The Tone Of The Opening Scene

An example of deep focus appears in this sequence. A young Mr. Kane is visible in the background by the window in the middle ground while Mrs. Kane signs over custody of him to Mr. Thatcher in the foreground of the shot. There is a great significance to Kane appearing at the background of the frame. The narrative perspective captures Kane being present, but almost pushed to the literal and symbolic background as decisions are made to determine his future in the foreground. The use of deep focus turns what would’ve been a flat cinema screen into a three-dimensional world with a strong sense of realism. Although our attention is not immediately forced to any specific aspect of the mise-en-scene, a certain important moment is noted just as Mrs. Kane signs the paperwork. Young Kane while playing a childish game of “civil war” screams “Union forever;”

One of the most famous scenes in film is the beginning where Charles Foster Kane dies after saying rosebud. What makes this scene so great was the camera angle. The snow globe that Kane drops after his death created an angle never before seen. This angle allowed for the intensity of the scene to increase as it emphasizes the nurse running in the room and the broken globe to show Kane’s world as comes crashing down on him. Another interesting camera angle is when Kane is being taken away from his mother where both her and Kane are visible and in full focus. Along with this angle it also has a smooth transition from the angle of the mother and sliding through the window to allow for the new scene. These

The music throughout the performance is by The Rolling Stones. The first song, “Little Red Rooster” is very laid back and lazy sounding. It has a slow but consistent tempo throughout the song. The second song, “Lady Jane” has a very slow tempo. This is possibly because it contains lots partner work. The third song, “Not Fade Away” is significantly faster than the previous songs. There is also lots of clapping in time with the music which gives it a kind of celebratory feel. The fourth song, “As Tears Go By” once again has a slow tempo. It has a very relaxed feel at the same time as being sad. This assists in developing the choreographers’ intent because in this section the female dancer is being rejected. The fifth song, “Paint it Black” is where the first costume change takes

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

The music throughout the film plays a big role in the way it is perceived and the overall tone and message. The directors and producers used background noise and music very wisely in order to convey the emotions of a scene. In the movie, it reaches a certain point where it almost looks as though things are looking up for education. It is when the documentary starts describing the “new acting chancellor of the district of columbia schools”, during this scene the makers want you to really pay attention and become almost shocked by this turn of events. However, they do not only grab your attention by the words and clips shown, but also by the loud, upbeat music that is suddenly played while she is being announced. Also, later in the movie they use this same

The music in this film doesn’t go with the setting and time period that the film and novel take place in. The music is very upbeat and poppy, something you might hear on the radio today. It really does not go with the whole 1920’s

One thing I noticed throughout the film was the use of reflections. The movie starts off with a montage of images of Xanadu, Charles Kane’s personal estate. One of the shots includes a beautiful reflection of the building in the water. When Kane dies and drops the snow globe, you see the nurse’s reflection in the glass as she walks into the room. After Kane convinces the men from the Chronicle to come work for him at the Inquirer, he throws a party; we can see him dancing in a reflection of a window. When Kane is in Xanadu, he walks through

During a later part of Scene Two when the cast is dancing the movements match the music, they appeared to be doing the Waltz, so the music had abrupt changes. In Scene Three: Cadiz, the orchestra plays some sad and somber music at the beginning. As the scene progresses the music goes from dark and dismal to happy and cheerful. During one of the songs of Scene Four: Paris the Old Lady, Cunegonde and Candide were discussing a flight and the music being played by the orchestra matched the lyrics bringing the idea of a flight to life. The Old Lady has a mezzo soprano voice she executes all of her notes well in the song. At the end of scene three Candide, Cunegonde, and the Old Lady leave to go to a new place and in the song they sing there are rounds, which were well executed. It helped change the mood again which brightened up the audience.

The Opening Sequence of the Coen Brothers' Movie O brother Where art Thou? 'O brother where art thou?' has a unique storyline based on Homer's classic tale of 'The Odyssey', which is one story made up of short 'chapters', each relating a different adventure. In this story Ulysses, (who Everett McGill is based on) and his companions (who are the two men, Delmar and Pete, chained to Everett) are trying to get back home, however they anger the Gods and their journey is lengthened.

Personally, I did sense a change in the overall “mood” of the film, (through the progression of scenes and such). I thought that it became lighter but also (mainly) darker throughout the whole movie. For one, the director Orson Welles, opened the entire movie with a very caliginous, horrendous and intimidating scene-that follows the death of the main character or “hero” of the film. So, right off the bat a very daunt thing occurred. As the movie progresses, I felt the dark mood begin to (in a very minuscule way) deplete a little, and grow almost lighter. As the movie continued, it seemed like it was reversing in Kane’s life, showing his affair, his first wife’s relationship, his campaign for becoming the governor etc. It continues like this throughout the entire story. But, as it lightens it also grows darker as well, hitting on the points of Kane’s life that were unforgivable (leaving his family, forcing his new wife to sing, etc). In these moments the mood grew darker. Since the movie was based off of Citizen Kane (and basically his rude behavior) the mood did grow darker in more aspects but, it had light hearted moments, especially in the end when the researchers and other people were going through Kane’s house and personal items, they seemed to joke and state Kane’s life in a blunt way-it was almost as if the somewhat apologetic manner for Kane’s death was simply a social need. Whenever someone commits one’s last breath, it is polite and socially correct to pay your

The movie begins with a shot of a cemetery of unmarked crosses. From the beginning, the audience is clued in that this isn’t going to be a simple film. Herzog does an outstanding job dragging out the transitions between scenes, whether it be the sun setting on a highway, or fields of corn shaking gently in the breeze, to create a bleak ambiance that carries out throughout the film. It gives time for the audience to analyze the new information they’ve been given to add onto their own judgements. When the audience first gets to view the original crime scene where the bodies of two young men were discarded, only the sound of insects and other nightlife can be heard, creating an unsettling effect that only adds to the gruesome

In the closing of the newsreel we find ourselves in a room full of highly shadowed journalists, with little to no recognizable faces. Reporter Jerry Thompson is directed by his editor to pursue ominous feel as we are slowly taken closer to Kane’s mansion and are shown a lite window which fades to black, and snowflakes suddenly fill the screen. As the camera pulls back, a snow-covered cabin comes into view. The camera pulls back more quickly to show that what we have been looking at is actually just a scene inside a snow globe in the hand of an old man. The story of Kane’s dying words and from there we are taken back to Kane’s youth through the innovative use of flashbacks, which are instigated by Thompson as he meets with different people who were close to Kane.

The scene we’re analyzing starts off with a shot of the New York Daily Inquirer. It’s a close shot, taking up the entire screen. I feel this close up is to show the viewer that the newspaper company is going to be the primary focal point for Kane, and his two partners at this point in the film. After the close up, the camera pans down to show Kane and Leland sitting in a car looking up at the building. Kane says “Take a good look at it Jedidiah, it’s going to look a lot different one of these days.” Despite the look on Kane’s face being one of optimism and promise, this statement gives leeway to all of the bad things to follow. Kane specifically says, “look a lot different” as opposed to anything else (i.e.

Another aspect of this film is that it is in black and white. This gives it a serious tone. The lighting they used also gave a dramatic effect. There is a scene where two gentlemen are talking but you can see Kane dancing in the reflection of the window. This reminds the audience that he is still important to the scene even though he isn't directly involved. This

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much