Bernard Herrmann

Citizen Kane is a movie that can be rewritten and implemented into any film created today. In many ways, the storyline tells us more about ourselves than anything else and it relates to each one of us who has ever wished for a blah blah life. From his flamboyant adventures to the blah blah to his political agenda in his later years. Every film that came after Citizen Kane owes a great deal to Orson Welles because of the way he used music, shadows and lighting, and special effects, which without

They can always raise the voice and lower the instrumental music from machines instead of the singers trying to sing over the orchestra. A perfect example of this explanation was given by one of the greatest film music composers of his time Bernard Herrmann, “For by separately recording music and sound and voice, we are able to mix them together at the proper volume. The speaking voice and the music can achieve a perfect balance. That is the greatest contribution of the genuine sound film”. Without

Analytical Essay on the Score of Psycho The man behind the low woodwinds that opens Citizen Kane and the 'high pitched violins' of Psycho (1960). Bernard Herrmann was one of the most original and distinctive composers ever to work in film. He started early, winning a composition prize at 13 and founding his own orchestra at 20. After writing scores for Orson Welles' radio shows in the 1930s (including the notorious 1938 'War of the Worlds' broadcast), he was the obvious

The film Vertigo is a mesmerizing romantic suspense/thriller about a macabre, doomed romance in other words a desperate love for an illusion. The credits, accompanied by eerie music by Bernard Herrmann, play over Saul Bass' amazing title sequence that combines both live action and animation. The film begins with a fragmented and shifting image of a woman's blank and expressionless face; first, an enormous close-up of the lower left portion of her face, then her lips, then her frightened eyes darting

has a vital role of helping the film promote tension throughout. Usually, isolated instruments are used to build up to a key event to increase tension and subconsciously link the idea of vulnerability to the viewers. However in Psycho, composer Bernard Herrmann uses just the sound of the shower leading up to the key moment and then the isolated instruments (violins and cellos)

The purpose of this research paper is to examine whether or not professional networking plays a role in the success of a film composer and if so, how significant that role is. This study will provide an overview of the correlation between professional networking and the film music industry. The first part of this paper will give a general overview of the film music industry and the type of experiences one would have in the profession. The study will then look into more specific instances of professional

Cinematography, and Art Direction (Oscars, 1942, 1961). Although Citizen Kane won the award for Writing and attained nine other nominations, Psycho attained four nominations but did not win any Academy Awards. They also share a music composer, Bernard Herrmann. (Spectrum,

The characters in Alfred Hitchcock’s Psycho (1960) each have a dual nature that is masterfully portrayed through character development and use of mirrors throughout the film. The very first shot in Psycho is zooming in from an open view of the city where it is a bright and sunny day. As the shot zooms in further and further it comes into a dark and shaded room that shows Marion Crane (Janet Leigh) and Sam Loomis (John Gavin) having an affair in a undisclosed hotel. This is dualistic image is just

Psycho is a classic horror/thriller directed by the legendary Alfred Hitchcock made in 1960. It followed Marion Crane (Janet Leigh), who stole $40,000 in order to be with her lover, and stopped at the Bates Motel, owned by the psychotic split-personality Norman Bates (Anthony Perkins), along the way, and is murdered by Bates, which catalyses an investigation into Norman and his mysterious mother. Psycho explored in-depth the psychosis of its characters and how it connected to Kübler-Ross model of

F for Wellesian Orson Welles had a long career full of unexpected rises and falls that was marked by his personal desire to wow audiences and habitual straying from conventional means of entertainment. From his The War of Worlds broad cast that caused audiences to fear for their lives, to his performance in The Third Man, Welles strove to be memorable and invite audiences to rise to his standards of entertainment. He fancied himself a magician; a theme that helped progress his 1973 film F for Fake