Caligari was its implementation of the German Expressionist mise-en-scene. From the opening credits it’s easy to see how American critiques could have confused The Cabinet of Dr. Caligari as cubist (Skal 1993)…
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Later critics identified the style as being indicative of the German psyche and authoritarian regime. (Elsaesser 2000)
We initially find Caligari registering his somnambulist for the carnival. He seems somewhat out-of-place in the well-lit setting and the mise-en-scene even positions him well-below the registrar, almost as if the expressionist setting represents the established governmental authority that Caligari is attempting to replace. We next find him at the Carnival with a small group of on-lookers. Cesare is introduced from his casket with foreboding iris shots surrounding him and Caligari and you can envision the war-torn German public looking at the somnambulist as if in a mirror, ready to awake and respond to the world. The subtitles even say, “He (Cesare) knows the past and sees the future. When Alan turns up dead the next day Francis refers back to the prophecy of the somnambulist.
In one scene a lone girl is walking through the carnival looking for a man and we see Caligari draw her into the tent. The actors exhibit typical silent film style melodramatic gestures, but they take on an expressionist quality that can be construed as an authoritarian dichotomy. The girl is eventually frightened by Caligari and runs away. The scene carries little value for the overall plot and it’s as if it functions on a purely subconscious or symbolic level. Here, the older Caligari represents the established order, and the younger woman -- through her expressionistic gestures of terror -- is indicating revulsion at the hypnotic, authoritarian regime.
The final scene finds Francis, Jane and Cesare grouped together in the asylum with Francis warning his friend to not ask Cesare to tell his fortune as it will result in Cesare murdering him. Oblique lines expressionist lines extend throughout the ground. These expressionistic lines seem to
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It was widely considered to be the greatest film that ever created in the sphere of Hollywood. In this paper, a critique on the entirety of the film is discussed. Critique Every movie has its own story to tell and scenes to display. The movie Citizen Kane, directed by Orson Welles and written by Herman J.
Often still regarded by critics as one of, or the greatest movie of all time, it garnered a large amount of Academy Award Nominations of which it won the “Best Writing” award (Mulvey, 1992). Set amidst the newspaper publishing world of the US at the time, the movie tells the life story of the character Charles Kane, a publishing tycoon based on a real life individual.
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The Cinematic narrative form enhances plot development in this art piece to accumulate to tragic significance. The concepts of the image as presence (image as presentation) and image as text (image representation) have been employed in the ensemble to achieve significant tragic meaning dissemination.
Citizen Kane is one of the best and most extraordinary pictures in the American cinema history (von Stroheim 1941, Carringer 1996, and Thomson 2001). Produced back in 1941, it is still open to the discussion today decades after its release. Directed by Orson Welles, the film focuses on a variety of "eternal" themes in cinema, literature, and art.
Set amidst the newspaper publishing world of the US at the time, the movie tells the life story of the character Charles Kane, a publishing tycoon based on a real life individual. The story begins with the
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The music is slow and sad with the lighting deem only focusing on the man (Wells, 1941). The editor did an excellent job in bringing close the dying man after showing us his mansion and the bed he was lying in while taking his last breath.
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