영화 시민케인(Citizen Kane) 완벽 분석 영문 레포트

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영화 `시민케인(Citizen Kane)`에서 selected Kane과 Susan이 소풍가기로 결정하는 씬부터 소풍을가서 천막에서 싸우는 씬까지 쓰인 카메라 촬영 기법, 음향, 편집, 조명 등을 다양하고도 자세하게 다뤘습니다. 어설프게 인터넷에서 베껴서 쓴 글과는 비교도 할 수 없이 좋은 질의 reference 목록을 가지고 있으므로 reference만은 믿으셔도 됩니다.

피크닉 씬 이외의 다른 씬에 쓰인 기법에 대해 알고싶으신 분들도 참고하면 좋습니다.

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본문내용

The most interesting thing in this sequence is the continuity of the sound. It is completely linked until the end of the sequence. According to David Cook, Welles called this technique the “lightning mix,” in which shots were rapidly linked together by the continuity of the sound track, not by the narrative logic of their images. (2004, p.330) Although the scene cuts or dissolves to a locale and time or not, the sound continues no matter it is from a different sources. (Bordwell 1976, p.284) Until the last scene of the sequence, the sound never comes apart and is connected regardless of the changes of the images. The first scene starts with a dark, gloomy, and portentous blues. Although the scene has changed -from Susan and Kane in the car to the lining of black cars along the sea-, the blues continues. Without any sudden change in tone or style, the blues also allows a seemingly continuous flow of music when followed by the lament jazz song, “It can’t be love.” This song also continues until the camera moves to the tent where Kane and Susan are having conversation. Even the pause of conversation, the music from the outside tent keeps the flow of sound. The role of a woman’s scream after Kane’s slapping Susan is also to maintain this flow so that the stream of the film can’t be interrupted.

참고 자료

• Bazin, Andre 1996, Orson Welles: a critical view, Harper & Row, New York
• Bordwell, David & Thomson, Kristin 2004, Narrative form in Citizen Kane, Film Art: An Introduction, pp.91-102McGraw-Hill, New York
• Bordwell, David & Thomson, Kristin 2004, Style in Citizen Kane, Film Art: An Introduction, pp.394-401, McGraw-Hill, New York
• Bordwell, David 1976, Citizen Kane in Bill Nicholas: Movies and Methods, Volume 1: An Anthology, pp. 273-290 University of California Press, Berkeley, California
• Cook, David 2004, Orson Welles and the Modern Sound Film, A history of narrative film, pp.328-342, W. W. Norton & Company, New York
• Corrigan, Timothy 1998, A short guide to writing about film, Longman, United States.
• Fabe, Marilyn 2004, Expressive Realism: Orson Welles’s Citizen Kane, Closely Watched Films: An introduction to the Art of Narrative Film Technique, pp.78`98, University of California Press, Berkeley and Los Angeles, California
• Garis, Robert 2004, The films of Orson Welles, pp.32-68, Cambridge university press, Cambridge, UK
• Naremore, James 1978, The magic world of Orson Welles, Oxford university press, New York