Posted 11 February 2004
return to Weekly Class Outline and Updates
Introduction to Film, Section 2
Week 5 (February 9, 2004)
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6:00-8:10:
8:10-8:20:
8:20-9:30
View Citizen Kane
Break
Narrative Form
Discussion of Citizen Kane
You may still turn in the Waiver for Posting Grades.
I will collect Extra Credit Questions (on 3 X 5” index cards) at the end of class
tonight.
Note: Quiz 1 Next Week
Bring a full-sized (8 ½” X 11”) Scantron sheet and a #2 pencil
Quiz will be given during first half-hour of class
Questions will include

definitions of terms from Chapters 1-3 in Film Art
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how terms apply to films that we have watched
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specific questions about films:
o
A Star Is Born
o
Creature Comforts
o
Begone Dull Care
o
An Occurrence at Owl Creek Bridge
o
Citizen Kane
For practice, try the sample quizzes at the textbook website:
http://highered.mcgraw-hill.com/sites/0072484551/student_view0/
(Don’t despair! My questions aren’t quite as tough!)
REASONS FOR CITIZEN KANE’S INFLUENCE
1. Controversy of Production History
Scandal caused by references to William Randolph Hearst nearly stopped film’s
release, crippled its distribution
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For more, see documentary The Battle over Citizen Kane (available in
Memorial Library and on the 2-disk DVD)
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A fictionalized (and somewhat inaccurate) account is presented in the
recent HBO production RKO 281
The best book on the subject is The Making of Citizen Kane by Robert
Carringer (also available in Memorial Library)
2. Content and Narrative Form Are Somewhat Unusual for Time

Theme that criticizes American “success ethic”
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Criticism of living, powerful man
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Complexity of flashback structure
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Somewhat open ending
3. Dramatic and Innovative Uses of Film Style
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Complex use of props and other elements of mise-en-scene to support
narrative, suggest meanings
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Dramatic uses of low-key lighting
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Unusual uses of camera angles and extended camera movement
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Innovative development of “deep-focus” cinematography
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Use of overlapping dialogue and sound for emotional context
Effect of Hearst Controversy on Welles and Citizen Kane
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RKO President George Schaefer replaced
Control of The Magnificent Ambersons taken from Welles, ending is re-shot
and re-cut, original footage destroyed
Welles continues to work in theater and film but never has full funding and
full control at same time again
Kane earns critical praise but does not succeed at box office
Kane is pulled from theaters, put on shelves at RKO, neglected and
forgotten
Re-released in early 1950s
Acclaimed “greatest film” by international critics at Brussels World Fair
Remains at top of “best films” lists ever since
Indirect Influence on American Films

Downbeat themes, complex narrative structures become more common by
end of World War II
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Innovations in lighting, deep focus cinematography developed further
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Helped to spur development of film noir style in 1940s and 1950s
(Film Noir: American films from late 1940s and 1950s labeled “black film” by
French critics because of downbeat themes and dark passions in narrative,
notable use of low-key lighting and extreme camera angles.)
Direct Influence on Future Filmmakers and Critics
Other notable Welles films:
The Magnificent Ambersons
The Lady from Shanghai
Othello
Touch of Evil
Chimes at Midnight
NARRATIVE FORM
What is narrative?
Chain of events linked by cause and effect moving in time and space
Narratives may be
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Fictional
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Non-Fictional
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Presented in many formats (documentary, compilation, animation,
commercials, public service announcements, etc.)
Narrative form is presented through all of the elements of stylistic form
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mise-en-scene
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cinematography
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editing
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sound
The total form or system of a film is made up of the interaction of its narrative and
stylistic forms
Example: Narrative form in A Star Is Born
Follows general outline of common narrative pattern
Exposition:
Main characters are introduced
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Esther
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Granny
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Name of Norman Maine is mentioned
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Factors leading to later complications introduced
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Esther’s desire to become a movie star
Causal event:
Something happens to precipitate action
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Granny sends Esther to Hollywood
Complications: Events impede action, add other factors
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Esther’s job hunt
Meeting, love and marriage with Norman
“Vickie Lester’s” success and Norman’s failure
Intensification of action: Problems created by complications become more
important and more vital
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Norman returns to drinking several times
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Vickie decides to quit the movies
Conclusion:
Problems are usually resolved, questions usually answered
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Norman’s death
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Vickie’s return
Chain of Cause and Effect in A Star Is Born
Cause: Esther reveals her desire to be a film star
Effect: Granny sends Esther to Hollywood
Cause:
Effect:
Effect:
Effect:
Effect:
Effect:
Esther looks for work
Esther meets Danny at boarding house
Danny gets job for Esther as waitress at party
Esther meets Norman Maine face to face
Norman is attracted to Esther
Norman gets screen test and contract for “Vickie Lester”
Cause:
Effect:
Effect:
Effect:
Vickie’s career takes off, Norman’s career slides
Norman is laid off from studio by Oliver
Norman resumes drinking
Norman tries to “dry out”
Cause:
Effect:
Effect:
Effect:
Effect:
Effect:
Effect:
Norman meets and fights Libby at race track
Norman goes on last binge
Vickie vows to give up career
Norman commits suicide
Vickie plans to leave Hollywood
Granny urges Vickie to stay
Vickie resumes career
(“Effects” in boldface also cause other events to happen)
Characters cause events to happen
Esther, Granny, Danny, Norman, Oliver, Libby
Many films (but not all!) are character-driven
STORY and PLOT in Narrative
STORY
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All the events in a narrative, including what we assume or infer
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Events as they would have occurred in "real life"
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Total (imagined) story world is the film’s DIEGESIS (term goes back to
Aristotle’s Poetics)
PLOT
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Story events depicted by the film itself
Events from the diegesis that have been selected and arranged within
the film (or other narrative medium—novel, story, etc.)
Includes nondiegetic elements ("mood" music, credits, etc.)
The story elements of a narrative
are conveyed by the plot
The plot
is conveyed by the stylistic elements of the medium
Novels and Short Story:
Comics and Graphic Novels:
Theater:
Opera and Musicals
Film:
Words, narration, dialogue
Words and still images
Words, mise-en-scene,
performance
Words, mise-en-scene,
performance, music
All of the above, plus
cinematography and editing
TIME IN STORY AND PLOT
Elements of Time in Narrative:
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Order
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Duration
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Frequency
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Order--In what sequence do events occur?
Story--Always in chronological order
Plot--Often in chronological order, but not always
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Sequences can be reordered through flashbacks or flashforwards
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Viewers rearrange the time sequence into chronological order during
and after the film
Needed story information can also be provided through flashbacks, dialogue,
voiceover or title narration, and other means
Example: The Lord of the Rings trilogy uses flashbacks to show how the One
Ring was forged, taken from Sauron, lost, and then found by Gollum
Common Pattern: Plot opens in media res (“in the middle of the action”)

Technique goes back at least to Homer’s Iliad and Odyssey
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Plot begins somewhere in the middle of the chain of cause-and-effect
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Usually requires some form of explanation of how the characters got to that
point
Examples of films that begin in media res:
It’s a Wonderful Life, Star Wars: A New Hope,
Master and Commander,
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Duration--How long do events last?
Story--Events occur in "real" time (minutes, years, etc.)
Plot—Usually manipulates story duration in some way
o
At least some events are usually left out
o
Events that do not advance the chain of cause and effect may
be left in (“dead time,” scenes where “nothing happens”) but are
usually omitted
o
Individual events may be slowed or speeded up by editing or
cinematography (“slow motion” or “fast motion”)
Screen--Actual running time of film
o
Events in story duration are usually shortened or omitted by plot
duration to fit within the screen duration
o
Occasionally plot duration will be about the same as screen duration
(High Noon, 12 Angry Men, Nick of Time, Time Code)
Frequency--How often do events happen?
Story--Each event is unique, occurs only once
(but some events may have parallels or be part of a pattern)
Plot--Individual events may be repeated by narrative as
flashbacks or for different reasons
Space in narration
Locations, props, makeup, costume, etc. provide clues to temporal order,
duration and frequency (changes in appearance, weather, seasons; use of
clocks, calendars, etc.)
Examples of Narrative and Time:
A Star Is Born and An Occurrence at Owl Creek Bridge
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Order
Story and plot are in chronological order in both films
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A Star Is Born makes verbal references to past events in characters’ lives
(Granny going West, Norman’s earlier drinking)
Occurrence begins in media res but does not explain how Peyton got
caught and sentenced to hang (Ambrose Bierce’s story does!)
Duration in A Star Is Born
Story—Several years, including past events mentioned
Plot—Presents events of a few of those years (2-4?)
Screen—111 minutes
Duration in An Occurrence at Owl Creek Bridge
Story—About 5 minutes?
Plot— Seems to be about 3 days
Screen—28 minutes
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Peyton running to meet his wife in Occurrence is stretched out in screen
duration through repetition and overlapping editing
Occurrence is unusual in that the plot duration is longer than the story
duration. Most of the “action” in the plot duration occurs within a few seconds
of story time as Peyton’s body drops and the rope snaps tight!
Frequency in A Star Is Born
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Each event occurs only once but individual events are given as part of
pattern or to establish parallels
Frequency in An Occurrence at Owl Creek Bridge
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Shots of Peyton’s wife rising at the beginning of the film (apparent
flashback) and shots of her walking toward Peyton at the end are repeated
NARRATION:
How Information about the Narrative Is Given to Audience
RANGE OF STORY INFORMATION
How much does audience know compared to the characters?
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Unrestricted (Omniscient—“all-knowing”) Narration
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Viewers are given almost all important information
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Characters know only some of the information
We know things before the characters do (can create suspense)
Restricted Narration
We know only what one character (or small group of characters) knows
We discover information along with the characters (creates “surprise”)
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Most films mix unrestricted and restricted scenes in various ways
UNRESTR----------------------------MIXED--------------------RESTR
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Range of Information in A Star Is Born
Range in first half of film is largely restricted to what Esther/Vickie knows,
with some exceptions (examples: she doesn’t see the landlord tear up her bill
or Norman call Oliver on the night they meet)
Second half of film shows more of what Norman knows (examples: the
scene at the racetrack, Norman hearing Vickie say she’ll quit acting)
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Range of Information in An Occurrence at Owl Creek Bridge
Range is highly restricted to what Peyton Farquahar knows
Restriction is important to establishing surprise at end when we finally
see what Peyton does not
DEPTH OF STORY INFORMATION
What kind of information is being given to the audience?
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Objective
Information is presented by film as though by outside observer
Facts are not in doubt (even if some facts are missing or turn out to be
misleading)
Subjective
Information is filtered through character's sensory perceptions or thoughts
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Perceptual Subjectivity--We "see" through character's eyes (Point of
View Shot) or "hear" through character's ears
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Mental Subjectivity--We have access to character's mental states:
thoughts, fantasies, dreams, etc.
Most films tend to be objective but mix in elements of perceptual and mental
subjectivity
Perceptual subjectivity is often used to reinforce the objectivity of the overall
narration.
Mental subjectivity may cast the objectivity of narration into doubt unless it’s
accounted for in some way. Can create “unreliable narration.”
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Depth of Information in A Star Is Born
Narration is mainly objective, objects and events are shown that some
characters are unaware of
Some examples of perceptual subjectivity (point-of-view shots) as
characters look at objects or each other and we seem to “see” through their
eyes
No mental subjectivity (dreams, fantasies, etc.) is portrayed
Depth of Information in An Occurrence at Owl Creek Bridge
Depth seems objective, but gives hints that it is not

Distorted sounds, closeups of insects, repeated running, etc.
Revealed to be highly subjective—most of film is completely in
Peyton’s mind
NARRATOR
Character or other agent who provides information in film
Character Narrators:
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Granny telling Esther about how her own heart was broken
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Libby telling Oliver about Norman’s arrest
Voiceover Character (Diegetic) Narrators:
Character in the film recounts and comments on events, usually after the fact
(“Joseph” in It’s a Wonderful Life, Photographer in The Last Samurai, Galadriel in
The Lord of the Rings)
Other Forms of Diegetic Narration (source is in “story world”):
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Esther’s letters to her grandmother
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The title on the film-within-a-film in A Star Is Born telling the audience that
they are watching a preview of a film that has not been finished with editing
Noncharacter (Non-Diegetic) Narrators (source not in “story world itself):
Print—
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Description of “Hollywood—The beckoning El Dorado”—in A Star Is Born
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Excerpt of death sentence (in French) at end of Occurrence at Owl Creek
Bridge
Non-Diegetic Voiceover--Person who is not character provides information
Filmmakers sometimes make a voiceover narrator’s status ambiguous—
character in story world, or non-diegetic?
The Classical Hollywood Cinema
Pattern of storytelling established early in U.S. filmmaking (by 1915 or earlier)
1. Actions caused by individual characters with goals or desires
2. Characters encounter conflict in achieving goals
3. Characters or situations change because of conflict
4. Narration tends to be objective and less restricted (with exceptions).
Degree of objectivity or subjectivity may be ruled in part by film’s genre
5. Events and film style strongly linked to chain of cause-and-effect, not just
presented for own sake
6. Strong degree of closure: Most questions are answered, most problems
solved, although there may be some loose ends
A Star Is Born is a good example of this pattern!
NARRATIVE IN CITIZEN KANE
What Does “Rosebud” Mean?
A sled
What does sled mean to Kane when dying?
Memory of childhood? But why?
Questions not answered by knowing what Rosebud is:
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Why does Kane change?
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Does he really change?
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What did Kane really want from his life?
Other props and setting elements suggest possible answers:
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Glass Globe—Snow reminds Kane of childhood, sled
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Statues, Art, Castles—Possessions that don’t mean as much as sled
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Jigsaw Puzzle—Rosebud is just “one piece” of the puzzle
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“No Trespassing” Sign—
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Indication of Kane’s wealth and status
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Suggests emotional distance that Kane keeps from others
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Suggests that some questions can’t be answered
Role of Narrators in Citizen Kane
Flashback structure creates mystery: What is Rosebud?
Each narrator does not know but suggests answer or what Kane’s goal was:
Thatcher:
Bernstein:
Leland:
Susan:
Raymond:
To be “everything you hate!”
Something Kane lost?
Love, but none to return
Love as power, control
“He said a lot of crazy things”
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Depth of information from each narrator is objective, reinforces belief in
facts of Kane’s life
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Range of information for each narrator is restricted to period when
that person knew Kane best
Thatcher:
Bernstein:
Leland:
Susan:
Unsympathetic character, never got along with
Kane
Most positive interpretation of Kane but more
limited in how well he knew him
Kane betrays ideals and personal friendship
Used by Kane for own purposes
Thompson is the means by which we learn what each narrator knows
One exception to objective narration:
Possible mental subjectivity in opening scene (falling snow
Camera reveals information no one knows, especially at tend
Narration and Time in Citizen Kane
Plot time
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Begins with Kane’s death
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Follows Thompson as he interviews narrators
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Duration is about a week
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Takes story out of chronological order
Story Order (Duration: “more than 70 years of a man’s life”)
1868
1871
1891
1898
1900?
1916
1918
1920?
1929
1931?
1935
1941
Mrs. Kane gets deed to mine
Thatcher takes Charles back east
Kane comes into inheritance, takes over Inquirer
Kane finishes hiring Chronicle staff, fans war fever, tours Europe
Marries Emily
Runs for governor, divorced by Emily, marries Susan, Leland goes to
Chicago
Emily and son killed in auto accident (mentioned in newsreel)
Susan’s opera tour, Kane fires Leland
Stock Market crash, Kane forced to sell off assets
Susan leaves Kane
Kane tours Europe (“There’ll be no war”)
Kane dies
Story Order and Narrators in Citizen Kane
NEWSREEL
THATCHER
BERNSTEIN
LELAND
1868
1871
1891
1898
1900?
1916
1918
1920?
1929
1931?
1935
1941
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Narrators’ segments overlap in story time, but each advances a bit further
in Kane’s life.
Multiple views form “jigsaw puzzle” without a final answer.
Plot also manipulates frequency as element of time

Newsreel depicts some of same events in other sections (Kane and
Susan’s wedding)
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At least one event portrayed twice by human narrators:
Susan’s opera debut
SUSAN
Citizen Kane and The Classical Hollywood Cinema
Plot (Thompson’s search) does follow basic pattern:
1. Actions caused by characters with goals or desires

Thompson wants to find out what “Rosebud” means
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Rest of film follows his search
2. Characters encounter conflict in achieving goals

No one knows what Rosebud is
3. Characters or situations change because of conflict
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Thompson accepts his failure and goes home:
“I don’t think any word can explain a man’s life”
4. Narration tends to be objective and less restricted (with exceptions)

No reason to doubt facts that narrators tell (but they may be incomplete)

Thompson winds up knowing more than any one narrator
5. Events and film style strongly linked to chain of cause-and-effect, not
just presented for own sake
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Exception: film style calls attention to itself in camerawork, lighting, etc.
6. Strong degree of closure: Most questions are answered, most problems
solved, although there may be some loose ends

Kane is dead

Thompson accepts failure and goes home

Rosebud is revealed to audience, but meaning remains unclear
Story (Kane’s life) does not conform to pattern:
1. Actions caused by characters with goals or desires

Actions are caused by Kane, but his motives are unclear
2. Characters encounter conflict in achieving goals

Kane creates most of conflicts he experiences himself
3. Characters or situations change because of conflict
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Kane may have changed a great deal but exact reason is not clear

Kane may not have changed at all
4. Narration tends to be objective and less restricted (with exceptions)

No reason to doubt truth of events, but some parts of Kane’s life are left
unrevealed
5. Events and film style strongly linked to chain of cause-and-effect, not
just presented for own sake

Exception: film style calls attention to itself in camerawork, lighting, etc.
6. Strong degree of closure: Most questions are answered, most problems
solved, although there may be some loose ends
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Kane is dead
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Not clear that he has learned anything from his life
Meaning in Citizen Kane
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Referential
Refers to historical events of past century (Spanish-American War, World
Wars I and II, Great Depression, etc.). Audience would have experienced
most of these
Strong parallels between Kane and William Randolph Hearst
Similarities between Kane and other self-made millionaires (Robert
McCormick, Samuel Insull)
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References to media barons implies criticism of wealth, media power
Thompson’s news agency similar to Time-Life, Inc.
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“News on the March” similar to “The March of Time” newsreel
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Newsreel narration is in “Time-ese” backward sentence constructions
(“Mightier than the Pharoahs was Charles Foster Kane!”)

Thompson and colleagues are anonymous figures in corporate
newsgathering machine (remain in shadows)
Explicit
Thompson’s narrative: “I don’t think any word can explain a man’s life”
(People are too complex to be defined by a single word)

Reinforced by “No Trespassing” sign at beginning and end
Kane’s narrative: No clear explicit message
Implicit
Money can’t buy happiness
Power corrupts (maybe)
Wealth and power should not be used for individual goals
Kane’s (and Hearst’s) style of “yellow journalism” has been replaced by
new media
Symptomatic
Women (Emily, Susan) defined by relationship to men but male power is
shown as reason for much of their problems
Criticizes American success ethic, abuse of wealth and power
Only criticizes abuse, not system of journalism or capitalism, suggests need
for reform of individuals, not major social changes
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