Feedback For: The Making of Citizen Kane by, Robert L. Carringer

I must admit, I have been so intrigued by all that we have been learning about the evolution and master craft of film.  Learning the key words then observing them produced onto a film, ignite such inspiration for writing. As a viewing participant in film/movies, especially one of the 21st century, I am more aware that it is easy to overlook all of the key cinematic elements that bring many of the movies I love together.

Now knowing the prestigious  importance of Citizen Kane to film & film art, along with a more advanced film vocabulary, It was compelling to view it through a mature lens.

In the 'The Making of Citizen Kane', Carringer notes that although Orson Wells was a true maverick in regards to his vision for the film Citizen Cane, it was only with the aide of the cinematographers that allowed Wells to so maidenly push film forward in history. Carringer begins his excerpt detailing the initial way Wells and Gregg Toland began working with one another. The element of reality depicted in the excerpt is what stuck out the most. These two guys made this major film that would eventually be known as the most riveting example of film and cinematography and they were not even on traditional Hollywood schedule, the script wasn't even complete when Toland began working, and Wells underhandedly began filming without true permission from the studio. Freakin' genius!

Carringer reveals many of the behind the scene exclusives for filming Citizen Kane. Using a few of the key scenes from Citizen Kane he introduces new vocabulary for tools that work together for making a scene powerful.

" High contrast lighting is used in the nightclub background to enhance the sense of depth", writes Carringer. Many of the techniques used by Toland are what pushed Citizen Kane forward. Caringer also notes other examples of Tolands work in the 1930's.

The Long Voyage Home, which was mentioned by Carringer was filmed by Toland and another key player in the film game, John Ford. Carringer notes that both Ford and Toland were known for 'breaking the rules', which landed them a nice comfy spot as cinematography historians.

Here's a clip from John Ford's The Long Voyage Home that is said to be a good example of the use of lighting and camera placement for plot progression.

-Ci :)