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Relevant bibliographies by topics / Citizen Kane (Film cinématographique)

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Academic literature on the topic 'Citizen Kane (Film cinématographique)'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Citizen Kane (Film cinématographique)"

1

Knapp, Jeffrey. "“Throw That Junk!” The Art of the Movie in Citizen Kane." Representations 122, no. 1 (2013): 110–42. http://dx.doi.org/10.1525/rep.2013.122.1.110.

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“Junk” is the final word spoken in Hollywood’s most famous art project, Citizen Kane. This essay focuses on three different registers in Kane for understanding the film’s persistent intermingling of art and junk. The first is Charles Foster Kane’s dual career as a newspaper publisher and an art collector; the second, Kane’s cross-class marriage to the shopgirl Susan Alexander; and the third is the film’s signature visual motif, which the essay calls a scatterform. Comparing these features of Kane with similar features in a more conventional Hollywood film, My Best Girl, the essay shows how the peculiar texture of Kane derives from its attempt to think its way out of a theoretical double bind generated by the contemporary insistence that the only way a movie could rival traditional art forms was to reject them as models for emulation. That is why Citizen Kane ties its own artistic bravura to such mass-produced junk as a store-bought snow globe and a sled whose brand name is “Rosebud.”

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Volpe, Míriam L. "A imagem como ruína: de uma totalidade irrecuperável." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 262–69. http://dx.doi.org/10.17851/2317-2096.8..262-269.

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Resumo: O dialogismo entre o filme Citizen Kane, de Orson Welles, e o poema “Kubla Khan”, de S. T. Coleridge, é analisado, sendo evidenciados não só o tema em comum – o mito do Paraíso perdido – como também a similaridade na organização do discurso na justaposição das imagens, como fragmentos da memória a serem preservados.Palavras-chave: literatura; cinema; montagem; intertexto; museu.Abstract: The intertext between the film Citizen Kane, by Orson Welles, and the poem “Kubla Khan”, by S. T. Coleridge, is analised. A common theme, the myth of lost Paradise, and similar strategies in the organization of discourse, the manipulation of images as juxtaposed fragments from reservoirs of memories, are shown.Keywords: literature; cinema; montage; intertext; museum.

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3

DINERSTEIN, JOEL. "“Emergent Noir”: Film Noir and the Great Depression in High Sierra (1941) and This Gun for Hire (1942)." Journal of American Studies 42, no. 3 (December 2008): 415–48. http://dx.doi.org/10.1017/s0021875808005513.

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This article theorizes a new periodization for film noir through a prewar category of “emergent noir”: seven films released between 1940 and 1942 – including The Maltese Falcon and Citizen Kane – that defined the genre's thematics, aesthetics, visual style, and moral ambiguity. Using archival research and trauma theory, the article analyzes High Sierra and This Gun for Hire as case studies of “failure narratives”: each film resonated with American audiences by validating the recent suffering of the Great Depression, allowing for a vicarious sense of revenge, and creating new ideals of individuality and masculinity. Both films were surprise box-office hits and created new film icons for the 1940s: Humphrey Bogart, Alan Ladd, and Veronica Lake. All three were embodiments of “cool,” a concept herein theorized as a public mask of stoicism.

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4

Fell, John. ": BFI Film Classics: The Big Heat . Colin McArthur. ; BFI Film Classics: Citizen Kane . Laura Mulvey. ; BFI Film Classics: Olympia . Taylor Downing. ; BFI Film Classics: Singin' in the Rain . Peter Wollen." Film Quarterly 46, no. 4 (July 1993): 61. http://dx.doi.org/10.1525/fq.1993.46.4.04a00370.

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Fell, John. "Review: BFI Film Classics: The Big Heat by Colin McArthur; BFI Film Classics: Citizen Kane by Laura Mulvey; BFI Film Classics: Olympia by Taylor Downing; BFI Film Classics: Singin' in the Rain by Peter Wollen." Film Quarterly 46, no. 4 (1993): 61. http://dx.doi.org/10.2307/1213176.

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6

Lonati, Franco. ""You're only as healthy as you fell". Scrittura e interstestualitŕ in Taxi driver di Martin Scorsese." IKON, no. 53 (February 2009): 295–321. http://dx.doi.org/10.3280/ikr2006-053011.

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- The goal of this paper is to analyse the famous Martin Scorsese's film Taxi Driver (1975) with an interdisciplinary approach and from a double perspective: on the one hand, it examines the narrator's forms of expression chiefly focusing on the written documents, the journal entries and the autobiographical references in the movie. I also consider the way the director uses these documents in order to trace the twisted psychology of the antihero Travis Bickle, the main character in the movie, played by Robert De Niro; on the other hand, this study investigates the film from an intertextual perspective, centering on how the filmic ‘text' uses the many other ‘texts' to which it constantly alludes: literary texts (among the others, Fyodor Dostoevsky's Notes from Underground and Thomas Wolfe's God's Lonely Man), cinematic texts (for instance, Orson Welles's Citizen Kane and John Ford's The Searchers), musical texts (songs by Kris Kristofferson and Jackson Browne), or, in some cases, even facts from real life (for example, the attempted assassinations of prominent politicians), not to mention the many autobiographical clues disseminated in the film by screenwriter Paul Schrader, director Martin Scorsese and even by Robert De Niro himself, through his peculiar performance. The result is a compound structured film which makes use of sophisticated narrative and expressive modes. A film not only inspired by its sources but also able, in its turn, to influence the work of other filmmakers and, paradoxically enough, even to affect real life: it's the case of John Hinckley jr who, obsessioned by Taxi Driver, attempted to assassinate U.S. President Ronald Reagan in an effort to impress actress Jodie Foster, who had played the role of an underage prostitute in the film. All these aspects, together with its unquestionable technical qualities, make Taxi Driver one of the most significant films of a golden age for American filmmaking.

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7

McMillan, Gloria. "Two Review Essays: Anti-Union Clichés float On the Waterfront: Rhetorical Analysis of the Film Citizen Kane and How Green was My Valley: Have We Sold Ourselves Short?" Journal of Working-Class Studies 5, no. 1 (June 1, 2020): 75–79. http://dx.doi.org/10.13001/jwcs.v5i1.6267.

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8

"Nihilism in film and television: a critical overview from Citizen Kane to The Sopranos." Choice Reviews Online 44, no. 10 (June 1, 2007): 44–5547. http://dx.doi.org/10.5860/choice.44-5547.

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9

Thanouli, Eleftheria. "Orson Welles and Rouben Mamoulian: Dr. Jekyll and Mr. Hyde?" Kinema: A Journal for Film and Audiovisual Media, November 20, 2008. http://dx.doi.org/10.15353/kinema.vi.1181.

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ORSON WELLES AND ROUBEN MAMOULIAN: Dr. JEKYLL AND Mr. HYDE? At first glance the mention of these two directors in the title might sound preposterous or even blasphemous. Orson Welles has been enshrined in cinematic history as the child prodigy, as the genius who both epitomized and revolutionized the American cinema in the 40s. On the other hand, Rouben Mamoulian has been acknowledged as an innovator who, sadly enough, suffered the tragedy of running out of innovations eventually (Sarris 160). The verdict of the film historians as regards the importance and the status of these two filmmakers is so far remarkably clear and incontestable. My goal in this article is to begin to challenge some of the widely held assumptions regarding their work and bring to the surface an aspect of Mamoulian's contribution to cinema that remains to this date entirely overlooked. For Welles' Citizen Kane made in 1941...

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Dissertations / Theses on the topic "Citizen Kane (Film cinématographique)"

1

Machado, José. "La traduction au cinéma et le processus de sous-titrage de films." Paris 3, 1996. http://www.theses.fr/1997PA030018.

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Dans cette etude de la traduction au cinema en general et du processus de sous-titrage de films en particulier, on definit tout d'abord l'objet specifique de la traduction au cinema au carrefour de la theorie interpretative de la traduction et de la theorie semiologique du cinema. Il s'ensuit un bilan historique de la pratique de la traduction au cinema qui se fonde en grande partie sur les acquis et les donnees de la narratologie et de l'histoire du cinema. Ce travail met en lumiere plusieurs modalites techniques de traduction de films, a savoir : 1. Le boniment, 2. L'intertitrage, 3. Le sous-titrage, 4. Le doublage, 5. Le tournage en versions multiples, 6. L'interpretation simultanee et l'audio-vision. Dans le but de repondre a la question sous-jacente a cette etude ("comment le sujet traduisant fait-il pour sous-titrer un film?"), on procede par la suite au demontage d'un modele en boucle de l'operation de sous-titrage de films. Ce modele qui reprend les quatre paliers mis en evidence par la recherche dans l'explication de l'interpretation de conference et de la traduction de textes (1. La comprehension, 2. La deverbalisation, 3. La reexpression, et 4. La verification) acquiert toute sa specificite a travers les activites relevant de la theorie et de la pratique cinematographiques qui y sont associees (1. L'analyse interpretative du film ; 2. Le decoupage du discours verbal original et le reperage spatio-temporel des sous-titres
This thesis examines film translation in general and the subtitling process in particular. Firstly, the film translator's subject material is defined in light of the interpretative translation and film semiology theories. Secondly, a historical overview of film translation is provided, based on studies in film history and narratology. This reveals several techniques of film translation : 1. Narration 2. Intertitling, 3. Subtitling, 4. Dubbing, 5. Multilingual film-making, and 6. Simultaneous interpreting and aural description. Thirdly, a circular model of the subtitling process is proposed and analysed step by step to answer the following question : how does the translator subtitle a film? this model unites and extends the four stages which have been proposed previously to explain the process of conference interpreting and text translation : 1. Comprehension, 2. Deverbalisation, 3. Re-expression, and 4. Verification. Each stage of this model takes into account the appropriate features specific to cinematographic theory and practice : 1. Interpretative film analysis, 2. Cutting of the original dialogue and or text and subtitle spotting, 3. Condensation, and 4. Automatic rehearsal, synchronisation, expansion and subtitle printing

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Books on the topic "Citizen Kane (Film cinématographique)"

1

Jean, Roy. Citizen Kane: Étude critique. Paris: Nathan, 1989.

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2

Jean, Roy. Citizen Kane, Orson Welles: Étude critique. [Paris]: Nathan, 1989.

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3

Citizen Kane. Wigston, Leics: Magna Books, 1991.

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4

Kael, Pauline. Pauline Kael on the best film ever made =: Raising Kane. London: Methuen, 2002.

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5

Film and the interpretive process: A study of Blow-Up, Rashomon, Citizen Kane, 8 1/2, Vertigo, and Persona. New York: P. Lang, 1989.

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6

Vallorani, Nicoletta. Gli occhi e la voce: J. Conrad, Heart of darkness : dal romanzo allo schermo. Milano: UNICOPLI, 2000.

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Piade, Lynne. Citizen Kane. Smithmark Publishers, 1991.

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8

(Foreword), Pauline Kael, ed. Citizen Kane (Methuen Film). Methuen Drama, 2002.

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9

Citizen Kane: A filmmaker's journey. imusti, 2016.

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10

James, Naremore, ed. Orson Welles's citizen Kane: A casebook. Oxford: Oxford University Press, 2004.

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Book chapters on the topic "Citizen Kane (Film cinématographique)"

1

Cardullo, R. J. "The Real Fascination of Citizen Kane: Welles’S Masterpiece Reconsidered." In Teaching Sound Film, 23–37. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-726-9_3.

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"CITIZEN KANE AND THE ESSENCE OF A PERSON." In Philosophy of the Film, 283–310. Routledge, 2003. http://dx.doi.org/10.4324/9780203221952-24.

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3

Yarza, Alejandro. "Surcos: Neorealism, Film Noir, and the Puppet Master." In The Making and Unmaking of Francoist Kitsch Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748699247.003.0005.

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Critically acclaimed as a milestone of Spanish cinema, Surcos (Furrows, J.A. Nieves Conde, 1951) is the film that single-handedly revolutionized Spanish cinema by introducing the spirit of Neorealism and Film Noir. Through a comparative analysis of the famous boarding sequence of Citizen Kane and few examples from Roberto Rossellini’s early films, this chapter argues that the film’s apparent appropriation of Italian neorealism and also Film Noir and, particularly, its internal strife between its progressive neorealist aesthetic and its fascist message, comes into sharper focus when seen through the lens of kitsch aesthetics. Despite its neorealist and noir appearance, Surcos is in fact a kitsch film that encapsulates Spanish fascist ideology even more insidiously than the previous ones precisely by not being an overtly propagandistic film.

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