Contents
Academic literature on the topic 'Citizen Kane (Motion picture)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Citizen Kane (Motion picture).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Citizen Kane (Motion picture)"
1
Broccato, Daniel. "“Fleeing heir of the Kemalists”. A Picture of a Revolutionary Entourage in the Face of the Challenges and Threats Tugging Contemporary Anatolia." Annales Universitatis Mariae Curie-Sklodowska, sectio M – Balcaniensis et Carpathiensis 8 (December 4, 2023): 203–36. http://dx.doi.org/10.17951/bc.2023.8.203-236.
Full textAbstract:
The article attempts to carry out a comparative analysis of the 20th-century socio-political conditions and their influences that contemporarily shape the implementation of the provisions of the Kemalist ideology in the Republic of Turkey. Based on the six-pillar principles of Kemalism, the author examines their actual participation in creating the foundations of democracy. The article presents the elementary phases of creating historical myths and characterizes the policy pursued in this area. In particular, the occurrence of antagonisms and the revolutionary entourage of modern Anatolia are explored. The existence of a “parallel state”, military coups, as well as the widespread infiltration of Fethullah Gülen’s supporters into state structures are distinguished. The author searches for connections between the creation of the “desirable citizen” model and civil disobedience initiatives. The evolution of party systems attempts to revive the intact legacy of Mustafa Kemal and the case of progressing conservatism in the light of Kemalism are issues to which an important place is also devoted in the article. It boils down to showing the evolution of swinging motion in the Turkish understanding of democracy.
2
"A geometrical interpretation of Kane’s Equations." Proceedings of the Royal Society of London. Series A: Mathematical and Physical Sciences 436, no. 1896 (January 8, 1992): 69–87. http://dx.doi.org/10.1098/rspa.1992.0005.
Full textAbstract:
The method for the development of the equations of motion for systems of constrained particles and rigid bodies, developed by T. R. Kane and called Kane’s Equations, is discussed from a geometric viewpoint. It is shown that what Kane calls partial velocities and partial angular velocities may be interpreted as components of tangent vectors to the system’s configuration manifold. The geometric picture, when attached to Kane’s formalism shows that Kane’s Equations are projections of the Newton-Euler equations of motion onto a spanning set of the configuration manifold’s tangent space. One advantage of Kane’s method, is that both non-holonomic and non-conservative systems are easily included in the same formalism. This easily follows from the geometry. It is also shown that by transformation to an orthogonal spanning set, the equations can be diagonalized in terms of what Kane calls the generalized speeds. A further advantage of the geometric picture lies in the treatment of constraint forces which can be expanded in terms of a spanning set for the orthogonal complement of the configuration tangent space. In all these developments, explicit use is made of a concrete realization of the multidimensional vectors which are called K -vectors for a K -component system. It is argued that the current presentation also provides a clear tutorial route to Kane’s method for those schooled in classical analytical mechanics.
3
Dvoyan, K. G., A. Karoui, and B. Vlahovic. "Spontaneous Exciton Collapse in a Strongly Flattened Ellipsoidal InSb Quantum Dot." Nanoscale Research Letters 17, no. 1 (August 23, 2022). http://dx.doi.org/10.1186/s11671-022-03710-7.
Full textAbstract:
AbstractElectronic and excitonic states in an InSb strongly flattened ellipsoidal quantum dot (QD) with complicated dispersion law are theoretically investigated within the framework of the geometric adiabatic approximation in the strong, intermediate, and weak quantum confinement regimes. For the lower levels of the spectrum, the square root dependence of energy on QD sizes is revealed in the case of Kane’s dispersion law. The obtained results are compared to the case of a parabolic (standard) dispersion law of charge carriers. The possibility of the accidental exciton instability is revealed for the intermediate quantum confinement regime. For the weak quantum confinement regime, the motion of the exciton's center-of-gravity is quantized, which leads to the appearance of additional Coulomb-like sub-levels. It is revealed that in the case of the Kane dispersion law, the Coulomb levels shift into the depth of the forbidden band gap, moving away from the quantum confined level, whereas in the case of the parabolic dispersion law, the opposite picture is observed. The corresponding selection rules of quantum transitions for the interband absorption of light are obtained. New selection rules of quantum transitions between levels conditioned by 2D exciton center of mass vertical motion quantization in a QD are revealed. The absorption threshold behavior characteristics depending on the QDs geometrical sizes are also revealed.
Books on the topic "Citizen Kane (Motion picture)"
9
Chateau, Dominique. Citizen Kane, Orson Welles. Limonest (France): Interdisciplinaire, 1993.
Find full textBook chapters on the topic "Citizen Kane (Motion picture)"
1
Naremore, James. "Introduction." In Orson Welles ’s Citizen Kane, 3–18. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0001.
Full textAbstract:
Abstract When it was first released by RKO Pictures in 1941,Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
2
Bogdanovich, Peter. "Interview with Orson Welles." In Orson Welles ’s Citizen Kane, 19–69. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0002.
Full textAbstract:
Abstract Orson Welles: We expected it before it happened. What we didn ‘t expect was that the film might be destroyed. And that was nip and tuck; it was very close. Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
3
Denning, Michael. "The Politics of Magic: Orson Welles ’s Allegories of Anti-Fascism." In Orson Welles ’s Citizen Kane, 185–216. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0007.
Full textAbstract:
Abstract The Rhetoric OF Fascism and anti-fascism runs throughout Welles ‘s career. “Our Julius Caesar gives a picture of the same kind of hysteria that exists in certain dictator-ruled countries of today,” a Mercury press release asserted of the 1937 modern-dress production. The most famous scene in the Mercury Julius Caesar was the killing of Cinna the poet (played by Norman Lloyd) by the mob. One critic wrote that it was “a scene which for pure power and sinister meaning has never been surpassed in the American theatre”; “not even the Group Theater in all their frenzy against dictators,” another wrote, “ever devised a more thrilling scene than that in which the poet, Cinna, is swallowed up by an angry mob.” “It ‘s the same mob,” Welles told the New York Times, “that hangs and burns Negroes in the South, the same mob that maltreats the Jews in Germany. It ‘s the Nazi mob anywhere.” When Welles went to Hollywood two years later, his first project, the unfinished film of Heart of Darkness, was, in his own Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
4
Rosenbaum, Jonathan. "Editor’s Notes to the Welles Interview." In Orson Welles ’s Citizen Kane, 71–78. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0003.
Full textAbstract:
Abstract Given the virtually mythological status of Citizen Kane in Welles ‘s career, it isn ‘t surprising that it has generated by far the most debate of all his films. Two publications in particular should be cited: “Raising Kane,” by Pauline Kael, which appeared originally in two successive issues of the New Yorker (February 20 and 27, 1971) and then as a lengthy preface to the script, published later the same year (The “Citizen Kane” Book, Boston: Atlantic/Little, Brown, and Robert L. Carringer ‘s The Makins of “Citizen Kane” (Berkeley: University of California Press, 1985). Kael ‘s essay was replied to at length by Bogdanovich and Welles in a point-by point refutation published by Bogdanovich as “The Kane Mutiny” in Esquire (October 1972), which included certain portions of the previous interview. Other rebuttals included Ted Gilling ‘s interviews with George Coulouris and Bernard Herrmann in Sisht and Sound (Spring 1972), polemics by Joseph McBride (Film Heritase, Fall 1971) and myself (Film Comment, Spring 1972 and Summer 1972), and remarks in the Welles biographies by Barbara Leaming (Orson Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
5
Naremore, James. "Style and Meaning in Citizen Kane." In Orson Welles ’s Citizen Kane, 123–59. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0005.
Full textAbstract:
Abstract According To Orson Welles ‘s one-time producer John Houseman, Welles was “at heart a magician, whose particular talent [lay] not so much in his creative imagination (which is considerable) as in his proven ability to stretch the familiar elements of theatrical effect far beyond their normal point of tension.” ‘ Left-handed as the compliment may seem, Welles was, among other things, a professional magician (“You know an awful lot of tricks,” Susan Alexander says to Charles Foster Kane during their first meeting, as he casts shadows on the wall to amuse her. “You ‘re not a professional magician, are your”), and his movies delight in visible trickery. In Citizen Kane, for example, the camera moves in to a close-up of a group photograph of the Chronicle staff while Kane talks about what good men they are; suddenly Kane walks right into the photo, and as the camera pulls back from the assembled journalists we find ourselves at an Inquirer party six years later. Such moments draw upon a cinema of plea-Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
6
Thomas, Franccois. "Citizen Kane: The Sound Track." In Orson Welles ’s Citizen Kane, 161–83. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0006.
Full textAbstract:
Abstract A Part From A Dialogue Track that had mainly been recorded live on the set, the sound of Citizen Kane was pieced together in a studio. It cannot be attributed to any single contributor because its function was progressively determined during various stages of the film ‘s creation and production. The role played by sound in the transitions from one scene to another was defined during the development of the screenplay (although several of the most striking transitions do not appear in the final shooting script) and took specific form during editing. Most of the dialogue was recorded on the set, whereas sound effects that give atmosphere and dramatic impact to each sequence were added at various points during editing and mixing. Co screenwriter Herman J. Mankiewicz, production mixer Bailey Fesler, editor Robert Wise, and the sound-effects engineers each contributed suggestions at one time or another, as did composer Bernard Herrmann, whose music occasionally acts as a substitute for sound effects.1 Chief among these collaborators was dubbing mixer James G. Stewart, who had been with RKO since 1931 and Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
7
Mulvey, Laura. "Citizen Kane: From Log Cabin to Xanadu." In Orson Welles ’s Citizen Kane, 217–47. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0008.
Full textAbstract:
Abstract Although The idea of embarking on a new analysis of the most written-about film in film history is daunting, I am using Citizen Kane for a specific and experimental purpose. That is, I want to speculate about certain areas of overlap between psychoanalysis and history and use the film, as it were, as a guinea pig. I have two further excuses for this project. First, although the history in question here is primarily that of the United States, I have tried to approach that history from a European perspective which, I feel, illuminates aspects of the film that have been over-looked. Second, I am applying the film theory and criticism of my generation to this film, which has been put through the mill by each generation of critics since it appeared in 1941. The main influences on my thought have been psychoanalytic theory and feminism, and both have strongly inflected my analysis of Citizen Kane. Although the presence of feminism in this essay may not be obvious at first glance, the principles of feminist film theory have not only molded my way of thinking about cinema in general, but have necessarily informed my approach throughout this Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
8
Wollen, Peter. "Citizen Kane." In Orson Welles ’s Citizen Kane, 249–62. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0009.
Full textAbstract:
Abstract To Write About Citizen Kane is to write about the cinema. It is impossible to think about this film without thinking about its place in film history. Most critics, despite Welles ‘s own unhappy relations with Hollywood, have seen him primarily within the framework of the American narrative cinema. Pauline Kael talks about the 1930s newspaper picture and builds up the role of Herman Mankiewicz, a hardcore Hollywood scribe if ever there was one. Charles Higham talks of a “wholly American work,” Andrew Sarris of “the American baroque,” and they leave no doubt, I think, that where the cinema is concerned, for them Hollywood such as Noel Burch places Welles in relation to Elia Kazan, Robert Aldrich, Joseph Losey, and Arthur Penn and condemns Kane for simply displaying an amplification of traditional narrative codes that it does nothing to subvert.
9
Hoerl, Kristen. "Good Citizens, Ambivalent Activists, and Macho Militants in Forrest Gump and The ’60s." In The Bad Sixties, 93–122. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817235.003.0004.
Full textAbstract:
This chapter looks at how the motion picture Forrest Gump and the ABC miniseries The ‘60s contributed to heteronormative and gendered meanings about the counterculture and anti-Vietnam War movements. The interpersonal conflicts portrayed in this movie and miniseries metaphorically represent the nation divided by disagreement over the Vietnam War and changing family structures. Through a discussion of three recurring character types—the good citizen, the ambivalent activist, and the macho militant—, this chapter argues that Forrest Gump and The ‘60s constructed narratives of national reconciliation and white masculine redemption. These narratives contributed to the backlash against feminism that animated political campaign and policy rhetoric during the mid-to-late nineties.