Here is the synopsis of our sample research paper on Cinematic and Comparative Analysis of Orson Welles’ “Citizen Kane”. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 5 page paper which critically examines the character, plot, technical, and thematic aspects of Welles’ 1941 masterpiece, and also compares it with another 1941 film, Frank Capra’s “Meet John Doe.” Bibliography lists 1 source.
Page Count:
5 pages (~225 words per page)
File: TG15_TGckwelles.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
be quite the Renaissance man - an accomplished musician, artist, and even magician. When he was bitten by the theatrical bug, he added that to his expanding repertoire and
in 1937 formed the Mercury Theatre with director (and later actor) John Houseman. The following year, the duo produced a highly controversial contemporary radio production of H.G. Wells War
of the World, which caused widespread panic across America. Welles apologized for what was supposed to be nothing more than a Halloween joke, and used the fame he had
achieved as a result to negotiate a Hollywood film deal to direct and star as Charles Foster Kane in a thinly veiled fictional version of newspaper mogul William Randolph Hearsts
life entitled Citizen Kane. The rest, as they say, is now history. Nothing like Citizen Kane had ever been attempted before. Welles was fascinated by the technological potential
of cinema, and used every weapon at his disposal - such as editing, lighting, sound, and cinematography - to convey psychological realism. The opening scene is a perfect example,
with the camera moving eerily along from one strange visual image to the next before seizing something and going in for a tight close-up (Dirks, 1996). There is a
menacing "No Trespassing" sign outside an old gate, and after panning up over a chain-link fence there is a castle barely evident in the night fog (Dirks, 1996). The
camera is cast in the role as curious onlooker, eager to see what lurks behind these forbidding walls (Dirks, 1996). Inside, a bedridden figure is silhouetted when suddenly snowflakes
appear to be pelting the screen. Then, the camera pulls back and the audience sees it is a winter scene in a paperweight the old man in bed has
...