citizen, Kane, Surrealist, movie

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."

Tags:shadow, confinement, space, Desdemona

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"."

Tags:yellow, controversial, newspapers, genius, persona

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 ..."

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."

Tags:masterpiece, cinema, Xanadu, plot, Gregg, Toland

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(...)"

Abstract
This paper gives an analysis of the impact that Orson Welles panic radio broadcast of the 'War of the Worlds' had on its audience and on the field of communications. Additionally, the paper gives theories for the audience reaction.

From the Paper
"Orson Welles' masterful rendition of his book 'War of the Worlds' over America's airwaves redefined the sphere of communications. Welles manipulated the radio broadcast to engage his listeners directly and in doing so created widespread panic among the public. As a result of the broadcast's effect on the public, a number of communications theories emerged: Hypodermic Needle theory, for example, had existed prior to the broadcast and its thesis that the media has a direct effect on its audience seemed to be proven by the reaction to Welles'..."

Tags:welles, orson, war of the worlds, panic, broadcast, hypodermic needle, cultivation, magic bullet, communications, theories

Abstract
In this article, the writer studies two films Orson Welles' 'A Touch of Evil' and Ridley Scott's 'Blade Runner' and discusses women's place in film noir. The writer maintaints that Ridley Scott's film 'Blade Runner' is a perfectly constructed homage to the film noir genre. The writer discusses that Welles' 'Touch of Evil' and Scott's film both star a loner detective chasing villains through a spiritually bankrupt and morally corrupt society. Furthermore, the writer notes that both employ women in one of two archetypal film noir roles--in the case of Welles' "Susie"--that of the dutiful woman or Scott's "Rachael" as femme fatale. The writer concludes that although this treatment of women is standard throughout the genre, Welles' and Scott's films are unique, in that the two depict both the nurturer and the femme fatale, as portrayed by a single character.

From the Paper
"Welles employs the same techniques to paint Susie as virginal, innocent, and good, as he does to contrast Vargas with the corrupt and sinister Grandi or Quinlan. Throughout the film, Susie is attractively lit with the three-point lighting method used in classic Hollywood cinema, while criminals and the corrupt are shown in relative shadow. In addition, these characters are often depicted with low-angle shots that only serve to emphasize their craggy skin and physical imperfections, suggesting an equally flawed and ugly interior. Conversely, Susie is shot head-on--her beauty emphasized to reinforce her role as good, innocent, and beautiful, both inside and out."

Tags:femme, fatale, character, wife, female

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."

Tags:character, plot, guardian