Focusing on the protagonist Charles Foster Kane and his wife Susan Alexander, this work seeks to debate the relation that is established between the masculine and the feminine in Citizen Kane (Orson ...Welles, 1941). Because the relationship between genders is a place where social practices arelocated, observing how this is constituted in filmic materiality becomes relevant, as well as perceiving the narrative devices for such a process. For such, we will take as theoretical support the discussion undertaken by Pierre Bordieu (2012) on male domination and its coun-terposition in the thought of Michelle Perrot (1991), about the impossibility of absolute exercise of power by a single individual. Our hypothesis is that the voice of the character Susan Alexander at the same time materializes and externalizes the problematic relationship between her and Charles Foster Kane.
Com foco no protagonista Charles Foster Kane e sua esposa Susan Alexander, este trabalho quer debater a relação que se institui entre o masculino e o feminino em Cidadão Kane (Orson Welles, 1941). Por ser a relação entre os gêneros um lugar onde se localizam as práticas sociais, observar como isso se constitui na materialidade fílmica se torna relevante, bem como perceber os dis-positivos narrativos para tal processo. Para isso, tomaremos como suporte teórico a discussão empreendida por Pierre Bordieu (2012) sobre dominação masculina e sua contraposição no pen-samento de Michelle Perrot (1991), acerca da impossibilidade de exercício absoluto do poder por um só indivíduo. Nossa hipótese é que a voz da personagem Susan Alexander ao mesmo tempo materializa e exterioriza a problemática relação entre ela e Charles Foster Kane.
Con enfoque en el protagonista Charles Foster Kane y su esposa Susan Alexander, este trabajo debate la relación que si instituye entre lo masculino y lo feminino en Ciudadano Kane (Orson Wells, 1941). Por ser la relación entre los géneros un lugar donde se ubican las prácticas sociales, observar cómo esto se constituye en la materialidad fílmica se vuelve relevante, así como per-cebir los dispositivos narrativos para tal proceso. Para esto, tomaremos como soporte teórico la discusión emprendida por Pierre Bourdieu (2012) sobre dominación masculina y su contraposi-ción en el pensamiento de Michelle Perrot (1991), acerca de la imposibilidad de ejercicio abso-luto del poder por un solo individuo. Nuestra hipótesis es que la voz de la personaje Susan Ale-xander al mismo tiempo materializa y exterioriza la problemática relación entre ella y Charles Foster Kane.
The artistic contribution that Directors of Photography make to the films that they shoot, in narrative mainstream cinema, has been historically ignored in favour of the director-centred auteur ...theory. In order to address this imbalance a new approach to attributing authorship in film needs to be implemented, which acknowledges co-authorship in collaborative film-making. By taking established auteur methodologies Philip Cowan, himself a practising Director of Photography, analyses the role of cinematographers, and proposes new ways of evaluating their work.
Welles. Hitchcock. Kubrick. These names appear on nearly every list of the all-time greatest filmmakers. But what makes these directors so great? Despite their very different themes and ...sensibilities, is there a common genius that unites them and elevates their work into the realm of the sublime?
The Extraordinary Imagetakes readers on a fascinating journey through the lives and films of these three directors, identifying the qualities that made them cinematic visionaries. Reflecting on a lifetime of teaching and writing on these filmmakers, acclaimed film scholar Robert P. Kolker offers a deeply personal set of insights on three artists who have changed the way he understands movies. Spotlighting the many astonishing images and stories in films by Welles, Hitchcock, Kubrick, he also considers how they induce a state of amazement that transports and transforms the viewer.
Kolker's accessible prose invites readers to share in his own continued fascination and delight at these directors' visual inventiveness, even as he lends his expertise to help us appreciate the key distinctions between the unique cinematic universes they each created. More than just a celebration of three cinematic geniuses,The Extraordinary Imageis an exploration of how movies work, what they mean, and why they bring us so much pleasure.
Hollywood celebrities feared her. William Randolph Hearst adored her. Between 1915 and 1960, Louella Parsons was America's premier movie gossip columnist and in her heyday commanded a following of ...more than forty million readers. This first full-length biography of Parsons tells the story of her reign over Hollywood during the studio era, her lifelong alliance with her employer, William Randolph Hearst, and her complex and turbulent relationships with such noted stars, directors, and studio executives as Orson Welles, Joan Crawford, Louis B. Mayer, Ronald Reagan, and Frank Sinatra-as well as her rival columnists Hedda Hopper and Walter Winchell. Loved by fans for her "just folks," small-town image, Parsons became notorious within the film industry for her involvement in the suppression of the 1941 filmCitizen Kaneand her use of blackmail in the service of Hearst's political and personal agendas. As she traces Parsons's life and career, Samantha Barbas situates Parsons's experiences in the broader trajectory of Hollywood history, charting the rise of the star system and the complex interactions of publicity, journalism, and movie-making. Engagingly written and thoroughly researched,The First Lady of Hollywoodis both an engrossing chronicle of one of the most powerful women in American journalism and film and a penetrating analysis of celebrity culture and Hollywood power politics.
Vues de Casablanca Jamin, Jean
Homme,
2008, 20080101
185/186
Journal Article
Peer reviewed
Open access
Dès le début de Casablanca, le lecteur est prévenu : les souvenirs, et en particulier les souvenirs d’enfance que Marc Augé relate dans ce merveilleux petit livre ne constituent pas une ...autobiographie (p. 9), pas plus qu’ils ne forment un matériau durable pour des mémoires ou des confessions – genres auxquels, résolument, échappe Casablanca. C’est plutôt à un « montage » que l’auteur s’exerce, brisant la chronologie, l’ordonnancement, la sédimentation de leur évocation, renvidant le fil qui d...
The dismissal of Orson Welles from his contract at RKO is one of the most debated topics in the history of American film. This article examines the corporate background behind this decision through ...the role of Floyd Odlum and the Atlas Corporation in engineering Welles's dismissal. It then explains the company strategy that Odlum pursued vis-à-vis his assumption of control at RKO, against the backdrop of Atlas as a large US investment firm. It also re-examines Welles's claim that (apart from
It's All True
) his films never went over-budget. By bringing these elements together, a new understanding of why Welles was dismissed from RKO is obtained.
Feminist film scholars have long argued that there is a visual bias as to how the female body is represented on screen. This article explores the extension of this bias to include sound: how sound is ...used to represent women in American cinema. It explores sonic representation in several
key films including Singin' in the Rain, Mulholland Drive, Blue Velvet and Citizen Kane.
André Bazin'sWhat Is Cinema?(volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although ...Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influentialCahiers du Cinéma,which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his forword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not."
This chapter focuses on Orson Welles's 1932 play The Marching Song, the direction of which described “a great unearthly light falling full upon” the “transfigured” protagonist. The play investigates ...one man's life through conflicting recollections to explore how myth can permanently obscure the truth. While Welles used an almost identical method in Citizen Kane, his 1941 cinematic masterpiece, the script explains that the unearthly light falls not on Charles Foster Kane but on “THE SWORD OF THE LORD AND OF GIDEON!”: the abolitionist John Brown. While the enigmatic Kane will forever be his greatest creation, Welles first explored the creation of conflicting and contradictory myths through Brown. As many film historians and biographers have noted, The Marching Song articulated one of Welles's “lifelong obsessions,” the distortion of memory and myth.
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