"Citizen Kane" is
also known as "The Great Citizen"
A black-and-white film in 1941, "Citizen Kane" written, directed and acted by Orson Wells, this film is also his screen debut.
In this film, a large number of depth-of-field lenses are used, and the picture has more changes and arrangements in depth, which enhances the sense of space of the film picture. The movie started with rare movie subtitles instead of silent subtitles, only the title and author.
The music is dark and weak. "NO TRESPASSING" is the first picture in the movie. The wooden sign stands in front of you. The music has a gloomy and overlooked lens to create a sense of rushing oppression. It follows the cold barbed wire upwards, which uses 9 A fade-in and fade-out connection shows that it is difficult to cross the heavily guarded high wall and the gloomy feeling of this castle. The connection of each picture is close to a small window in the castle that shows light, and suddenly the music strengthens and stops. Live, the screen light goes out, giving people a powerful impact on vision and hearing. Slowly why the extinguished light came on again, and the music gradually started. When the 2'16″ light came back on again, the director added a fade in and fade out. When the light was fully lit, the scene was changed to a window and got up. There is a person lying down. A small wooden house is looming in the snow, the camera is pulled up, a crystal ball in one hand, a close-up of "rose bud", this line appeared in order to run through the whole film, the crystal ball fell Immediately after the break, the lens was shot through a broken crystal ball. When you turn to the next lens, you can clearly see that the shooting technique of the previous lens is a very special angle. When the nurse slowly covers the white cloth, the light It goes out and the light comes on again. This scene is actually 2'16″.
The subtitles of "March Highlights" appeared, and the whole march was a news scene, while the march was a time march of Time magazine, and the film was a flashback. This can be heard from this narration. The role of news is to introduce this shocking half. The background of the characters of the century. It is not very good to see some scenes in news films, which should be deliberately shot by the director for the sake of reality, making it more like a sneak shot, and the news is over. The lens is shot from the side with a close-up of the projector, transforming the scene of the projection room in reality. The reporter of the screening room scene stated that "the four words'rose buds' mentioned in Kane's last words" are the highlight of the whole film, and the shots in this paragraph are all expressed by the projection of light.
When passing the scene to another space, it is not difficult to find that the director uses sound effects and some strong contrasting images to connect. The transition from the reporter to Miss Alexander and the transition from the phone booth to the library are all interpreted through close-up shots and sound effects. When the librarian brought the reporter into the room, the camera started to change when it was pushed. It was not a hard switch, but it was not very straightforward with a fade-in and fade-out method. The two lenses are very expressive, and the lighting here is also It’s very dramatic. Seeing that this is more like a dark trading place, the female administrator’s expression becomes more serious, and the lines here are not too verbose, "Page 83 to page 142". The reporter suddenly turned around, although the reporter could not be seen. The expression on her face is incredible to this woman. When I was anxious to sit down and check, the music changed to the only brisk tune. The close-up cuts into the text on the book. At this time, it flashes back for the first time in the film. From a scene, through music, the music is bright and lively, and the scene changes with the scene. The music rises and falls after the snowball hits the signboard. The music immediately stop. The following shots were one-pass through. The director used a large number of depth-of-field shots, which greatly increased the sense of space of the movie, and also had more changes and arrangements in the sense of depth of the screen.
Among them, I saw that when the reporter entered the phone booth, the over-the-shoulder shot of the camera was brought to the waiter and Miss Alexander through the reporter. When the waiter listened outside the door, Miss Alexander in the background was also brought very clearly, but the reporter who spoke was completely black. When the reporter made a call in the phone booth, the voice of the door closed and opened changed. The director handled this very small detail very carefully.
Back to the 19′07″ long lens, the panoramic shot of Kane when he was a child, the lens has been pulled back to bring out the edge of a window, and then Kane’s mother, Kane’s adoptive father, Sacher Er-Kane's father, everything stopped when Kane's mother and Thatcher were sitting at the table in the foreground and watching the contract. In this indulgent scene, Kane outside the window is in the snow. The scheduling of this scene is basically It was dispatched by the movement of Kane’s mother, with the father standing next to him. The size of the characters in the picture explained the direction of the right to speak. The mother was always at the forefront of the picture, followed by Thatcher and finally brought to his biological father. It shows that the mother has the dominant power in this family, and the father seems so weak, even the right to speak is weak, and he has no right to protect his son. When the adoptive father mentions money again, the father’s point of view also changes. In this panoramic picture, it is very dramatic that Kane is so small, confined to the frame of the window. The mother turned on the glass that his father had just pulled and converted to a long lens here. Kane kept his hands on when he appeared. They are all holding sledges, which has a great visual impact on the whole drama "Rose Bud". When Kane walks to the background of his father and then turns to his mother, an inverted triangle is formed here, expressing a dialogue with three people in the room. The position coincides with each other, and its performance strengthens the contrast between the characters. Little Kane always has doubts and anger on his face. When the adoptive father wanted to grab Kane's hand, Kane slammed away. He looked at and pushed Thatcher with fierce eyes. Little Kane’s sledge was covered by heavy snow in the heavy snow.
Another close-up of another brand-new sledge was used to connect with two sledges. Kane had already changed the scene with her adoptive father. Being together and dealing with little Kane has always been looking up at her adoptive father. Thatcher "Merry Christmas" little Kane replied: "Merry Christmas". "Happy New Year!" "Here is a good switch. From the young age to the old Thatcher, I jumped for many years. Only two greetings are needed to change the time and space. When Thatcher sits down, the director once Using jumping editing, when Thatcher reappeared, his hair was gray and brought me to a new stage from here.
After adulthood, Kane had the first conversation with his adoptive father, and after he obtained the property rights as an adult, he professed to buy a newspaper to publish "The Inquiry" and openly opposed Thatcher. In this long shot Kane's last sentence, "Close this newspaper after sixty years", was brought closer to the feature. Then back to the manuscript, the '1929' on the manuscript fades out, leading to another time and space. The picture is a very focused scene, and Kane's voice is preceded by sound and shadow. The focus here is complete, with Thatcher in the foreground and Kane at the end. From youth to middle age, Kane’s character has not changed. "Anything you hate" treats his adoptive father or his opponent. Make a written transition when calling each other with the previous transition. In the composition of the screen, the director consciously arranges the characters into triangles, which are divided into over-the-shoulder foreground, mid-range, and distant views to form a triangular opposition to form a sense of space. Regardless of the movement or transposition of the characters, the three-dimensional sense of space will always be maintained, such as 37'40. ". At the
celebration dinner, the director interpreted Kane as a rebellious, creative and humorous smart businessman. 44'25" did not follow the normal 180° front and back when the camera was shot, almost 120°. ° Fight left and right.
In Kane’s marriage with his first wife, Emily, the camera only changed 6 times from a full 2 minutes, explaining the process of their marriage over the years, from the intoxication of the newlyweds to the subtle changes in the same bed. This technique is a scene change rarely seen in movies in the past. In the last paragraph, there was no dialogue. Emily stayed at the end when she was reading the Chronicle, while Kane was reading the Investigative. The two looked at each other at the deadlock in their marriage. The camera was finally pulled out and back to the beginning. The image of the two having breakfast together has the effect of echoing the previous shots.
When Kane and his second wife met on a road, Kane was in the same room with Susan because Kane was splashed in mud. In the 56'59" indoor scene, the camera was switched to a close-up shot in the mirror. At the bottom left of the mirror, the "crystal ball" appeared in the flashback story for the first time, and switched back and forth between the mirror and Kane's close shots. Kane was very happy with Susan, and they looked at each other affectionately at the end. En said that at the end of the film, why there was a sleigh as a child, "I was on the way to Manhattan, looking for my childhood." My mother has passed away a long time ago, and her belongings are not in West Manhattan. Is there any other place to put it? I'm going to send someone to pick it up. I'll see it tonight. It's a sentimental trip. "Fade in from Susan playing the piano to her in a luxurious front hall. Kane's applause changed to the applause of the crowd in the Kane election scene. This is the form and sound of the two scenes in the film that echoed during the switchover.
Participate in it . Kane campaigning, pulled down from Kane’s giant poster close-up to Kane’s upper body, switched the panoramic view and pushed forward into the picture, the camera shot Kane down, and the camera slowly moved forward to the podium, Kay En showed that his political views are also recognized by everyone, and he has outstanding leadership charisma. His son raised his head slightly in the audience, and his eyes were full of awe and a sense of admiration for his father. When the camera is pushed down downwards Suddenly I pulled it far, and at the end I found that the other end of the lens was Kane’s competitor. The lens was shot from the perspective of Kane’s competitor. Looking down was a contempt for Kane. What happened after that was nothing Kane thought. It’s so easy. Kane, the opponent, his wife, and Susan are in the same room. The camera angle has been looking down on the four characters from the horizontal angle, and the picture is like this. The positions of the filming of the triangle relationship are almost the same, and there will be an air of no one by the shoulders. Kane, who had the upper hand, was threatened by his opponents to withdraw from the election and publicized his scandal in the newspaper. After the election failed, he used a lot of money. The bottom-angle shooting gives the picture a very unique meaning. This is the biggest shooting angle in the whole film to show the most failure of Kane’s life. The position of the camera has been lowered to the ground, and the ceiling can be seen in the picture. This greatly highlights this space. In such a lens, not only the reality of the scene is reproduced, but more importantly, an extremely depressive atmosphere is created. It also implies the failure of this giant, and implies that Kane's success from a success A turning point from a person to a lonely person.
The strong impact of the music screen brings time and space to Susan’s stage performance. The lens is extremely clever. The camera is unknowingly pulled from the panorama of the stage to the carefully arranged installation in the background, and the stage staff sees the two of them again. I glanced at each other and made a grimace. I think this is a denial of the level of classical music performer Susan. The shooting from the perspective of these workers is to better express, because they are the theater staff. All have a say.
When Li Lun walked to Kane who wrote the comment and told him that he was fired, it was a fixed lens, shot with a deep focal length, and used a telephoto to focus on the space, both of them were always in a clear state. At this time, the left and right forces on the screen are balanced, and one is divided into two, breaking the friendship and the original concept. Once again there was a superimposition of two space-times, and the special light, one dark and one bright, formed a contrast, and Li Lun appeared.
After Susan finished the performance again, only Kane was the only one who applauded, and she didn't realize her own applause until the end. Kane and Susan quarreled in the room, Kane stepped forward, and the whole shadow covered her face, which meant that Kane's power was so great that Susan had no counterattack at all. Then a series of dissolving and a headlight constantly flashing, the impact of the superposition of the music picture, this is another montage, using the electric light to finally extinguish, come to the suicide scene, using a fixed lens shot with a deep focus method. , There is a medicine bottle in the foreground. In the middle shot, Susan is lying weakly on the bed. On the back shot, Kane and others break in. Everything is clear at a glance, and there is no difference between reality and fiction. The bottle part of the close-up shot is very large due to the barrel distortion caused by the wide-angle lens, but Kane in the background is very small, and it explains the main point of the scene. In the face of death caused by sleeping pills, even if it is like Kane. In front of ordinary people, there is nothing that can be done.
The peak is when Susan leaves him, their conversation in the palace room. Kane finally revealed what he was afraid of. He left his parents with his guardian when he was young. In his old age, he still told his guardian: The thing I want to do most is what you oppose. You can see that he is nothing more than Is a child. He is also a self-centered person, anyone must obey his orders. He is a person who desperately wants to be loved, and wants to be loved by everyone. He gets everything, but loses everything at the same time.
When the discarded relics were thrown into the flames of the fireplace one by one, a slightly unfamiliar sled board appeared in the picture. It seemed to be the relic of Kane's childhood, and was also treated as if he was leisurely thrown into the fire. As the camera's approaching music strengthened, the dramatic pressure suddenly fell on this wooden board that was forgotten in the corner by the world. Its surface began to oxidize due to the intense high temperature, until the long-term dust-covered characters finally turned dark. "ROSEBUD" is reproduced in the light of the fire. "Rosebud" is first of all a formal technique, which provides the motivation of the film's narrative and gives birth to the strong drama of the ending.
This play shows Kane's life through 5 large flashback scenes. In the interspersed of the two lines of reporter investigation and Kane’s life, Kane’s life is linked in the narrative of each different memoir, with strong subjectivity. In many scenes, the director also violated time. Arrange the plot in order. This film breaks the linear narrative mode of the previous film sequence, and adopts a multiple narrative structure, flexibly uses flashback and interstitial techniques, and breaks through the single point of view of narrative. It uses multiple perspectives and various angles to express Kane.
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