Breathless (1960, dir. Jean-Luc Godard) is a very influential film, and is an example of French New Wave cinema. At this point in time, there were cinema conventions established by Hollywood. Movies made during the French New Wave era typically didn’t follow these conventions. For example, in Breathless, there are lots of scenes where the characters have meaningless conversations.

These scenes were sometimes improvised by the actors, and give the film a more natural feel to it. This is different from the mainstream films that were being produced at the time, where everything was very scripted. Audiences were getting bored with these films, which is why films such as Breathless and the French New Wave movement were so successful. These improvised scenes often were made up of long shots and deep focus shots. This allows the audience to interpret the scene how they want, and adds to the more naturalistic feel that it has.

Godard also uses a number of jump cuts in some scenes in Breathless. These shots look unnatural, as they are only slightly different from the previous one. The jump cuts suggest that time has passed since the previous shot, but as Patricia is in the same position it seems unusual.

Godard used methods like these in Breathless to remind the audience that they were actually watching a film, and that the scenes weren’t real. This distances the viewer from the story and the characters within it. These shots also seem unusual because while the image is changing and apparently showing different points in time, Michel talks continuously over the top. One other reason for the seemingly random jump cuts was because Godard was told to make the film shorter. This led him to cut parts of scenes out, making them feel like there were parts missing. The jump cuts weren’t originally intended during filming, but Godard’s style later was called innovative.

One feature of French New Wave Cinema is an emphasis on having realistic mise-en-scene. Breathless was filmed in real locations, and had no sets constructed for it. This led to the film having a very naturalistic look and feel to it. Godard’s decision to film in this way led to the film presenting a more realistic view of the world, rather than it being over-stylised, which previous films were.

The final scene of the movie was shot in a real Paris street, rather than constructing a set. This saved the crew precious time and money, as they had a relatively low budget. Again, this is what makes Breathless different from other mainstream films, as elaborate sets weren’t needed. In addition, the ending of the film is different from what audiences would have expected to see. During the ‘golden age of Hollywood’, audiences had become used to films where the protagonist was a hero and makes the right decisions. However, Michel dies at the end of Breathless, changing the expectation for the protagonist to survive, and for them to always be the hero.

Breathless was Godard’s first film. Before he became a director, he wrote for a magazine called Cahiers du Cinéma, which analysed and criticised films. Through this magazine, which he co-wrote with  François Truffaut, he developed the auteur theory which suggests that the director of a film is the real writer, rather than the person who wrote the screenplay. This is because elements such as camera placement and lighting are chosen by the director, and convey the main message of the film. This could be why Breathless has such a personal and everyday feel to it, because Godard focused on using mainly the mise-en-scene to tell the story.

Godard’s style can be seen in modern-day movies, as his influence has reached a lot of mainstream cinema. For example, Pulp Fiction (dir. Quentin Tarintino, 1994) uses lots of seemingly random cuts, which is a style of Godard’s. This editing adds tension and action to the scenes. Also, some scenes in Pulp Fiction are random and not important to the whole plot, for example when two characters are talking. This adds a sense of verisimilitude to the film, and is something that was developed in French New Wave cinema.

Citizen Kane (Orson Welles, 1941) was widely influenced for the look and feel of this film by the production context making it considered as the greatest film ever made.

In 1938, Welles radio broadcast of War of Worlds got him his first step into fame. This led to him being hired by the Film Production studio RKO in which they gave him full control over creating a new creative film. As long as it stayed under the budget of $500,000, the film could be anything Welles desired. His history of working in theatre production caused the film to have used many features used in stage productions such as lighting, long-take, Brechtian techniques etc. Also, many of the cast were trained to act on stage, rather than on-screen, due to being a part of Welles’ theatre group.

William Randolph Hearst, an American businessman, politician and newspaper publisher, was the inspiration and who Citizen Kane was based off of. Because of this, Hearst used his power to suppress the amount of theatres that Citizen Kane was able to be shown in, which limited the film’s views from the Box Office, which harmed Welles career despite Welles denying the accusations. Although, the character of Citizen Kane highly described Hearst’s life rather well, which led to the boycotting of the film. In 1956, Citizen Kane was finally revived and achieved the appreciation and success rates that it deserved.

A deep Focus Lens was used within Citizen Kane, making the scene very innovative, as it was a new invention created by cinematography, Gregg Toland. This is just one of a number of elements that made Citizen Kane such an incredible film. This was highly effective in some scenes as it allowed the audience to see things differently, as it allowed everything in the scene to all be focused at once. For example, in one scene, Kane was the same size as a window however his size got smaller as he walked towards it. This was a creative metaphor within the film to display how Kane’s power and influence got smaller. Without this advanced use of technology, and many others that were used plus Welles’ extreme creativity, Citizen Kane would not have been as successful as it is now and has been for decades, making it the greatest film ever made. 

I believe that the best scene within the film “Citizen Kane” was when the main character Charles Foster Kane signs the “Declaration of Principles”. This is because a very well-used feature used in this scene that stuck out to me was the lighting use. This is when Charles is explaining to two other characters how important his document is and how it displays rules that should be followed for his newspaper. The lighting is used so that you are able to see the character’s faces clearly, apart from Kane’s; who is in complete darkness. This could be a metaphor for him slowly becoming alone and foreshadowing his tragic death. It is also used as irony due to Kane himself, later on, forgetting these rules and produces anything he wants. This shows him going off the rails because he’s refusing his own instructions that he deemed so important to other people.

Kane is proven to be a dreamer and one with a desire for people to love and rely on him, this is shown by this quote from earlier on in the scene: “I’ve got to make the New York Inquirer as important to New York as the gas in that lamp”. It is shown to the audience, later on in the film, that he wants love from everyone, despite himself not having any love to give them, just like the gas in the lights. Everyone loves his newspapers but not he personally, as no one cares to get to know him. The technology used to present the lighting was amazing for the time it was produced. The costume in this scene was another prominent feature that was used. The creative use of Mise-En-Scene was what I liked most about this particular scene. The two men in this scene are both well-dressed in suits, whereas Kane is unpresentable in an untidy uniform. This emphasises to the audience his oncoming increase of apathy and lack of control with the company which, again, foreshadows he going off the rails.

In this scene, the Brechtian technique of “breaking the fourth wall” has been used. Jedidiah is the one telling the story in a flashback, therefore he knows how it ends, unlike the audience. Therefore his quote: “I have a hunch it might turn out to be something important”, as he stares right into the camera, is foreshadowing to the audience by directly addressing them. Cinematography is another well-used feature within this scene. Firstly, throughout the song, the camera is facing upwards to Kane. As though the audience is beneath him. Also, it appears to be a long-take lasting two minutes. This forces the audience to watch the entire time he is signing the document, despite us knowing the lie. Also, the lens is fully in focus allowing us to see the clear faces of each character, this way the lighting is what’s used to draw attention towards Kane. Almost like an opposite spotlight. The amazing use of Mise-En-Scene, foreshadowing and breaking the fourth wall is why I chows this specific scene as my favourite as also why, I believe, Citizen kane was the greatest film ever made.

In the Cabinet of Doctor Caligari (1920 , directed by Robert Wiene ) there were many innovations that helped to change the medium of film.

Firstly , the mise en scene is used to create a distorted reality – all of the sets are distorted , for example , the protagonists home town is tilted at an impossible angle and all of the buildings are twisted -this sends a clear message to the audience that things are not as they seem and it may unnerve them and make them uncomfortable . In addition, the characters costumes and makeup reflects  the broken mentality that was the norm in  Germany in the early 1920’s  and this is particularly evident when it comes to Cesare  , his dark makeup reflects the dark mood that was present at the time and in the narrative , the costumes and the makeup can signify the morality of the characters and this is a helpful shorthand for the audience as it tells them who to oppose and who to root for. Everything around the characters is distorted and this all makes sense at the end when it is revealed that the main character is insane and that he made everything up.

The cinematography in the film is innovative because the cinematographer , Willy Hameister , was able to make the film visually interesting without using color and the  cinematography helps to build the verisimilitude and makes the film seem like it could happen in reality.  The cinematography in this film can be regarded as innovative because it helps to reinforce the theme of mental deterioration and it communicates this to the audience in a tasteful and subtle manner so when they discover that the narrator is actually insane , the audience will not be that surprised because they would have been visually primed  to expect that everything is not as it seems.

https://www.youtube.com/watch?v=2_Pk1bIiCaI

Finally, the editing in this film is innovative because it makes the audience uncomfortable in a subtle manner and it makes them excited for what will come next. For example , this film famously uses iris shots when there is a transition between different scenes and this makes the film slightly disjointed and the audience  feels anticipation for what comes next because they won’t know what to expect. In addition , when Cesare awakens , the camera focuses on  Caesar’s face and it then cuts to the amazed audience – this tells the audience that Cesare is considered to be a spectacle for their amusement  and this is an example of the Kuleshov effect and it tells the audience what is happening without the need for sound and this film helps to develop cinema as a storytelling medium that is distinct from all other forms of visual media.

https://www.youtube.com/watch?v=UEEOEnAmGl8

The Cabinet of Dr Caligari (1920, dir. Robert Weine) is a silent horror film that was made in Germany by an independent studio called Decla. At this time in Germany, most film studios were owned by the massive company UFA, but Decla weren’t. The Cabinet of Dr Caligari went on to influence many other films, including the genre of film noir in Hollywood during the 50s and 60s, and some films in modern-day cinema.

In The Cabinet of Dr Caligari, the editing effect of an iris wipe is used frequently. This is done by slowly closing the iris of a camera, before sliding a piece of card over it to make the shot cut to black.

This is an editing technique that was commonly used in silent films such as this one. In this shot, it is being used when Francis tells the story of the fair through a flashback. The iris cut emphasises the fact that it is a flashback, as it creates a sort of dreamlike feel to it. There isn’t a lot of intercutting in this film, which is because to join together scenes, the film had to be manually glued together. This, along with the small sets used, makes the film feel quite like a theater play, rather than a film.

The Cabinet of Dr Caligari was made entirely on sets, with no outside shots. This means that no natural lighting was used, so they lit the sets artificially. However, as the studio Decla was outside the control of UFA, they had limited resources, such as electricity for lighting. To help with this, they painted strips of light and darkness onto the sets, to create the impression of shadows.

In this scene, it is clear to see where light sections have been painted on the floor. This reflects the genre of the film, as it was made during the period of German Expressionism. One feature of this is distorted landscapes, which is reflected in this shot of the street. In addition, the window and the walls of the set have been slanted, making the set look confusing. This again reflects the context of German Expressionism, but also foreshadows at the twist at the end, where it is revealed that it is all a story of a mental patient. The warped set makes the audience experience the world as the insane Francis does. The Cabinet of Dr Caligari made a cinematographic breakthrough, in terms of introducing the idea of a twist ending and an unreliable narrator.

The makeup in this film is also very detailed, but also very dramatic. As it is a silent film, Weine had to find different ways of expressing characters’ emotions to the audience, as they weren’t able to talk.

This is the scene where Cesare is first revealed to the audience. This close up allows his face to be seen very clearly, and it emphasises the dramatic makeup that he’s wearing. The heavy dark eyes and lips could have been used to reflect Cesare’s thoughts and what is happening in his mind. His makeup and costume is meant to be slightly creepy, establishing him as a main villain for the audience.

Cesare’s character could be referencing some of the soldiers that had come out of World War 1, as they were shell-shocked and unable to carry on life as normal. The creators of The Cabinet of Dr Caligari – Hans Janowitz and Carl Mayer – were pacifists, and the script was inspired by some of the events of their lives. They could have intended the film to be showing how traumatic experiences can dramatically change a person, which they have shown in the film through the use of extreme makeup and distorted sets and mise-en-scene. However, eventually, The Cabinet of Dr Caligari went on to set the theme for German cinema throughout the rest of the Weimar period, where mise-en-scene was used in an expressionistic way, rather than realistically.

There are a number of factors in Citizen Kane (1941, dir. Orson Welles) that cause many critics to consider it the greatest film of all time. It has come at the top of the AFI’s Top 100 Movie’s list in both 1998 and 2007. During the production of Citizen Kane, a number of new cinematic ideas were developed and used, for example Gregg Toland’s deep focus lens, which allowed everything in the scene to be in focus all at once. His innovative use of the lens allowed the film to have different impacts on the audience’s perspective of things, for example in this scene:

Here, Kane looks to be the same size as the window, but as he walks towards it he is dwarfed by its immense size. When Welles was designing scenes like these, he wasn’t aware that having everything in focus all at the same time wasn’t really possible yet. As he’d previously worked in theater, he asked Toland to find a way to do this, which led to his invention of the deep focus lens. This is just one use of the lens, and there are many different ways in which the camera was also used innovatively throughout the film.

Another aspect of Citizen Kane that helps it to be considered the greatest film is the use of makeup. It is used in a very clever way through the film, as the actors were playing the same characters but at different stages in their lives. The makeup artist, Maurice Seiderman, uses makeup subtly to show the characters aging, for example in the breakfast table scene with Kane and his first wife Emily.

At the beginning of this scene, both characters look young as it is early in their marriage. As the scene progresses, they start to look older, but the change isn’t really noticeable until the end:

This is a very clever use of makeup, as it quickly condenses years of their marriage into a couple of minutes. At the time that the movie was made, makeup was often unconvincing and unrealistic, but Seiderman managed to make it look natural on all of the characters. He came up with his own makeup and techniques that were more comfortable for the actors to wear, and looked like real life. Sometimes, the actors had to spend five or six hours in the makeup chair, but the end product made up for it. In some ways, Seiderman’s use of makeup influenced other films that followed.

The plot behind Citizen Kane also is a factor that makes it a very popular film. At the time, it was based on the newspaper publisher and politician William Randolph Hearst, which was very controversial. The consequences that the movie faced at the time greatly affected its reception, but now it has grown in popularity. One reason for this could be because of its relevance in today’s society, with the rise of Donald Trump. The character of Charles Foster Kane is very similar to him, and to many other people in positions of power. This could be why Citizen Kane is widely considered the greatest film of all time.

In my opinion, this scene from Citizen Kane (1941, dir. Orson Welles) has a wide range of different micro elements, which work together to create a subtle but overall very incredible effect. It is a scene from towards the beginning of the film, where Kane’s childhood is partially explained to the audience.

This scene begins with a fade from the text that is being read to Kane as a young boy playing in the snow. Firstly, this is helpful to the audience as it focuses on the sentence ‘I first met Mr Kane in 1871.’ before fading into the snowy scene, which helps them to understand the context. In addition, the slightly tense music that is playing at the beginning smoothly changes into a happier tone, creating a Christmas feel. This makes the transition between the two shots seem smoother, and helps to immerse the audience in the winter scene.

This scene also features a long take, from 0:26 to 2:06. It begins with the camera zooming out through the window from the shot of Kane playing in the snow. The camera then continues to move backwards through the room, stopping at the end of a table. However, for this take to be possible, the camera must have passed through the table. To solve this problem, the cinematographer for Citizen Kane, Gregg Toland, came up with a table that would split in half to allow the camera to pass through, then quickly attach back together in time for the shot. This was an incredibly innovative idea, as it immerses the audience within the scene and creates a high sense of verisimilitude.

The use of a deep focus lens in this scene is also significant in the message that it portrays. For example, here everything in the scene is in focus, so the audience aren’t quite sure on what they should focus on – the signing of the paperwork in the foreground or Kane playing in the snow in the background.

The deep focus shot causes the emphasis on characters to be drawn from their actions and movements, rather than them just being in focus. The fact that Mrs Kane is in the foreground suggests that she is holding the power in this scene, as she is in control of young Kane’s future. Kane is also in focus because of the lens, and he is shown to be playing happily in the snow. The mood of his actions contrast the atmosphere inside the room, which emphasises to the audience how much this deal will affect his life.

The lighting used in this scene is subtle, but still creates an effect. Compared to some other scenes in the film, it isn’t used as heavily here, but the bright lighting could be suggesting how Kane’s childhood was a happy time where he didn’t have to worry much. As the film progresses, the scenes become darker, which could be showing how his life is going downhill – especially towards the end when his wife leaves him and he’s left in Xanadu all alone. In addition, Mrs Kane is in slightly brighter lighting than Mr Kane, again implying that she holds all the power over the boy’s future.

At the end of this scene, the camera eventually switches from using medium shots to a close up of Mrs Kane and Kane’s faces. These shots are some of the only close-ups used in the film, and they help the audience to clearly see the emotions in the characters’ faces. It helps the audience to realise how much Kane doesn’t want to go and live with Mr Thatcher, and it makes them sympathise with the young boy.

Citizen Kane (dir. Orson Welles, 1941) is widely considered the greatest film ever made. The production context behind this film greatly influenced the end look and feel of this film.

Welles came into the fame after his radio broadcast of War of the Worlds in 1938. This led to the Hollywood studio RKO hiring him to make a film, which they ultimately gave him complete creative control over. This was practically unheard of in Hollywood, and meant that the film was exactly what Welles wanted it to be, as long as it stayed under the budget of $500,000. Welles’ history working in the theater influenced the film to look like a stage production in some ways. In addition, the cast were part of Welles’ theater group, so they were trained to act on stage, rather than on-screen.

There were a number of new inventions that made Citizen Kane an incredible film. The cinematographer, Gregg Toland, made use of a new deep focus lens, which allowed everything in the scene to be in focus all at once. This very effective in some scenes, because it creates optical illusions that change the way audience see some things. For example, in the shot below, Kane seems to be the same size as the window, but as he walks towards it, he is dwarfed by its size. This is reflects how Kane is becoming smaller as he loses his power and influence. Inventions like this one, and the use of them throughout Citizen Kane, make the film very innovative.

Citizen Kane is famously based on the life of William Randolph Hearst, an American businessman, politician and newspaper publisher. While Welles denied these accusations, Hearst used his immense power and influence to limit the amount of theaters where Citizen Kane could be shown. This led to the film failing at the box office, and Welles’ career being seriously harmed. However, the character of Kane – a prominent newspaper owner who tries to start a career in politics – reflects Hearst’s life in many ways. As Hearst was an easily recognisable figure for the audience, Welles’ portrayal of him led to the boycotting of the film. It wasn’t until 1956 when Citizen Kane was revived, that the film received the recognition that it deserved.

https://www.youtube.com/watch?v=svu5YR-4xYo

My favourite scene in Citizen Kane (1941, directed by Orson Welles) is when Charles Foster Kane dies at the beginning. I like this scene because it provides some exposition without giving away the plot of the entire film. Furthermore , the scene creatively uses panted backgrounds and actual sets to create an atmosphere that is somewhat realistic and this adds to the verisimilitude and it makes the audience think that Citizen Kane could possibly happen in the real world and that helps the audience to feel an immediate connection to Kane and his struggle.

The beginning of the film creates a mystery that causes the rest of the plot to come to fruition  and it helps to frame the rest of the film and to put it into a reasonable  context because the the newsreel reporters  are trying to find out the meaning of Kane’s last words which was “Rosebud” and it helps to drive the narrative forward without spoiling the plot and it immediately makes Kane seem like an enigmatic figure to the audience and they spend the entire film trying to figure out who he was in his life and the opening allows us to go in this journey with the newsreel reporters in order to figure out who Kane was.

Furthermore , the word “rosebud” has connotations of innocence and the fact that “rosebud” was Kane’s last word suggests that when he was dying , he was longing for the childhood innocence that had been ripped from him at a young age  and once we learn the context of Kane’s last word , it immediately makes the audience feel pity for him as the audience values childhood immensely and it would sadden them to see the childhood being ripped away from Kane. In addition , roses are associated with love and “rosebud ” may also be a reference to how all Kane really wanted was love and this desire for love is what drove all of his actions in the film.

The snow globe could symbolise Kane’s life – when it breaks it symbolises that Kane’s life is over and that he is no longer present. Additionally , the snow globe could be another symbol of Kane’s lost child hood , in this case , the symbolism of the glass shattering is more blatant than the word “rosebud” and this could indicate that Kane’s childhood was ripped away from him quickly and abruptly and that it left lasting scars on Kane’s mind and that it was the underlying motivation for all of his actions that we see.