Vertigo (1958, Alfred Hitchcock)
Psycho (1960, Alfred Hitchcock)
The Big Sleep (1946, Howard Hawks)
‘The Testament of Dr. Mabuse’ (1933, Fritz Lang)
‘Der Golem, wie er in die Welt kam’ (1920, Paul Wegener, Carl Boese)
The Man Who Laughs (1928, Paul Leni)
‘In 1997, UFA and the Luxembourgish rival CLT established the joint venture CLT-UFA, which, following the takeover of British rival Pearson Television, was restructured as RTL Group in 2000. Today, UFA GmbH (UFA) works as a subsidiary of RTL Group’s production division FremantleMedia, which had been formed out of Pearson TV, and is responsible for all production activities of Bertelsmann and FremantleMedia in Germany.
Until August 2013, eight subsidiaries operated under the UFA umbrella: UFA Fernsehproduktion, UFA Entertainment, Grundy UFA, Grundy Light Entertainment, UFA Cinema, teamWorx, Phoenix Film and UFA Brand Communication.
In August 2013, UFA underwent an organizational restructuring that simplified the company down to three production divisions. Today, UFA Fiction, UFA Serial Drama, UFA Show & Factual and UFA Documentary are the four units responsible for production.’
(source – https://en.wikipedia.org/wiki/UFA_GmbH)
Examples include ‘distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements’ to create a sense of ‘highly subjective, personal, spontaneous self-expression’.
(Source – https://www.britannica.com/art/Expressionism)
(Illustrated examples:)
‘Evening on Karl Johan Street’
Painting by Edvard Munch
‘The Yellow Cow’
Painting by Franz Marc
‘Unable to afford large casts or sets, directors looked for different cinematic and production techniques to render style, character and emotion.
Expressionist film-makers like F. W. Murnau and Fritz Lang were also concerned with darker storylines and themes, including horror and crime.
Expressionist directors developed innovative techniques, such as new uses for light, contrast, camera angles and movement.
hese directors and their innovations came to influence the wealthier and more prolific film studios in Hollywood.’
(source – https://alphahistory.com/weimarrepublic/weimar-cinema/#:~:text=1.,render%20style%2C%20character%20and%20emotion.)
(WHY, IN YOUR VIEW DO YOU THINK CITIZEN KANE IS REGULARLY CITED BY CRITICS AS “THE GREATEST MOVIE EVER MADE”? (300 WORDS MINIMUM))
It could be said that Citizen Kane plays with original or ‘new’ themes and ideas, which make it a critically regarded masterpiece. However, I would say that the technical aspects (lighting, set, cinematography) are what have allowed this classic to remain timelessly ‘perfect’.
The film allows insight into the evolution of life in a manner which analyses romantic relationships, friendships and paternal relationships in a unique way; giving perspectives to different characters (irony achieved through the fact that it is Kane’s life story, broken down by several temporary people in his life). In a way, this emphasises the idea that his life and work was meaningless – his true character only lives through the memories of others, and to the rest of the world he remains defined by events rather than his own personality. The theme of fame and the cost of fame is explored through this, and for audiences, this must seem like a layered and cleverly carried out series of events. In fact, some critics may have found it rebellious or socially original with regards to the film industry itself – garnering it new and immediately a classic upon release.
Despite its unique narrative and context, Citizen Kane possibly owed most of its success over the years to its timeless physical appearance. Use of shallow focus and deep focus, specifically deep focus signified a varied utilisation of camerawork – which some audiences were not fully familiar with, especially not to the extent that these techniques were taken advantage of in the film. Mostly used to separate characters from Kane himself, deep focus allowed Welles to constantly remind the audience of the alienation of the lead. A simple and subtle effect which helped define the archetype the film went on to gain.
Other techniques, such as extreme low angles to play with power positions, and shadows or half shadows (cast across characters) through omission or addition of backlights etc. extended the control the director had to further push ideas towards the audience.
Throughout Citizen Kane, many themes can be found which are unique in the industry; but no matter the philosophical intensity of the ideas, they would not have been brought to the audience’s attention without the expert originality of Welles’ use of lighting and cinematography (in particular).
(CHOOSE YOUR FAVOURITE SCENE FROM THE FILM AND EXPLAIN WHY THIS IS THE CASE . YOU SHOULD CONSIDER WELLES’ USE OF MICRO ELEMENTS IN YOUR ANSWER. (200 WORDS MIN))
Personally, a favourite scene taken from the film would have to be the dancing number during the first half.
Obviously, the element of showmanship and structure in the sequence could be said to be aesthetically pleasing, but there is much more to this series of events than a musical number.
Deep depth of field is utilised cleverly to highlight an important conversation about loyalties between Jedediah Leland and Mr. Bernstein. It is vital that the audience sees Kane, because this serves as a reminder that the conversation is deceitful due to his absence. Additionally, the juxtaposition between the hyperbolic show of which he is the centre, and the monotonous, quietly serious exchange in the same room; almost creates an illusion that there is more physical distance between the occurrences than there really is. (Due to their tonal differences) And this metaphorically mirrors the depth of field, which stereotypically displays contrasting imagery.
There appears to be a theme of appearances vs reality throughout the story, as well as the dangers and/or worth of fame and fortune. This scene perfectly sums up these ideas; utilising the contrast between an exaggerated celebration and a suspicious, private conversation. Reminding the audience of how unnatural Kane’s life becomes, suggesting that perhaps, showmanship and performance can never be ‘real’ or serious. That there must always be an element of harsh truth in life, never plagued by a façade.
(EXPLAIN HOW THE PRODUCTION CONTEXT OF CITIZEN KANE INFLUENCED THE “LOOK AND FEEL” OF THE PRODUCT. (100 WORDS MIN))
Welles’s notoriety while working through the Mercury Theatre on the Air caught the attention of Nelson Rockefeller, co-owner of RKO Studios in Hollywood. RKO’s board of directors wanted to make the type of artistically important movies that its rivals were producing. Their resources would help Welles to construct his artistic visions.
Welles initially wasn’t interested, favouring theatre. Schaefer eventually made Welles an offer he couldn’t refuse: a contract that gave him almost total artistic control over a project, which was unusual as major theatres usually had all control. Plenty of people in Hollywood hoped Welles would fail due to his inexperience. This made the motivations for the director even more prominent, arguably adding a unique tone to the film.
Although Welles denied it, there was speculation that he based the movie on the life of press magnate William Randolph Hearst, and Hearst was not happy with the result. Perhaps the idea that this was a sort of ‘true story’ enhanced its effect on audiences.
Who was Buster Keaton?
An American filmmaker, actor and comedian who was best known for his silent films and his deadpan performances.
FILM EXAMPLE – The General (1926)
Who was Charlie Chaplin?
An English composer, filmmaker, and comic actor who became famous internationally due to his screen persona ‘the Tramp’ in the era of silent film.
FILM EXAMPLE – The Great Dictator (1940)
Who was Harold Lloyd?
Harold Lloyd was an American actor and comedian, a famous stunt performer who appeared in many silent comedy films throughout his career.
FILM EXAMPLE – Safety Last! (1923)
Why were they so influential?
It could be said that all three of these actors shared an influence, which could be identified as normalising the use of exaggerated comedy and characterisation in the early 1900s, as film continued to evolve and embrace new or more imaginative genres.
(source used – Wikipedia)