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Cinematography Style: “Casablanca” and “Citizen Kane”

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A 5 page paper which compares the cinematography of the films “Casablanca” and “Citizen Kane.” Bibliography lists 6 sources.

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5 pages (~225 words per page)

File: JR7_RAcasab.rtf

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powerful symbols of what filmmaking is all about, and stories which are presented in such a way that, once we view them we never forget them. Yet, interestingly enough, both of their cinematic styles are very different. Bearing this in mind the following paper examines both films independently, discussing their cinematic style, and then presents a discussion which compares the two. Citizen Kane One of the most powerful cinematic elements in this particular Welles film is that which involves the narrative approach. In this tale we are taken through the story in a very journalistic manner, with one individual playing the narrator and describing the details to us as though the film were, for the most part, a news story. This is a very powerful approach that gives the viewer the impression they are listening in on the life of another. It is somewhat voyeuristic, and also somewhat biographic in that we know we are watching the story of a man who is now dead. The point is that through the narrative technique, a very useful cinematic tool, the viewer feels that they are actively involved and that their viewing actually matters. There are also many cinematic techniques that were essentially first truly utilized in this film. "More importantly, the innovative, bold film is an acknowledged milestone in the development of cinematic technique. It uses film as an art form to energetically communicate and display a non-static view of life" (Dirks, 2002; citi.html). In the following we note some of the components of those cinematic approaches: * use of a subjective camera * unconventional lighting, including chiaroscuro * inventive use of shadows * deep-focus shots with incredible depth-of field from extreme foreground to extreme background (also found in Tolands earlier work in Dead End ...

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