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Journal articles on the topic 'Citizen Kane'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

Kosovsky, Robert, and Bernard Herrmann. "Citizen Kane." American Music 12, no. 2 (1994): 221. http://dx.doi.org/10.2307/3052533.

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2

Cohen, Gene D. "Citizen Kane as Senior Citizen." American Journal of Geriatric Psychiatry 5, no. 2 (1997): 93. http://dx.doi.org/10.1097/00019442-199721520-00001.

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3

McGinty, Sarah Myers. "Deconstructing "Citizen Kane"." English Journal 76, no. 1 (January 1987): 46. http://dx.doi.org/10.2307/818301.

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4

Enckell, Mikael. "“Citizen Kane” and Psychoanalysis." Scandinavian Psychoanalytic Review 8, no. 1 (January 1985): 17–34. http://dx.doi.org/10.1080/01062301.1985.10592457.

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5

Leff, Leonard J. "Reading "Kane"." Film Quarterly 39, no. 1 (1985): 10–21. http://dx.doi.org/10.2307/1212276.

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6

Marling, Karal Ann, Thomas Lennon, and Michael Epstein. "The Battle over Citizen Kane." Journal of American History 84, no. 3 (December 1997): 1175. http://dx.doi.org/10.2307/2953260.

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7

Cohen, Gene D. "Citizen Kane as Senior Citizen: A Mental Health Perspective." American Journal of Geriatric Psychiatry 5, no. 2 (March 1997): 93–96. http://dx.doi.org/10.1097/00019442-199700520-00001.

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8

Bessette, Eliot. "Mulvey and Trump on Citizen Kane." New Review of Film and Television Studies 15, no. 4 (October 2, 2017): 410–14. http://dx.doi.org/10.1080/17400309.2017.1376877.

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9

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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10

Polack, Jean-Claude. "Citizen Kane – Nous sommes faits de lignes." Chimères 89, no. 2 (2016): 10. http://dx.doi.org/10.3917/chime.089.0010.

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11

Lamb, Robert Paul. "Citizen Kane and the Quest for Kingship." Journal of American Studies 19, no. 2 (August 1985): 267–70. http://dx.doi.org/10.1017/s0021875800012135.

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12

Black, Joel E. "Citizen Kane: The Everyday Ordeals and Self-Fashioned Citizenship of Wisconsin's “Lady Lawyer”." Law and History Review 33, no. 1 (February 2015): 201–30. http://dx.doi.org/10.1017/s0738248014000583.

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On the afternoon of Friday April 20, 1883, attorney Kate Kane doused Judge James Mallory with a glass of water in a Milwaukee courtroom. Kane's frustrations were deep. That morning Mallory had reassigned one of her clients to another attorney, despite the fact that this client had specifically requested Kane. This time it was to Peter J. Somers, who had recently worked for Mallory's re-election. After the incident, Kane would announce, “Judge Mallory has been trying to drive me out of this court; he has continuously insulted and misused me, but I bore it.” “Today,” she explained, “I wanted to insult Judge Mallory just where he had insulted me—in open court.” She succeeded; Mallory was furious. Wiping the water from his brow, the irate judge shouted, “Arrest that woman,” and cited Kane for contempt of court. She was immediately apprehended and hauled off to the local jail, where she would stew for days. “I shall stay here for ten years before I pay that fine,” Kane vowed, defiantly. The incident, which imperiled Kane's legal career in Milwaukee, also reveals critical tensions in women's claims on full citizenship that were reflected in battles over professional membership, legal and sexual equality, and political inclusion.
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13

Jackson, Tony E. "Writing, Orality, Cinema: The 'Story' of Citizen Kane." Narrative 16, no. 1 (2008): 29–45. http://dx.doi.org/10.1353/nar.2008.0007.

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14

Hofer, Jan, and Holger Busch. "Why Citizen Kane was unhappy: Motive-Goal Incongruence." Social and Personality Psychology Compass 11, no. 8 (August 2017): e12330. http://dx.doi.org/10.1111/spc3.12330.

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15

Callenbach, Ernest. ": The Making of "Citizen Kane" . Robert L. Carringer." Film Quarterly 38, no. 4 (July 1985): 29. http://dx.doi.org/10.1525/fq.1985.38.4.04a00140.

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16

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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17

Sieber, Hannah. "Reconstructing American Historical Cinema: From Cimarron to Citizen Kane, J. E. Smyth (2009)." Film Matters 11, no. 2 (September 1, 2020): 104–8. http://dx.doi.org/10.1386/fm_00082_5.

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18

Haberski, R. J. "Reconstructing American Historical Cinema: From Cimarron to Citizen Kane." Journal of American History 94, no. 1 (June 1, 2007): 324–25. http://dx.doi.org/10.2307/25094903.

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19

Greene, Liz. "Falar, Cantar, Gritar: o controle da voz feminina no cinema americano." Leitura: Teoria & Prática 35, no. 70 (October 22, 2017): 67–83. http://dx.doi.org/10.34112/2317-0972a2017v35n70p67-83.

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Os pesquisadores dos estudos fílmicos feministas vêm argumentando, há muito tempo, que existe um preconceito visual na maneira como o corpo feminino é representado nas telas. Este artigo explora o prolongamento desse preconceito ao incluir o som: como o som é utilizado para representar as mulheres no cinema americano. Explora-se aqui a representação sonora em alguns filmes-chave, incluindo Dançando na Chuva (Singin’in the Rain), Cidade dos Sonhos (Mulholand Drive), Veludo Azul (Blue Velvet) e Cidadão Kane (Citizen Kane).
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20

Jackson. "Prime Time: Visual Cognition in the Prelude to Citizen Kane." Style 49, no. 4 (2015): 494. http://dx.doi.org/10.5325/style.49.4.0494.

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21

Frankfurt, John. "Walking Shadows: Orson Welles, William Randolph Hearst, and Citizen Kane." Film Quarterly 60, no. 2 (2006): 81–82. http://dx.doi.org/10.1525/fq.2006.60.2.79.5.

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22

Callenbach, Ernest. "Review: The Making of "Citizen Kane" by Robert L. Carringer." Film Quarterly 38, no. 4 (1985): 29. http://dx.doi.org/10.2307/1212398.

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23

Lee jeong-gook. "Principles for Constructing Main Character in Script －In the center of ‘Charles Foster Kane’ in 《Citizen Kane》－." Film Studies ll, no. 57 (September 2013): 291–322. http://dx.doi.org/10.17947/kfa..57.201309.011.

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24

Volpe, Míriam. "A Imagem como Ruína." Aletria: Revista de Estudos de Literatura 8 (December 31, 2001): 264. http://dx.doi.org/10.17851/2317-2096.8.0.264-271.

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O dialogismo ente o filme Citizen Kane, de Orson Welles, e o poema “Kubla Khan”, de S.T. Coleridgé, é analisado, sendo evidenciados não só o tema em comum – o mito do Paraíso perdido – como também a similariedade na organização do disurso na justaposição das images, como fragmentos da memória a serem preservados.
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25

Kozubek, Małgorzata. "Ostatnia strona „Obywatela Kane’a”." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 13–26. http://dx.doi.org/10.19195/0860-6668.22.3.2.

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The last side of Citizen Kane History of cinema does not consist merely of masterpieces, but also of films that are unfinished, as well as scripts that were supposed to serve as the basis for films which ultimately never came into being or were transformed into completely different works completed by another filmmaker. Welles’ case is very interesting in this context as, on the one hand, he was a star of the “author’s policy”, a universally known celebrity, a legend of world cinema, who contributed significantly to its history, but on the other hand he was also an unaccomplished figure. Yet, his unfulfillment was different from what is often described, for instance, in autobiographical interpretations of Citizen Kane: “he had everything and lost everything”. We may rather say that his oeuvre forms a sinusoid that comprises both completed, artistically accomplished works and films that were rejected by viewers and critics, as well as more than a dozen very interesting unfinished projects. In this paper I’m analysing the case of Orson Welles’ last unfinished movie — The Other Side of the Wind 2018.
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26

Rapf, Joanna E. "Review: Young Orson: The Years of Luck and Genius on the Path to Citizen Kane by Patrick McGilligan and Citizen Kane: A Filmmaker's Journey by Harlan Lebo." Film Quarterly 70, no. 2 (2016): 109–11. http://dx.doi.org/10.1525/fq.2016.70.2.109.

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27

김영철. "A study of educational cinema: The case of Orson Welles’s Citizen Kane." Journal of Anthropology of Education 14, no. 3 (September 2011): 165–96. http://dx.doi.org/10.17318/jae.2011.14.3.006.

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28

DeMin, He. "An Analysis of the Narrative Model and Audio-Visual Languages of Citizen Kane." Journal of the Korea Entertainment Industry Association 12, no. 5 (July 31, 2018): 91–99. http://dx.doi.org/10.21184/jkeia.2018.7.12.5.91.

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29

Merlock Jackson, Kathy. "Citizen Kane , Collecting, and the American Character: What, Why, and How Charlie Collects." Journal of American Culture 43, no. 1 (March 2020): 18–26. http://dx.doi.org/10.1111/jacc.13114.

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30

Saha, Anamik. "Citizen Smithmore thanCitizen Kane? Genres-in-progress and the cultural politics of difference." South Asian Popular Culture 11, no. 1 (April 2013): 97–102. http://dx.doi.org/10.1080/14746689.2013.765234.

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31

Brophy, Philip. "Citizen Kane: The Sound of the Look of a “Visual Masterpiece”." Music and the Moving Image 1, no. 3 (October 1, 2008): 1–12. http://dx.doi.org/10.5406/musimoviimag.1.3.0001.

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32

Collingwood, Peter. "Commercial Radio 1999: New Networks, New Technologies." Media International Australia 91, no. 1 (May 1999): 11–21. http://dx.doi.org/10.1177/1329878x9909100104.

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It is six years since the Keating Labor government's deregulation of commercial radio in Australia opened up opportunities for commercial radio networking, invited substantial overseas investment (and consequently, linkages with overseas media organisations) and virtually closed down the public regulation of content on radio. From any perspective, it remains important to understand precisely how ownership, production and distribution systems mesh with historically particular social and cultural formations. In addressing that context, this essay asks three questions: Citizen Kane issues aside, how have management decisions on networking influenced program quality? Second, how important is geography in this? And third, is technology driving the process?
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33

Reil, Alyssa L. "Young Orson: The Years of Luck and Genius on the Path to Citizen Kane by Patrick McGilligan." Middle West Review 5, no. 1 (2018): 83–85. http://dx.doi.org/10.1353/mwr.2018.0056.

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34

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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35

Salmon, Paul. "“The People Will Think…What I Tell them to Think”: Orson Welles and the Trailer for Citizen Kane." Canadian Journal of Film Studies 15, no. 2 (October 2006): 96–113. http://dx.doi.org/10.3138/cjfs.15.2.96.

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36

Marc Singer. "Making History: Cinematic Time and the Powers of Retrospection in Citizen Kane and Nixon." Journal of Narrative Theory 38, no. 2 (2008): 177–97. http://dx.doi.org/10.1353/jnt.0.0010.

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37

Landy, M. "J. E. SMYTH. Reconstructing American Historical Cinema: From Cimarron to Citizen Kane. Lexington: University of Kentucky Press. 2006. Pp. xiii, 447. $50.00." American Historical Review 112, no. 4 (October 1, 2007): 1195–96. http://dx.doi.org/10.1086/ahr.112.4.1195.

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38

Vidal. "From the Opening Sequence of Citizen Kane to the Final Shot of The Birds: A Filmic Microanalysis of Three Painted Scenes." Journal of Film and Video 73, no. 1 (2021): 33. http://dx.doi.org/10.5406/jfilmvideo.73.1.0033.

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39

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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40

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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41

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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42

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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43

Marri, Anand R. "Using K–12 Schools to Promote Civic Engagement through Economic Literacy." Good Society 29, no. 1-2 (April 2021): 74–89. http://dx.doi.org/10.5325/goodsociety.29.1-2.74.

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Abstract Schools serve as a crucial locus for fostering active citizens who understand the essential principles of democratic life and active involvement based upon those principles. As educators strive to achieve this civic education mission, I argue that they must include improving the economic literacy of K–12 students as an integral component of fostering active and engaged democratic citizens. Unfortunately, economic issues remain almost entirely absent from the broader K–12 social studies curriculum, resulting in a failure to engage young people in some of the most pressing moral and civic issues of our times. Furthermore, K–12 educators must endeavor to overcome the lack of equitable civic education opportunities for underrepresented and disadvantaged students and the widening disparities between residents of the United States. I argue for increasing the economic literacy of high school social studies teachers and their students as a means to promote civic engagement by providing classroom-based examples and by using the critical attributes of the personally responsible citizen, participatory citizen, and justice-oriented citizen as articulated by civic education scholars Joel Westheimer and Joseph Kahne. Building on these examples, I suggest that K–12 educators should prepare students to engage with a host of macro- and microeconomic dilemmas and questions that promote active and engaged democratic citizenship.
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44

Moran, Kate A. "Kant on Traveling Blacksmiths and Passive Citizenship." Kant-Studien 112, no. 1 (March 1, 2021): 105–26. http://dx.doi.org/10.1515/kant-2021-0004.

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Abstract Kant makes and elaborates upon a distinction between active citizenship and passive citizenship. Active citizens enjoy the right to vote and rights of political participation generally. Passive citizens do not, though they still enjoy the protection of the law as citizens. Kant’s examples have left commentators puzzling over how these distinctions follow from his stated rationale or justification for active citizenship, namely, that active citizens possess a kind of political and economic self-sufficiency. This essay focuses on one subset passive citizenry – that of traveling blacksmiths, barbers, and day laborers in order to examine Kant’s distinctions. I argue that these examples show that Kant’s concerns regarding dependence are, at least in some cases, pragmatic rather than political.
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45

Crowley, Ryan, and Kathy Swan. "What Kind of Economic Citizen? A Response." Education Sciences 8, no. 4 (October 24, 2018): 185. http://dx.doi.org/10.3390/educsci8040185.

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In our previous work (Crowley & Swan, 2018), we extended the three citizenship categories (personally responsible, participatory, justice-oriented) created by Westheimer and Kahne into the realm of economic citizenship. In doing so, we added a fourth citizenship archetype: the discerning economic citizen. In a comment on our original article, Cameron (2018) suggested that the discerning economic citizen is not a distinct archetype, but rather a foundational aspect of all elements of economic citizenship. Herein, we provide greater foundation for our decision to separate out the discerning economic citizen.
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46

KAMNUANSILPA, Peerasit, Sirisak LAOCHANKHAM, Charles David CRUMPTON, and John DRAPER. "Citizen Awareness of the Smart City: A Study of Khon Kaen, Thailand." Journal of Asian Finance, Economics and Business 7, no. 7 (July 31, 2020): 497–508. http://dx.doi.org/10.13106/jafeb.2020.vol7.no7.497.

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47

Retnowati, Nurcahyani Dewi, and Dwi Nugraheny. "G2C (Government to Citizen) Digital Interaction And C2G (Citizen to Government) on The Jogja Smart Service Application." Sainstek : Jurnal Sains dan Teknologi 13, no. 2 (December 31, 2021): 90. http://dx.doi.org/10.31958/js.v13i2.4692.

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Government to Citizen (G2C) is a form of relationship between the Government and the Citizen within the Government area based on Information Technology. Citizen to Government (G2C) is a form of relationship between the Government, Citizen, and changes in Information Technology. Jogja Smart Service (JSS) is a digital-based service for the Yogyakarta City Government that is integrated and integrated through an information system application, available web (jss.jogjakota.go.id) and mobile (Android and iOS) platforms that can be accessed directly by the people of the municipality area. by prioritizing self-service (self-service). This research uses data from SWOT analysis and KAFI vs KAFE analysis. This research aims to determine how far the Yogyakarta city government application, namely the Jogja Smart Service (JSS) is utilized by the people of the city of Yogyakarta and is actively accessed as an effective and efficient communication bridge between G2C and C2G through digital interaction. The results of the analysis carried out show that there is a digital interaction that is quite effective and efficient in G2C and C2G in the use of JSS applications. As many as 61.9% of users are very enthusiastic about using the application and 75% of potential users are interested in using the application.
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48

구경남. "Restudy of“ Citizen”in『 Korean History』 Text Book of High School." Studies on History Education ll, no. 15 (May 2012): 201–32. http://dx.doi.org/10.16976/kahe.2012..15.201.

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49

Saengkaew, Anchana, and Sataporn Roengtam. "Citizen Engagement and Effectiveness Local Governance Development: The Case of Khon Kaen Province,,Thailand." UNISCI Journal 18, no. 53 (May 2020): 193–206. http://dx.doi.org/10.31439/unisci-91.

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50

Ying, Hu. "NAMING THE FIRST NEW WOMAN." NAN NÜ 3, no. 2 (2001): 196–231. http://dx.doi.org/10.1163/156852601100402270.

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AbstractHailed as the first female medical doctor of China, the exemplary new citizen of the burgeoning Chinese nation, and a model of Christian conversion, Kang Aide is a figure to whom others attributed tremendous representational power as well as different meanings. Comparing three versions of her story, one by late Qing reformers represented by Liang Qichao (1873-1929), one by American missionaries, and one by herself, this paper traces the enactment of modernity at a particular historical moment, an enactment fraught with ambiguity and contested at the very moment of its conception.
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