Carringer

I thought the chapter on the post production and release was especially interesting because all of this information is not readily available about most movies to come out during that time period. Welles really had a lot of expertise about every aspect of the post production which proved to be a good and bad thing at the same time. His controlling nature made it difficult to get portions of the film finished in a timely manner. I thought the section on Sound was especially interesting because Welles had such an extensive background in radio before he made this movie that many parts were definitely influenced heavily by this. Welles taking the approach of giving actors roles because of how their voices sounded was out of radio clearly as normally they would not be visible. By shooting for radio quality excellence in the sound Welles enhanced the overall quality of the movie. Carringer points out the Colorado scene as an example as the adults dominate the soundtrack but the children are barely audible in the background. This kind of refined sound editing was normally overlooked in movies of the period as they were much more focused on the picture. Welles was just a perfectionist for both.

Laura Mulvey

Throughout Citizen Kane, I found the glass ball to be of particular interest. I knew that it had to have some significance throughout the movie because of the opening scene with Kane's last words being uttered towards the object for a reason unknown to the viewer. With this in mind, I tried to keep alert for this motif throughout the movie, and Laura Mulvey addresses this motif in an interesting way, some ways in which I didn't notice as she delves into deeper meaning of the glass ball. Mulvey mentions how there are only three times when the glass ball appears, and I find it interesting that they contribute so much meaning to the film although it appears so little times, and one time it is almost unnoticeable. It shows in the beginning of the film, the scene of Kane's death, and at the end when Susan leaves him (it is not acknowledged as it sits on her dressing table). Mulvey points out that the narration between Susan and Kane almost foreshadows the meaning of the glass ball in terms of Kane's connection to it. Kane mentions his mother, and this is only one of two times he mentions her revealing nostalgia for the past. The sled represents Kane's childhood and the only time in his life he was truly happy. I never realized this subtle link to Kane's past as the glass ball is present without acknowledgment by Susan, Kane, or the camera.

Carringer

In discussing art design, I thought it was cool that after sketches were approved for a set design little models of the set would be made to imitate what it would look like. This is similar to architects having models of their newest development plans. The pictures shown added insight to exactly what was being discussed and further allowed me to visualize the art process of creating a film set. Also interesting was the way in which certain artistic decisions were made to emanate a certain theme or feeling of a scene (specific example of the great hall stair case.) When discussing the photographic approach, we learn that the principal elements included deep focus, long takes, high contrast lighting, low angle camera set ups and dissolves, depth of field effects, and shooting directly into lights. I am glad that while reading that I am able to envision each of these elements due to knowledge attained in this class.
I found it interesting when Carringer discusses the roadblocks and compromises Welles had to make when producing the remake of Heart Of Darkness-Specifically discussing the character role of Marlowe. I found it informative to learn that because of a limited budget, Citizan Cane utilized more special effects than most other Hollywood films- I would normally assume the opposite for a limited budget. The first example given is indicative of the forced nature of special effects to keep film costs down. The example was of the shots in madison sq garden where on the speakers platform is the live action set and the giant hall and audience are painted in. Interestingly so, beyond cost efficiency, Welles actually had a fondness for the use of special effects which was one reason the finished product of the film took so long- Welles kept wanting to add effects to certain scenes. I enjoyed reading about the connection of Welles background in radio and the influence this had on the sound in Citizen Cane. Throughout the film “flashy” sound effects are used and apparently not by accident. The break down of the “most celebrated piece of editing in the film” showed the interworking of dialogue and image and the subtle nature of it all together. What may look so simple to viewers could take editors unimaginably long time to finish.
The scandal and controversy surrounding Mankiewicz work with Welles is fascinating. Along side his drinking problem, Mankiewics worked in an isolated setting with the help of Houseman assisting him and keeping him away from trouble. Scandal arose when the first draft of “American” had striking similarities to Imperial Hearst. Clearly an agreement was made because by the second draft huge chunks were changed to lessen such similarities. The final controversy discussed was also brought up in the beginning of the first reading- credits. Welles intentions to take sole responsibility for the script did not sit well with most. When Mankiewicz’s name was going to be listed first on the credits, this was immediately changed due to the agreement the two men had prior to the work beginning.
Overall all of the readings were extremely information and provided great insight into all of the work that went into producing the final product of Citizen Cane. It is always interesting and helpful to be reminded of the many steps often forgotten in the production of a film and all of the reading reminded us of just that.

Mulvey

One thing that I enjoyed reading about in both the Carringer chapters and Laura Mulvey's book, was the connecction between Kane and Hearst. Although the film is now considered to be one of the greates of all time, when it was released it did very poorly at the box office, mostly because of a smear campaign which was initiated by Hearst's confidantes and facilitated through his newspapers. Because of the Stock Market Crash of 1929 and the Great Depression, Hearst, a business tycoon who stood for capitalism, stood in contrast to the New Deal era of social welfare and public works programs. It would seem that this would make him a target for other filmmakers, however he had a lot of influence, as seen by the unsuccessful opening of the film, and exerted a lot of fear among the members of the Hollywood studio system.

Carringer also delves into Citizen Kane from a psychoanalytic approach, applying the Oedipus Complex to Kane. which stems from his removal from his parents at a young age so that he can go to live with Thatcher on the East Coast. Also, she discusses Kane's fetishism, which is shown through his collection of artifacts from around the world, as well as his collecting of Susan and treatment of her as an object. This fetishism is once again linked to Kane's mother and his removal from her.

Carringer

The Carringer article was interesting because it gave me an inside view about the making of Citizen Kane, from idea conception to post-production. It seems like Orson Welles was a pretty difficult man to work for, especially because his films were not very successful. The dispute over the writing credit, for instance, seems crazy because it actually was Mankiewicz that wrote the original bones of the script. Also, I was wondering as I was reading if the amount of cuts that they had to make in order for the film to be around the starting budget was normal for this time, because the budget at the beginning was twice that which was allowed in the contract.

Welles' experience in the theater and the radio is evident in the sound of the film, and the Carringer book touched on this. Chapter 5 states '...the repertory approach, for instance, in which roles are created for specific performers with their wonderfully expressive voices in mind' is just one of the ways that Welles' previous experienced translated to his filmmaking style. Also, new technology in the recording of sound where 'the rerecording of sound for improvement or enhancement during postproduction' gave Welles options in how he was able to control the sound, especially the recorded dialogue.

Mulvey

Laura Mulvey’s book, Citizen Kane shows “ how unusual production circumstances allowed both pre-existing and recent technological changed to be brought together, consciously and systematically, in order to create a new look for film.” During the time that Citizen Kane opened, the destiny of isolationism is realized in metaphor.” In Kanes own fate, dying wealthy and lonely, surrounded by the detritus of European culture and history. “

Mulvey states that the main influences on her thought of Citizen Kane have been psychoanalytic theory and feminism, not just in terms of the content, but also how the film depicts women and uses freud. “ “ Citizen Kane, presents a kind of back to front challenge to feminist criticism.” Throughout the film, we can see that the glamour is not put on any female, but only on the males.

Another aspect Mulvey touches on is the language of the mind. “ In cinema, objects, gestures, looks, mise en scene, lighting, framing, and all the accoutrements of the filmic apparatus materialize into a kind of language before or even beyond words.”

Mulvey says there is a poetic justice in Welles and Tolands use of deep focus in a film which attacks Hearst. “ The magnate of news papers and old style movies is depicted in a new style cinematography pioneered by the news papers new rival, the photo- magazines. This style completely contradicts Hearst.

One aspect of Mulvey’s analysis is when she says that the story is structurally divided into two parts. The two parts of Kanes rise and decline, separate the two parts narratively, but his relation to male and female worlds separates the two parts thematically. This is something that I failed to observe while watching the film.

Realting Mulveys analysis to characters and the male figures that are so dominant in the film, she talks about the scene inside the log cabin. This scene splits Kanes father figures on each side of the symbolic systems. “ One represents poverty, failure, and ignorance, the other represents wealth, success and education.”

Lastly, as opposed to having a story of the American dream or success from the log cabin to the white house, the story ends in Xanadu, ending in isolation and darkness and clear unhappiness. Kane’s relationship with Susan goes from a fun escape and love affair to an empty dark atmosphere full of statues and arguments. When Susan threatens to leave, he says he will do anything for her, and she leaves. We see Kanes desperation here and the first time a woman symbolizes power in the film.

Carringer

The carringer articles on Citizen Cane were very informative and interesting. I agree with Natalie in the fact that we watch movies but never really read in detail about the making, budgeting and the problem solving that occurs behind the scenes. One interesting part was the part that the film was “ forced- developed” in the laboratory and was left in chemicals for longer to increase the lighting contrast. Also, learning about the cinematography specifically in Citizen Cane was very interesting. Reading in detail about the lighting contrast, camera angles, set ups, visual devices and depth of field and how they related to the film were very informative.

Another part of the article that was fascinating to me were all the sketches that were necessary in making the film. This combined with the evolution of the set, showing the audience how the set and certain details were critical to the film as a whole.

This article made clear the endless work and detail that goes into the production of film.