The considerable success of the movie can be attributed to the context of production of the movie. Welles had been given a budget of $500,000, something unbeknown and out of the ordinary for a generally unknown director, however his works within the theatrical aspect of show business was noticed by Hollywood due to his success within orchestrated plays and radio specials from the Mercury Theatre. It was in 1938 that Welles conducted the broadcast that would put him in the spotlight for Hollywood studios, when he broadcast the “War of the Worlds” in which he imitated that a galactic outbreak of aliens had ensued.  The play was orchestrated in the form of a newscast, which sparked cultural controversy and skyrocketed Welles as one of the most spoken of actors that were in the West.

Soon after, Welles would be approached by RKO Studios, who were mainly known for their comedy and monster movies. In an effort to improve their reputation as a significant studio that could compete artistically, RKO studios offered a contract to Welles that was surreal in regards to the time, which gave him drastic artistic control, an offer Welles happily accepted, allowing him to star in the movie, direct the movie, and additionally employ actors from the Mercury Theatre he had become notorious from.

Another factor that affected the finality of the film can be identified with the films parallelism to the life of a William Randolph Hearst. The plot of the movie was widely believed to be a fictional rendition of him, due to Hearst being renowned for newspaper publishing, aspiring in politics and being an enthusiastic art collector. Hearst’s influence throughout show business and specifically the media, allowing for him to shun various sources of mass information and even offered the studio money to destroy the film completely. Therefore, this effected Citizen Kane’s box office, which vastly contradicts its title of the greatest movie ever made, and drastically morphed the opinion of the public towards the movie at the time, only being appreciated for its cinematic excellence years later.

The use of the Medium Close Up is an effective way to allow the audience to interpret the emotion depicted on the character in focus, whilst also managing to present a sufficient amount of environmental aesthetic. The use of the shot  captures the predicament of the antagonist, with the bars parallel to the frame of the character, therefore it is clear he is in captivity. The shot allows for the character’s hands to be visible clapping, with a nonchalant demeanor that contradicts his predicament, therefore the use of the shot is not only visually exemplifying of the character, it plays a vital role with the culmination of the scene in which he escapes his imprisonment.

This scene from Reservoir Dogs is an example of a long shot, which shows to the audience the standoff during the conclusion of the film. The choice of shot allows for the director to display the aftermath of the events in the warehouse, which mirrors the reason behind this altercation.  This is further emphasized with the injured Mr Orange visible at the bottom right of the shot, who represented the conflict and deception within the movie, therefore the audience can visually understand a moral challenge with the narrative as it succeeds with blurring the lines of protagonist and antagonist.

The utilization of  extra-diegetic gaze is evident considerably throughout Deadpool (Tim Miller, 2016). The effect allows for the character to embed narrative, especially when relevant to the character directly, and also helps sustain the satirical basis throughout.

In the opening scene of Kill Bill (Tarantino, 2003) , we can see the use of diegetic gaze, which emphasizes the pain of the protagonist, which we can identify physically and emotively. In relation to the rest of the film, this allows the audience to understand the tribulation the character is willing to endure in order to get revenge.

An example of intra-deiegetic gaze  is fully identified in Cloverfield (Matt Reeves, 2008), the movie is shot in perspective of a recording made by a victim of the events, and what he captures surrounding him. The effect on the audience this creates is a feeling of empathetic suspense, as the realistic filming style allows the audience to comprehend what it would be like for it to happen to them. 

• Lee criticised Detroit (Bigelow, 2017) and Django Unchained (Tarrantino, 2012) for being directed by white directors who were “misappropriating” or “misrepresenting” black narratives.

To an extent, Spike Lee’s opinion on the subject can be somewhat appreciated on the grounds that when making a film surrounding historical events, whether fictional or true, directors are solely producing presumption onto the screen,  and therefore can be perceived  as a misrepresenting form of content.

However, his ridicule on the misrepresentation on narratives seems contradictory in retrospect to the essence of a film, as films are fully subjective to opinion and do not represent the world we live in, in fact more times than not movies find themselves on the other side of the spectrum.

It is a controversial subject, and I can understand why Spike Lee would not be happy with the standing of the directors, however overall I believe that as film creators, we have to understand and appreciate narratives that allow us to see alternate and in some cases fictional perspectives.

Cinematography: The definition of cinematography is the art and process of movie photography. An example of cinematography are the decisions made about lighting, camera filters and lenses when shooting a movie scene.

Cinematographer: a person who oversees or directs photography and camerawork in film-making, especially one who operates the camera.

How is a Cinematographer different to a director? 

• Cinematographer is the one in charge of camera and lighting in a film.

• Director is the person in charge of the whole movie making process.

• Cinematographer gets to choose his camera and light crew.

• Director gets to choose the cinematographer with the rest of the crew, as well as the cast of the film.

• Cinematographer does not meet or discuss with producers about the movie.

• Director is the person who meets and discusses with producers.

• A cinematographer works for the director. However, they can discuss and come to decisions about the way pictures should be captured by the camera.

• Cinematographers are usually paid less than the director. But, sometimes they can get a better pay than the director; especially, in the case of commercial advertisements.

• Directors are usually paid more than the cinematographer.

The composition of this shot seems to be using an effective symmetry , with elements of the costume and lighting highlighting the main characters and giving the audience a presumption of what is going on. The use of the soldiers and their placement make the appearance the characters have triumphed, which is relative to the narrative.

The Low Key Lighting exemplifies the narrative with the lighting representing the tribulation in the antagonist, Darth Vader. This is further identified with the subtle use of lighting under the feet of the antagonist, which can be argued as a form of symbolic representation on the narrative as a whole.

In this instance, costume differentiates the protagonists from their conflict, especially with the lightsaber’s colouring, which does aesthetically effect the shot and the scene as a whole considering the fast pace of the scene.