1. Cinema as independent art form Citizen Kane

2. Times of propaganda Sergei Eisenstein Leni Riefenstahl "Triumph of the Will” Wartime Hollywood - many crude propaganda films with crass stereotyping - but also more nuanced narratives Casablanca

3. Great masterpiece Special place in the history of American cinema Greatly innovative – combines many techniques used separately before. Story told in a very characteristic way. Innovative use of cinematography as well as mise-en-scene.

4. Visionary Citizen Kane was directed and written by 26-year-old Orson Welles (1915- 1987), He also stars as the title character Welles came to the attention of Hollywood because of his infamous War of the Worlds radio broadcast

5. The other important figure Gregg Toland cinematographer

6. Makeup

7. Low angle shots

8. high angle shot

9. Deep focus

10. deep focus

11. shallow focus

12. Story William Randolph Hearst Press magnate with political ambitions and colorful private life. Hearst practically blocked Well’s career in Hollywood.

13. Complex narrative structure Can be confusing: o the film begins with the death of the main character o the story of his life is told from multiple points of view

14. “News on the March” newsreel (a miniature version of the rest of the film) Followed by five narratives told as flashbacks

15. Same story from different angles Entries from the diary of Mr. Thatcher (Kane’s legal guardian)

16. Interview with Mr. Bernstein (Kane’s business partner)

17. Interview with Jed Leland (Kane’s one-time closest friend)

18. Interview with Susan Alexander (Kane’s second wife)

19. Interview with Raymond, Kane’s butler.

20. the reporter The newspaper reporter who takes the audience on this quest is always turned away from the camera or shrouded in shadows as he conducts his interviews. He becomes a stand-in for the audience, often appearing only as a silhouetted head in the lower right corner of the frame.

21. Throughout the film we are limited to the knowledge that each narrator has about Kane, so the point of view changes with each new narrator.

22. Casablanca The setting – atmosphere, refugees, war far away yet impact perceptible Characters: o Rick Blane (Humprey Bogart), Ilsa Lund (Ingrid Bergman) Public good over private desire.

23. Film noir Post-war optimism and economic boom in the USA, newly-found confidence. America: key player in international politics. “Tinsletown” – celebration of prosperity and triumph, also celebration of national values through the triumph of law and order. But also a dark mirror – many of the pioneers came from Germany (escaped from Hitler), brought traditions of German impressionism. Peak of popularity 1940s and 1950s.

24. Film noir Atmosphere of desperation and paranoia. No happy ending. Authority questioned: corrupt policemen, soldiers or politicians. Beautiful seducers – femmes fatales. Main characters: lonely types often criminals. Urban setting

25. City spaces shot on location rather than sets build in the studio (previously dominant form). Use of authentic spaces. Lighter, faster cameras.

26. Neorealism Italian movement – first significant development in the post- war European cinema. Movement of huge importance and impact. Cesare Zavattini Vittorio De Sica Roberto Rosselini (Rome, Open City) Luchino Visconti

27. Neorealism On location shooting. Use of non-professional actors. Working life characters and communities. Telling story through take rather than cut. Sense of defeat and exploitation – social conscience. sympathy for the common people

28. Bicycle Thieves

29. 1950s the Hitchcock Era Alfred Hitchcock – one of the most famous directors ever. Master of Suspense famous for meticulous storyboarding. The advent of colour slow adaptation of the new technology: coexistence/