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7501	dbpedia	3	79	https://sbiff.org/citizen-kane/	en	Citizen Kane			[ "https://sbiff.org/wp-content/uploads/citizen-kane-1080x675.jpg", "https://sbiff.org/wp-content/uploads/citizen-kane-1080x675.jpg 1080w, https://sbiff.org/wp-content/uploads/citizen-kane-980x653.jpg 980w, https://sbiff.org/wp-content/uploads/citizen-kane-480x320.jpg 480w" ]	[]	[]	[ "" ]	null	[ "Sean Pratt" ]	null		en			https://sbiff.org/citizen-kane/	Dear Cinephiles, Thatcher: “You always used money to buy things.” Kane: “If I hadn’t been really rich, I might have been a really great man.” “Citizen Kane” (1941) never gets old. When I first started teaching at Santa Barbara City College seventeen years ago, I would make my students sit and watch it. Semester after semester I joined them immersing myself in it, and I always find something new. I remember one particular student who told me he was intimidated about the idea of seeing it. “I heard it’s old and dense,” he commented. It was rewarding to hear from him afterword that it was surprisingly entertaining, “and so good.” You will get a chance to soon watch David Fincher’s “Mank” (2020) when it premieres on Netflix – and although your appreciation of it is not dependent on you having seen “Citizen Kane,” I would strongly recommend it. Fincher’s work focuses on Herman Mankiewicz’ writing of the script for what’s considered by many critics to be the greatest movie of all time. Orson Welles’ masterpiece was a perfect coalition of talent. Besides Mankiewicz’ groundbreaking narrative, Welles found himself working with one of the greatest cinematographers — Gregg Toland — whose work in deep focus photography is essential – so rich. Robert Wise – who will go on to have a celebrated career of his own as a director (“West Side Story,” “The Sound of Music”) was the editor – and alone his editing of the dinner sequence where we watch the deterioration of Kane’s marriage throughout the years in condensed time is still awe-inspiring. And Welles gave his first scoring job to one of the best music composers of all time, maestro Bernard Hermann (“Vertigo”). Hollywood had been trying to lure Welles after his innovative theatrical productions (a legendary modern dress “Julius Caesar” on Broadway that became an anti-fascist statement) and acclaimed radio work (“The War of the Worlds”). RKO Pictures offered him the greatest contract ever given to a filmmaker – made even more spectacular by the fact that he was an untried film commodity. He was given full creative control. The script plays out like a detective story. Who was Charles Foster Kane? A newsreel at the top of the film gives us the highlights of his very public life, but although everybody knew of the famous publishing tycoon – nobody really knew his private side. A reporter – Jerry Thompson – who becomes the audience’s stand in – is assigned to find out what Kane’s last dying word means. This is where the narrative is spellbinding. Each person that he interviews tells a varying opinion concerning his character. We see the points of view from Thatcher – who was the guardian of the young millionaire Kane — and from his business manager, Bernstein. Jedediah Leland who is now in a retirement home and was Kane’s closest friend gives the most personal account, but it’s still his subjective side of the tale. We also hear from Susan Alexander – one of his former wives, a tragic amateur singer. And finally from a butler who took care of the Hearst Castle-like Xanadu where he lived. It all becomes circular – and you start getting a complex – a cubist (think Marcel Duchamp “Nude Descending a Staircase”) cinematic approach to what this man was like. The question — What is Rosebud? — is a MacGuffin. We do find out its literal meaning – but it is much bigger than that. It’s like the green light that Gatsby was looking at from across the water. Unlike other movies where we see the rags to riches arc of someone’s career – Kane is unbearably rich from the get go. This is a riches to personal dissatisfaction sweep. We watch what somebody does with absolute power from the start. The composition and lighting are tremendous. In every frame there’s a foreground, a midground and a background – and everything is in focus. Now – things are all carefully arranged to bring out the theme of the movie. For example, watch the scene where young Kane’s destiny is decided – where the mother signs the papers handing stewardship to Thatcher. In the center of the frame – in the background – you can see through the window young Charles playing in the snow – the windowpane keeping us from him. That’s what Rosebud is all about. In every scene you can find what Rosebud means – if you look close enough at the symbolic arrangement of things. Toland uses black and white, and deep shadows for expressiveness. It’s all very interpretative – suggesting dark motives, mood shifts and the loneliness of the soul. I could go on and on. Don’t even get me started on the editing by Wise Welles’s genius wasn’t that he created anything new, it is that he synthesized all of these great innovations in cinema and found a story to visually encapsulate them. Leland: “All he wanted out of life was love, but he lost it.” Love, Roger Citizen Kane Available to HBO Max and to rent on Microsoft, Google Play, YouTube, iTunes, Vudu, FandangoNOW, Redbox, Apple TV and DIRECTV. Original Screenplay by Herman J. Mankiewicz and Orson Welles Directed by Orson Welles Starring Orson Welles, Joseph Cotten, Dorothy Comingore, Everett Sloane, Ray Collins, George Coulouris, Agnes Moorehead, Paul Stewart, Ruth Warrick, Erskine Sanford and William Alland 119 minutes Bringing “Citizen Kane” to the Screen In 1939, Herman J. Mankiewicz was a forty-two-year-old screenwriter, acclaimed in Hollywood not only for the lines of dialogue he wrote for movies but for the ones he delivered in life. In nearly a decade and a half in the business, he’d found success at Paramount working with Josef von Sternberg and with his friends the Marx Brothers, and at M-G-M writing on “Dinner at Eight” and, briefly, “The Wizard of Oz,” where he had the idea of filming Kansas in bleak black-and-white and Oz in Technicolor. But he was best known as one of the great personalities in the film business. He’d migrated to Hollywood from New York City, where he’d been The New Yorker’s first theatre critic and a member of the famed Algonquin Round Table, and he carried that group’s spirit of cynical candor and acerbic bravado to the movie community. In commissaries and at cocktail parties, he was known for his learned insights and his unpredictable politics (he wrote, at great risk, an anti-Hitler script in 1933, yet he was opposed to American involvement in the Second World War, and even called himself an “ultra-Lindbergh”) as well as for the style with which he delivered them. He was also habitually drunk and wildly impolitic, known for the scenes that he made and the insults that he flung. His work habits were notoriously dubious: a compulsive gambler, he spent ample studio time placing bets and listening to horse races; a social whirlwind, he talked the day away in person and by phone. He lampooned and defied his bosses, and got fired from every job he didn’t quit. By the summer of 1939, he was unemployed, which is how he found himself desperately available when a twenty-four-year-old newcomer to Hollywood by the name of Orson Welles offered him a job. Welles, prolific and precocious, had become a stage star at sixteen, a major theatre director at twenty, and, in 1937, the co-founder (with John Houseman) of the Mercury Theatre company; he’d become a radio star at twenty-three, and become infamous, in 1938, for the radio broadcast “War of the Worlds,” the tale of an invasion from outer space, told in the form of faux news bulletins, which many listeners mistook as real. He’d also made two independent films on the side. The week of his twenty-third birthday, he had been featured on the cover of Time magazine. But whereas Mankiewicz was a Hollywood insider, Welles was despised by the movie industry in advance, resented and derided for his youth, his fame, his intellectualism—and his contractually guaranteed freedom. He had signed a contract with R.K.O. studio to produce, write, direct, and act in two movies, for which he, alone among Hollywood studio filmmakers, would be allowed final cut. He initially brought Mankiewicz on to ghostwrite radio programs, but their collaboration soon shifted, and Welles recruited him as a co-writer of the first film. Their collaboration, and the film that resulted from it—“Citizen Kane”—was hailed, even before its release, as one of the greatest movies ever made. A drama about a young heir who turns himself into a newspaper mogul and national figure, building and destroying an empire of his own, it became a marker of an aesthetic and generational shift in the history of cinema, and it made Welles—and what Welles represented—the cynosure of world cinema. Welles and Mankiewicz won an Oscar for the screenplay (the only one that the movie earned, though it was nominated in nine categories), but that award itself was the culmination of a bitter dispute, only one of the many that the movie sparked: Mankiewicz’s contract with Welles had explicitly denied him writing credit, yet Mankiewicz, whose career badly needed the jolt, wanted it—and, after a struggle both in the press and behind the scenes, ultimately succeeded in securing it. Yet today, Welles remains legendary, while Mankiewicz, who died in 1953, is unknown to all but the most attentive movie buffs. (newyorker.com) About Co-Screenwriter Herman Mankiewicz Mankiewicz was the son of German immigrants. He grew up in Pennsylvania, where his father edited a German-language newspaper, and moved with his family to New York City in 1913. He graduated from Columbia University in 1917. Serving briefly in the Marine Corps, Mankiewicz held a variety of jobs, including work for the Red Cross press service in Paris. He returned for a short time to the United States, married, and then worked intermittently in Germany as a correspondent for a number of newspapers. He returned once again to New York City in 1922 and, among other activities, collaborated on two unsuccessful plays. He also became a member of the celebrated group of American critics, writers, and miscellaneous wits who met at the Algonquin Hotel and were known as the Algonquin Round Table. One of them, Alexander Woollcott, said that Mankiewicz was the funniest man in New York. Mankiewicz worked at The New Yorker magazine until he was hired by Paramount Publix Studios in Hollywood, Calif. He began by writing titles for silent movies, and he was responsible for a distinct change in their tone. He is credited with the authorship or co-authorship of a number of sound motion pictures—including “The Royal Family of Broadway” (1931), “Dinner at Eight” (1933), “It’s a Wonderful World” (1939, with Ben Hecht), “Pride of the Yankees” (1942), and “Citizen Kane” (1941, with Orson Welles). He took much of the story for “Citizen Kane” from his personal experience with William Randolph Hearst, whose guest he had been on many weekends during the 1930s. The screenplay won an Academy Award. Mankiewicz also produced, wrote, or doctored a number of scripts, some of them uncredited. He was involved, for example, in the Marx brothers’ “Monkey Business” (1931) and “Horse Feathers” (1932). Plagued by alcoholism, he wrote his last film, “The Pride of St. Louis,” in 1952. His brother Joseph was also a screenwriter and director. (britannica.com) About Director and Co-Screenwriter Orson Welles Welles was born to a mother, Beatrice Ives, who was a concert pianist and a crack rifle shot, and a father, Richard Welles, who was an inventor and a businessman. Welles was a child prodigy, adept at the piano and violin, acting, drawing, painting, and writing verse; he also entertained his friends by performing magic tricks and staging mini productions of William Shakespeare’s plays. Welles’s parents separated when he was four years old, and his mother died when he was nine. In 1926 Welles entered the exclusive Todd School in Woodstock, Illinois. There his gifts found fertile ground, and he dazzled the teachers and students with stagings of both modern and classical plays. His father died in 1930, and Welles became the ward of a family friend, Chicago doctor Maurice Bernstein. In 1931 he graduated from Todd, but, instead of attending college, he studied briefly at the Art Institute of Chicago before traveling to Dublin, where he successfully auditioned at the Gate Theatre for the part of the Duke of Württemberg in a stage adaptation of Lion Feuchtwanger’s novel “Jew Süss.” Welles remained in Ireland for a year, acting with the company at the Abbey Theatre as well as at the Gate; he also designed sets, wrote a newspaper column, and began directing plays. In 1932 Welles left Dublin and tried to get work on the stages of London and New York; unsuccessful, he instead traveled for a year in Morocco and Spain. In 1933 in the United States, he was introduced to actress Katharine Cornell by author Thornton Wilder and was hired to act in Cornell’s road company, playing Mercutio in Shakespeare’s “Romeo and Juliet,” Marchbanks in George Bernard Shaw’s “Candida,” and Octavius Barrett in Rudolf Besier’s “The Barretts of Wimpole Street.” In 1934 Welles organized a summer drama festival at the Todd School, where he played Svengali in an adaptation of George du Maurier’s “Trilby” and Claudius in “Hamlet.” At the end of the festival, he made his first film, the short “The Hearts of Age.” With Todd School headmaster Roger Hill, he prepared “Everybody’s Shakespeare” (1934), editions for performance of “Twelfth Night,” “The Merchant of Venice,” and “Julius Caesar,” with introductions by Hill and Welles and illustrations by Welles. He made his New York debut as Tybalt in Cornell’s production of “Romeo and Juliet” in December 1934. When Welles was performing in “Romeo and Juliet,” he met producer John Houseman, who immediately cast him as the lead in Archibald MacLeish’s verse play “Panic,” which premiered in 1935 for Houseman’s Phoenix Theatre Group. They then moved on in 1936 to mounting productions for the Works Progress Administration’s (WPA’s) Federal Theatre Project. Their first effort, for the Federal Theatre’s Negro Division, was “Macbeth,” with an all African American cast and the setting changed from Scotland to Haiti. They began 1937 with Christopher Marlowe’s “The Tragicall” History of Doctor Faustus (starring Welles). Their most (in)famous effort was Marc Blitzstein’s proletarian musical play “The Cradle Will Rock.” WPA guards shut down the theatre the night before its opening. (The shutdown was ostensibly for budgetary reasons; however, the political nature of the play was considered too radical.)…That same year they formed the Mercury Theatre, which presented a renowned modern-dress version of Shakespeare’s “Julius Caesar.” In 1938 the Mercury Theatre presented William Gillette’s comedy “Too Much Johnson.” Welles shot three short silent films to precede each act of the play; however, the films were never finished. (“The Too Much Johnson” footage was believed to have been destroyed by fire in 1970; however, it was rediscovered, restored, and premiered in 2013.) At the same time, Welles was making inroads in radio. His radio career began early in 1934 with an excerpt from “Panic.” In 1935 he began appearing regularly on “The March of Time” news series, and subsequent radio roles included the part of Lamont Cranston in the mystery series “The Shadow.” In 1938 the Mercury players undertook a series of radio dramas adapted from famous novels. They attained national notoriety with a program based on H.G. Wells’s “The War of the Worlds;” the performance on October 30, using the format of a simulated news broadcast narrated by Welles, announced an attack on New Jersey by invaders from Mars. (However, contemporary reports that the program caused a nationwide panic were exaggerated.) The national coverage that resulted from his theatre and radio work brought Welles’s name before Hollywood. In 1939 he signed an extraordinary contract with RKO that guaranteed him near-total autonomy and final cut on any film he made. For his first film, Welles chose Joseph Conrad’s “Heart of Darkness,” which was to be filmed entirely from the point of view of the narrator Marlow. However, despite months of preparation, the film never got off the ground. Welles narrated “Swiss Family Robinson” (1940) while waiting for another project to evolve. “Citizen Kane” (1941) is arguably the greatest movie ever to come out of Hollywood, and it is surely one of the most-impressive debuts by any director. Welles also produced and co-scripted the film with Herman J. Mankiewicz…Shot with an array of classic and experimental techniques by Gregg Toland, evocatively scored by Bernard Herrmann, and edited brilliantly by Robert Wise, “Citizen Kane” was a masterpiece of moviemaking. It was also the last time Welles made a Hollywood movie that reached the screen intact. Although it initially received rave reviews, “Citizen Kane” was not a financial success. RKO found the film—with its complex flashback structure and lack of an appealing protagonist—difficult to market, and its box office was also hindered by the Hearst newspapers’ using their power to hamstring its commercial prospects. Nevertheless, “Citizen Kane” received nine Academy Award nominations, of which Welles received three (best actor, director, and original screenplay), but only the screenplay won an Oscar. “The Magnificent Ambersons” (1942) was produced, written, and directed by Welles, and to some critics it represents the peak of his artistry—even though it was taken out of his hands by RKO after poor test screenings. It was heavily reedited by Wise (44 minutes were cut), and a new ending was tacked on…The Magnificent Ambersons was nominated for a best picture Oscar. Even while Wise was cutting “The Magnificent Ambersons,” Welles was in South America filming his quasi-documentary “It’s All True,” an anthology of three short films: “The Story of Samba (Carnaval),” about Rio de Janeiro’s annual Carnival; “My Friend Bonito,” about bullfighting; and “Four Men on a Raft,” about four humble fishermen who become national heroes after a daring voyage. RKO canceled the project midway, leaving Welles stranded in Rio. (The legendary project, never released, resurfaced when the mostly extant footage from “Four Men on a Raft” was assembled by Richard Wilson, Bill Krohn, and Myron Meisel as part of the documentary “It’s All True: Based on an Unfinished Film by Orson Welles” [1993].) Welles had started work on “Journey into Fear” (1943) before leaving for Brazil, and he returned to find that RKO had begun meddling with it, as it had with “The Magnificent Ambersons.” This time, though, Welles was able to intercede and restore at least some of the brutal editing, but it was released at 69 minutes, having been cut down from 91. “Journey into Fear” was officially credited to Norman Foster, a director who also assisted Welles on “It’s All True,” but it was produced, co-scripted, and acted in by Welles, who played the supporting part of Colonel Haki of Turkish intelligence. The hand of Welles is clearly evident, although Welles later said that he “designed the film but can’t properly be called its director.”… “Journey into Fear” starred Welles’s then paramour, Dolores Del Rio, as the mysterious Josette, and “Citizen Kane” veterans Cotten (who co-wrote the screenplay), Warrick, Moorehead, and Sloane enhanced the production. However, RKO was unimpressed, and its new executives kicked Welles and his Mercury Productions off the lot. Welles spent the rest of 1943 making two radio series, entertaining American troops fighting in World War II with a touring magic show with the assistance of Rita Hayworth (whom he married), Marlene Dietrich, Cotten, and Moorehead, giving speeches on behalf of the war effort, and even substituting for Jack Benny on his radio show. He also played the mysterious Rochester in Robert Stevenson’s “Jane Eyre” (1943) opposite Joan Fontaine. But none of the studios was rushing to sign him as a director. He starred opposite Claudette Colbert in Irving Pichel’s melodrama “Tomorrow Is Forever” (1946) before finally being given a chance by producer Sam Spiegel. “The Stranger” (1946) was a thriller about a Nazi, Franz Kindler (Welles), who is hiding out as a schoolteacher in a small New England town. His impending nuptials with a fellow teacher (Loretta Young) are interrupted when a war-crimes investigator (Edward G. Robinson) tracks him down and then waits for Kindler to give himself away. Welles was not happy with his work—he was trying to adhere to a strict schedule and budget to repair his reputation and so could ill afford any of his trademark flourishes—and “The Stranger” was thus his most-conventional film. Heavily in debt from the failure of a colossal stage version of Jules Verne’s “Around the World in Eighty Days,” Welles began shooting the film noir “The Lady from Shanghai” in 1946 for Columbia Pictures…Today “The Lady from Shanghai” is regarded as one of Welles’s masterpieces, a triumph of style especially in its climactic shoot-out in a hall of mirrors, even though Welles was unable to oversee its final, heavily truncated cut. In 1947 Welles then made a loose but strikingly original film adaptation, “Macbeth” (1948), which he shot in 23 days at genre factory Republic Pictures. He had prepared for the low-budget shoot by directing a stage production in Salt Lake City, Utah, with most of the cast…After finishing shooting “Macbeth,” Welles went to Italy, where he acted as the 18th-century charlatan and magician Cagliostro (and directed a few scenes) in Gregory Ratoff’s “Black Magic” (1949). He starred in other films, including Henry King’s “Prince of Foxes” (1949), as a colourful Cesare Borgia, and most famously Carol Reed’s classic thriller “The Third Man” (1949), as the amoral Harry Lime. Welles would spend much of the next 25 years in Europe. Welles next played a 13th-century warlord in Henry Hathaway’s “The Black Rose” (1950). He had begun shooting “Othello” in 1948 in Venice. Over the next three years, Welles fitfully continued filming it on location in Italy and Morocco and in a Rome studio, stopping whenever funds ran low to take on another acting assignment. Since the actors were not always all available, some scenes of conversations were edited together out of close-ups shot years apart. The result was finally shown at Cannes in 1952, winning the top prize… “Mr. Arkadin” (1955; also called “Confidential Report”) was based on an original story by Welles and was financed by European investors, who removed him from the film during editing…During Welles’s lifetime the film circulated in at least three versions, each with slightly different material, and it was not until 2006 that a “comprehensive version” was assembled. As with so many of Welles’s later works, the picture’s merits wrestle fiercely with its production deficiencies. In 1955 Welles also began shooting “Don Quixote,” a contemporary reworking of the Miguel de Cervantes tale that he also produced, narrated, and co-scripted. He worked on and off on “Don Quixote” until his death. At one point he even said the film would be called “When Are You Going to Finish Don Quixote.” The film was never completed. A fragmentary form of “Don Quixote” was assembled by Spanish filmmakers Patxi Irigoyen and Jesús Franco in 1992… Welles accepted many film acting assignments in England, France, and Italy. He made two series of short documentaries for British television, Orson Welles’ “Sketch Book” and “Around the World with Orson Welles” (both 1955), and that same year he also produced “Moby Dick” …American audiences saw him as Father Mapple in John Huston’s “Moby Dick” (1956) and as the imposing Varner in Martin Ritt’s “The Long, Hot Summer” (1958). He then returned to Hollywood for the first time in 10 years to make… “Touch of Evil”…Welles delivered a rough cut to Universal and then went to Mexico to shoot some scenes for Don Quixote. When he returned, Universal had added some footage and cut it down to 93 minutes. Welles wrote an extensive memo detailing his preferred changes. He was ignored, but in 1998 Universal released a 111-minute cut following Welles’s memo. “Touch of Evil” was Welles’s last Hollywood film. Welles acted in such films as Huston’s “The Roots of Heaven” (1958) and Richard Fleischer’s “Compulsion” (1959). He also used his famous mellifluous baritone in narrating films, such as Fleischer’s “The Vikings” (1958) and Nicholas Ray’s “King of Kings” (1961). He made “The Trial” (1962) in Europe…Casting himself as Shakespeare’s buffoon Sir John Falstaff…Welles assembled an impressionistic and often moving tribute to the grandeur of “Shakespeare in Chimes at Midnight” (1965; also called “Falstaff”)…After roles in René Clément’s “Is Paris Burning?” (1966), Fred Zinnemann’s “A Man for All Seasons” (1966), and the James Bond spoof “Casino Royale” (1967), Welles made “Histoire immortelle” (1968; “The Immortal Story”), an hour-long film for French television based on an Isak Dinesen novella. He also shot the thriller “The Deep” between 1967 and 1969; however, the film was never completed. Many more acting appearances followed, including roles in Huston’s “The Kremlin Letter” (1970), Mike Nichols’s “Catch-22” (1970, as “General Dreedle”), and Brian De Palma’s “Get to Know Your Rabbit” (1972). From 1970 to 1976 Welles also shot and partially edited “The Other Side of the Wind,” a satire about the movie business set on the last night of the life of director Jake Hannaford (played by Huston), a renowned filmmaker struggling to find his place in the New Hollywood of the 1970s…However, money ran out before post-production was completed, and the film was caught in a legal battle that lasted long after Welles’s death. A version of the movie was released in 2018 using Welles’s edited footage and notes. “F for Fake” (1973) was an “essay film” (as Welles called it) about the nature of truth in art… “F for Fake” was probably his most-intricate film and required one year of editing to complete. Welles returned to the United States in 1975. His final completed film was Filming “Othello” (1979), made for West German television about the making of his “Othello.” In addition to acting in and providing voice-over narration for many films and television programs, in his final years Welles shot footage for several projects, including Filming “The Trial,” about the making of that film; “The Dreamers,” based on two short stories by Dinesen; Orson Welles Solo, an autobiographical film; and “The Magic Show,” with Welles performing magic tricks. (britannica.com)
7501	dbpedia	0	7	https://www.mentalfloss.com/article/59990/11-beloved-movies-were-box-office-flops	en	11 Beloved Movies That Were Box Office Flops	https://images2.minuteme…19af760_400x.png	https://images2.minuteme…19af760_400x.png	[ "https://images2.minutemediacdn.com/image/upload/c_fill,w_354,ar_16:9,f_auto,q_auto,g_auto/shape/cover/sport/5946873498-b1fdd81b2e8f804ad682538b70751b71.jpg 354w, https://images2.minutemediacdn.com/image/upload/c_fill,w_708,ar_16:9,f_auto,q_auto,g_auto/shape/cover/sport/5946873498-b1fdd81b2e8f804ad682538b70751b71.j...	[]	[]	[ "" ]	null	[ "Rudie Obias" ]	2021-09-12T14:21:14+00:00		en	https://images2.minuteme…19af760_400x.png	Mental Floss	https://www.mentalfloss.com/article/59990/11-beloved-movies-were-box-office-flops	It's hard to believe that some beloved films didn't find immediate success when they were released, but sometimes movies are just ahead of their time. Here are 11 famous examples of celebrated classics that were box office bombs. 1. It's a Wonderful Life Budget: $3.18 million Box Office: $3.3 million WhileÂ It's a Wonderful Life is a staple of the holiday season, it received little attention from general audiences at the time of its release in 1946. This was mainly due to its dark narrative and subject matter. RKO Pictures lost $525,000 on the film, despite its five Academy Award nominations. It's a Wonderful Life didn't become ubiquitously popular in the United States until 1974 when National Telefilm Associates failed to renew its copyright because it was considered a box office flop. Now in the public domain, TV networks gobbled up It's a Wonderful Life because they didn't have to pay royalties to air it. In the 1980s, hundreds of home video distributors released It's a Wonderful Life on videotape, which further expanded its reach around the world. Over time, it became a perennial holiday classic. "It's the damnedest thing I've ever seen," Frank Capra said of its success in 1984. "The film has a life of its own now, and I can look at it like I had nothing to do with it. I'm like a parent whose kid grows up to be president. I'm proud... but it's the kid who did the work. I didn't even think of it as a Christmas story when I first ran across it. I just liked the idea." 2. Blade Runner Budget: $28 million Box Office: $27.5 million While Blade Runner is one of the most influential science fiction movies ever made, it was considered just another sci-fi flick when it was released during the summer of 1982. Theaters were saturated with iconic genre movies such as Star Trek II: The Wrath of Khan, The Thing, and, most importantly, Â E.T. the Extra-Terrestrial, which was the highest-grossing movie of the year. Blade Runner only took in $6.5 million during its opening weekend. Audiences re-discovered Blade Runner on VHS and later DVD throughout the '80s and '90s, as Warner Bros. re-released it with a director's cut and later a final cut, which Ridley Scott currently stands by as the definitive version. In 1993, the Library of Congress picked it for the United States National Film Registry for being "culturally, historically, or aesthetically significant." 3. The Shawshank Redemption Budget: $25 million Box Office: $16 million Despite very positive critical response and Academy Award recognition in 1994, The Shawshank Redemption failed to find an audience in theaters. The general public started to notice The Shawshank Redemption when Warner Bros. released it on VHS the following year, and it quickly became one of the top video rentals across the country. In 1997, the cable network TNT bought the rights to air it, and this helped the film find a larger audience with frequent and repeated airings. The Shawshank Redemption is currently on the American Film Institute's best 100 movies of the past 100 years and is the #1 film on IMDb.com's Top 250 list. 4. Brazil Budget: $15 million Box Office: $9.9 million Terry Gilliam earned plenty of good faith from general audiences and movie studios after the success of the Monty Python films. However, after he finished Brazil in 1985, Universal Pictures refused to release the film because of its anti-corporate undertones and strange narrative. Terry Gilliam screened Brazil privately without Universal's approval and took a full-page ad in Variety to address studio chairman Sid Sheinberg that simply read, âWhen are you going to release my film, âBRAZILâ? After Universal re-edited Brazil and tacked on a happy ending, it came out to little fanfare and only grossed about $10 million. Brazil remains a cult classic after Terry Gilliam's cut was released on home video. In fact, the Criterion CollectionÂ has released it five times on multiple formats since 1996. 5. Children of Men Budget: $76 million Box Office: $35.5 million Before Alfonso CuarÃ³n dazzled audiences with Gravity in 2013, his dystopian science fiction film Children of Men didn't make much of an impact on general audiences in the United States in 2006. Although it received positive reviews and an Academy Award nomination for Best Adapted Screenplay, Children of Men didn't find financial success at the domestic box office, only taking in $35.5 million. However, it eventually found moderate success on home video with an impressive $25.5 million to add to its overall gross profit. 6. Citizen Kane Budget: $839,727 Box Office: $1.5 million Despite overwhelmingly positive reviews, Orson Welles' Citizen Kane didn't perform well at the box office when it was released in May 1941. Along with its dark subject matter and narrative style, one of the reasons for the low box office numbers was media tycoon William Randolph Hearst. When Hearst discovered that Charles Foster Kane's story was an unfavorable and loose adaptation on his life, he banned any mention of Citizen Kane and Orson Welles in all of his newspapers and radio networks across the country. This resulted in fewer theaters agreeing to screen Citizen Kane. At the time, general audiences weren't keen on Citizen Kane's premise and themes (for example, that the American Dream was a lonely and cynical venture), and stayed away from the movie. However, it is now seen as one of the greatest films in history for its innovative structure and style. RKO Pictures lost roughly $160,000 on Citizen Kane, but managed nine Academy Award nominations, including Best Picture and Best Director for Orson Welles. 7. Hugo Budget: $170 million Box Office: $73.8 million Although Martin Scorsese's Hugo didn't rake in the dough duringÂ its theatrical run, it stands as one of the director's most celebrated films with 11 Academy Award nominations in 2011. One of the reasons why Hugo is perceived as a failure is because of its box office competition. Paramount Pictures released Hugo a week after The Twilight Saga: Breaking Dawn - Part One and during the same week as Disney's The Muppets, which were both strong performers with families and young adults, Hugo's key demographic. 8. Willy Wonka & The Chocolate Factory Budget: $3 million Box Office: $4 million While Willy Wonka & The Chocolate Factory is considered a family classic today, audiences didn't enthusiastically respond to it when it was released in 1971. Since the film wasn't profitable, Paramount Pictures decided not to renew its seven-year copyright, and Warner Bros. bought the rights for $500,000 in 1977. Under new ownership, Warner Bros. licensed Willy Wonka & The Chocolate Factory for TV broadcast where it found a widespread audience after repeated airings and further home video sales. 9. Fight Club Budget: $63 million Box Office: $37 million Today, Fight Club is considered a modern-day classic and one of David Fincher's best movies. However, when it was released in October 1999, Twentieth Century Fox didn't know how to sell a movie about consumerism and misguided masculinity to general audiences. Fight Club's early reviews didn't help pack theaters either, as it garnered a mixed response from film critics. Rosie O'Donnell hated Fight Club so much that she revealed its twist ending on her talk show. âItâs okay she hated it ... it struck some nerve for her whether she wanted to look at that or not,â Brad Pitt said on Fight Club's DVD commentary track, âbut the deal was she gave away the ending on national television. Itâs just unforgivable.â Fight Club eventually found an audience on home video, and Fox sold more than 6 million copies and took in an additional $100 million. 10. Dazed & Confused Budget: $6 million Box Office: $7.6 million Back in 1993, Richard Linklater released his sophomore effort Dazed & Confused to very little fanfare. While the film featured current-day stars such as Ben Affleck, Milla Jovovich, and Matthew McConaughey, its young cast weren't household names at the time. Gramercy Pictures and Universal Pictures didn't know how to market a stoner coming-of-age movie without raunchy sex scenes or gross-out humor to a general audience, so it wasn't as successful as it could've been when you consider its all-star cast and world-class director. While Dazed & Confused was virtually forgotten in 1993, it survived and managed to eventually find an audience among cinephiles. When asked if a movie like Dazed & Confused could be made today, Richard Linklater toldÂ The Hollywood Reporter, "Hell no! No way.Â It was only a $6 million film, but it was made in a studio. They would never do this. They're not in that business anymore. It would be hard to get it made indie. It would be hard to raise the money and do it." 11. The Wizard of Oz Budget: $2.7 million Box Office: $3 million Believe it or not, The Wizard of Oz was a box office bomb when it was released in 1939. At the time, it was Metro-Goldwyn-Mayer's most expensive film ever with giant sets and state-of-the-art special effects. MGM had high expectations for the film, however, audiences weren't keen on making the journey to the Wonderful Land of Oz. In fact, MGM lost $1.1 million on The Wizard of Oz because of its high production and distribution cost. Despite its middling box office numbers, it garnered four Academy Award nominations, including Best Picture and won two Oscars for Best Score and Best Original Song for "Over the Rainbow."
7501	dbpedia	3	55	https://www.britannica.com/biography/Orson-Welles/At-RKO-Citizen-Kane-and-The-Magnificent-Ambersons	en	Orson Welles - Film Director, Actor, Producer	https://cdn.britannica.c…Orson-Welles.jpg	https://cdn.britannica.c…Orson-Welles.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/65/194365-004-64099B1A/Orson-Welles.jpg", "https://cdn.britannica.com/60/198760-004-D3AE3D9B/Orson-Welles-1939.jpg", "https://cdn.britannica...	[]	[]	[ "Orson Welles", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "Michael Barson" ]	1999-05-04T00:00:00+00:00	Orson Welles - Film Director, Actor, Producer: Citizen Kane (1941) is arguably the greatest movie ever to come out of Hollywood, and it is surely one of the most-impressive debuts by any director. Welles also produced and coscripted the film with Herman J. Mankiewicz. Welles submitted a joyfully energetic performance as Charles Foster Kane, the newspaper magnate (clearly based on newspaper publisher William Randolph Hearst) who rises from a poor background to amass uncountable millions—none of which he is able to enjoy, thanks to his epic ambitions. Citizen Kane featured an ensemble cast in support of Welles, composed mostly of Mercury actors, and included Joseph Cotten, Agnes	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Orson-Welles/At-RKO-Citizen-Kane-and-The-Magnificent-Ambersons	Citizen Kane (1941) is arguably the greatest movie ever to come out of Hollywood, and it is surely one of the most-impressive debuts by any director. Welles also produced and coscripted the film with Herman J. Mankiewicz. Welles submitted a joyfully energetic performance as Charles Foster Kane, the newspaper magnate (clearly based on newspaper publisher William Randolph Hearst) who rises from a poor background to amass uncountable millions—none of which he is able to enjoy, thanks to his epic ambitions. Citizen Kane featured an ensemble cast in support of Welles, composed mostly of Mercury actors, and included Joseph Cotten, Agnes Moorehead, Everett Sloane, Paul Stewart, and Ruth Warrick. Shot with an array of classic and experimental techniques by Gregg Toland, evocatively scored by Bernard Herrmann, and edited brilliantly by Robert Wise, Citizen Kane was a masterpiece of moviemaking. It was also the last time Welles made a Hollywood movie that reached the screen intact. Although it initially received rave reviews, Citizen Kane was not a financial success. RKO found the film—with its complex flashback structure and lack of an appealing protagonist—difficult to market, and its box office was also hindered by the Hearst newspapers’ using their power to hamstring its commercial prospects. Nevertheless, Citizen Kane received nine Academy Award nominations, of which Welles received three (best actor, director, and original screenplay), but only the screenplay won an Oscar. The Magnificent Ambersons (1942) was produced, written, and directed by Welles, and to some critics it represents the peak of his artistry—even though it was taken out of his hands by RKO after poor test screenings. It was heavily reedited by Wise (44 minutes were cut), and a new ending was tacked on. The Magnificent Ambersons was adapted from Booth Tarkington’s novel about the declining fortunes of a wealthy 19th-century Indianapolis family whose smugness (and inability to comprehend the significance of industrialization and the automobile) leads to their downfall. The ensemble cast featured Tim Holt as the spoiled scion whose arrogance finally earns him a well-deserved comeuppance that nonetheless carries the weight of tragedy. Mercury actors (and Citizen Kane veterans) Cotten, Moorehead, and Ray Collins all delivered fine performances, and former silent star Dolores Costello and young Anne Baxter demonstrated Welles’s attention to his female actors. Photographed brilliantly by Stanley Cortez, The Magnificent Ambersons was nominated for a best picture Oscar. Even while Wise was cutting The Magnificent Ambersons, Welles was in South America filming his quasi-documentary It’s All True, an anthology of three short films: “The Story of Samba (Carnaval),” about Rio de Janeiro’s annual Carnival; “My Friend Bonito,” about bullfighting; and “Four Men on a Raft,” about four humble fishermen who become national heroes after a daring voyage. RKO canceled the project midway, leaving Welles stranded in Rio. (The legendary project, never released, resurfaced when the mostly extant footage from “Four Men on a Raft” was assembled by Richard Wilson, Bill Krohn, and Myron Meisel as part of the documentary It’s All True: Based on an Unfinished Film by Orson Welles [1993].)
7501	dbpedia	0	57	http://5.196.71.167/movie/citizen-kane	en	Alors, pourquoi ce film ?	http://5.196.71.167/media/cache/favicon/favicon.png	http://5.196.71.167/media/cache/favicon/favicon.png	[ "http://5.196.71.167/media/cache/favicon/favicon.png", "http://5.196.71.167/media/cache/card/movie_files/poster/Citizen%20Kane%20%281941%29.jpg", "http://5.196.71.167/media/cache/avatar_small/user_files/avatar/1.jpg", "http://5.196.71.167/media/cache/avatar_small/user_files/avatar/1.jpg", "http://5.196.71.1...	[]	[]	[ "" ]	null	[]	null			http://5.196.71.167/media/cache/favicon/favicon.png		null	Lillian O'Malley Woman in Front of Chronicle Building (uncredited)
7501	dbpedia	0	41	https://github.com/powturbo/TurboBench/issues/10	en	Feedback - Open Benchmark Directory (user testdatafiles/proposals allowed) · Issue #10 · powturbo/TurboBench	https://opengraph.githubassets.com/da2c34233f99bbf39ac5e9701e2d86249ff38560f05c6eeae358b09e8181ea24/powturbo/TurboBench/issues/10	https://opengraph.githubassets.com/da2c34233f99bbf39ac5e9701e2d86249ff38560f05c6eeae358b09e8181ea24/powturbo/TurboBench/issues/10	[ "https://avatars.githubusercontent.com/u/14062548?s=80&v=4", "https://user-images.githubusercontent.com/14062548/36124984-e28b9e4e-105a-11e8-8c7f-31f6a45c2393.PNG", "https://user-images.githubusercontent.com/14062548/36124988-ec029f18-105a-11e8-9433-9f2c2940e745.PNG", "https://user-images.githubusercontent.co...	[]	[]	[ "" ]	null	[]	null	Thanks a lot for the nifty TurboBench, after wandering here and there, finally thought it is a good idea to post my endless quest (in form of console logs and tables) for giving a rich picture of [de]compressors of today. 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id;budget;genres;imdb_id;original_language;original_title;overview;popularity;production_companies;production_countries;release_date;revenue;runtime;spoken_languages;status;tagline;title;vote_average;vote_count;production_companies_number;production_countries_number;spoken_languages_number 2;0;Drama\|Crime;tt0094675;fi;Ariel;Taisto Kasurinen is a Finnish coal miner whose father has just committed suicide and who is framed for a crime he did not commit. 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As a result, every well-meaning, tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event.;3.82689;RKO Radio Pictures;United States of America;30/04/1941;23217674;119;English;Released;It's Terrific!;Citizen Kane;7.9;1110;2;1;1 16;12800000;Drama\|Crime\|Music;tt0168629;en;Dancer in the Dark;Selma, a Czech immigrant on the verge of blindness, struggles to make ends meet for herself and her son, who has inherited the same genetic disorder and will suffer the same fate without an expensive operation. When life gets too difficult, Selma learns to cope through her love of musicals, escaping life's troubles - even if just for a moment - by dreaming up little numbers to the rhythmic beats of her surroundings.;2.106217;Fine Line Features;Argentina;17/05/2000;40031879;140;English;Released;You don't need eyes to see.;Dancer in the Dark;7.6;348;26;12;1 17;0;Horror\|Thriller\|Mystery;tt0411267;en;The Dark;Adèle and her daughter Sarah are traveling on the Welsh coastline to see her husband James when Sarah disappears. A different but similar looking girl appears who says she died in a past time. Adèle tries to discover what happened to her daughter as she is tormented by Celtic mythology from the past.;1.253999;Constantin Film;Germany;26/01/2006;0;87;English;Released;One of the living for one of the dead.;The Dark;5.6;69;4;2;2 18;90000000;Adventure\|Fantasy\|Action\|Thriller\|Science Fiction;tt0119116;en;The Fifth Element;In 2257, a taxi driver is unintentionally given the task of saving a young girl who is part of the key that will ensure the survival of humanity.;9.233786;Columbia Pictures;France;07/05/1997;263920180;126;English;Released;There is no future without it.;The Fifth Element;7.2;3629;2;1;3 19;92620000;Drama\|Science Fiction;tt0017136;de;Metropolis;In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.;3.669986;Paramount Pictures;Germany;10/01/1927;650422;153;No Language;Released;There can be no understanding between the hands and the brain unless the heart acts as mediator.;Metropolis;8.0;614;2;1;1 20;0;Drama\|Romance;tt0314412;en;My Life Without Me;A Pedro Almodovar production in which a fatally ill mother with only two months to live creates a list of things she wants to do before she dies with out telling her family of her illness.;0.911462;El Deseo;Canada;07/03/2003;9726954;106;English;Released;;My Life Without Me;7.2;75;2;2;1 21;0;Documentary;tt0060371;en;The Endless Summer;The Endless Summer, by Bruce Brown, is one of the first and most influential surf movies of all times. The film documents American surfers Mike Hynson and Robert August as they travel the world during California’s winter (which back in 1965 was off-season for surfing) in search of the perfect wave and an endless summer.;0.144179;Bruce Brown Films;United States of America;15/06/1966;0;95;English;Released;;The Endless Summer;7.8;20;1;1;1 22;140000000;Adventure\|Fantasy\|Action;tt0325980;en;Pirates of the Caribbean: The Curse of the Black Pearl;Jack Sparrow, a freewheeling 17th-century pirate who roams the Caribbean Sea, butts heads with a rival pirate bent on pillaging the village of Port Royal. When the governor's daughter is kidnapped, Sparrow decides to help the girl's love save her. But their seafaring mission is hardly simple.;28.769026;Walt Disney Pictures;United States of America;09/07/2003;655011224;143;English;Released;Prepare to be blown out of the water.;Pirates of the Caribbean: The Curse of the Black Pearl;7.4;6368;2;1;1 24;30000000;Action\|Crime;tt0266697;en;Kill Bill: Vol. 1;An assassin is shot at the altar by her ruthless employer, Bill and other members of their assassination circle – but 'The Bride' lives to plot her vengeance. Setting out for some payback, she makes a death list and hunts down those who wronged her, saving Bill for last.;7.891837;Miramax Films;United States of America;10/10/2003;180949000;111;English;Released;Go for the kill.;Kill Bill: Vol. 1;7.7;4486;3;1;3 25;72000000;Drama\|War;tt0418763;en;Jarhead;Jarhead is a film about a US Marine Anthony Swofford’s experience in the Gulf War. After putting up with an arduous boot camp, Swafford and his unit are sent to the Persian Gulf where they are earger to fight but are forced to stay back from the action. Meanwhile Swofford gets news of his girlfriend is cheating on him. Desperately he wants to kill someone and finally put his training to use.;2.41718;Universal Pictures;Germany;04/11/2005;96889998;125;English;Released;Welcome to the suck.;Jarhead;6.5;722;4;2;4 26;1400000;Drama;tt0352994;en;LaLehet Al HaMayim;Eyal, an Israeli Mossad agent, is given the mission to track down and kill the very old Alfred Himmelman, an ex-Nazi officer, who might still be alive. Pretending to be a tourist guide, he befriends his grandson Axel, in Israel to visit his sister Pia. The two men set out on a tour of the country during which, Axel challenges Eyal's values.;0.455665;Lama Films;Israel;05/02/2004;0;103;العربية;Released;He was trained to hate until he met the enemy.;Walk on Water;6.4;18;2;2;6 27;1000000;Drama\|Music\|Romance;tt0411705;en;9 Songs;Matt, a young glaciologist, soars across the vast, silent, icebound immensities of the South Pole as he recalls his love affair with Lisa. They meet at a mobbed rock concert in a vast music hall - London's Brixton Academy. They are in bed at night's end. Together, over a period of several months, they pursue a mutual sexual passion whose inevitable stages unfold in counterpoint to nine live-concert songs.;2.939728;Revolution Films;United Kingdom;16/07/2004;1574623;66;English;Released;2 lovers, one summer, and the 9 songs that defined them.;9 Songs;5.1;95;1;1;1 28;31500000;Drama\|War;tt0078788;en;Apocalypse Now;"At the height of the Vietnam war, Captain Benjamin Willard is sent on a dangerous mission that, officially, ""does not exist, nor will it ever exist."" His goal is to locate - and eliminate - a mysterious Green Beret Colonel named Walter Kurtz, who has been leading his personal army on illegal guerrilla missions into enemy territory.";7.620077;United Artists;United States of America;15/08/1979;89460381;153;;Released;This is the end...;Apocalypse Now;8.0;1869;2;1;4 30;0;Animation\|Science Fiction;tt1530535;ja;彼女の想いで;Koji Morimato’s animated science fiction short story about how the boarder between reality and illusion on a space station become blurry.;0.811221;Studio 4°C;Japan;23/12/1995;0;44;日本語;Released;;Magnetic Rose;7.7;10;1;1;1 31;0;Action\|Animation\|Comedy;tt6266826;ja;最臭兵器;Tensai Okamura’s animated action packed short story with lots of humorous elements in which a person transforms into a weapon of mass destruction without themselves being aware.;1.281042;Studio 4°C;Japan;23/12/1995;0;40;日本語;Released;;Stink Bomb;5.3;3;1;1;1 32;0;Animation\|History;tt6264824;ja;大砲の街;Otomo Katsuhiro’s short anime story;0.838219;Studio 4°C;Japan;23/12/1995;0;21;日本語;Released;;Cannon Fodder;5.3;3;1;1;1 ... H:\smashshop_2018-Feb-12_Judaica>_BENCH_a_file.BAT Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv H:\smashshop_2018-Feb-12_Judaica>lzbench173 -c4 -i1,15 -o3 -ebrotli24,1,5,11/tornado,16/blosclz,9/brieflz/crush,2/csc,5/density,3/fastlz,2/gipfeli/zstd24,12,22/zstd24LDM,12,22/lzo1b,999/lzham,4/lzham24,4/libdeflate,1,12/lz4fast,1,99/lz4/lz4hc,10,12/lizard,19,29,39,49/lzf,1/lzfse/lzg,9/lzham,1/lzjb/lzlib,9/lzma,9/lzrw,5/lzsse2,17/lzsse4,17/lzsse8,17/lzvn/pithy,9/quicklz,3/snappy/slz_zlib,3/ucl_nrv2b,9/ucl_nrv2d,9/ucl_nrv2e,9/xpack,9/xz,9/yalz77,12/yappy,99/zlib,1,5,9/zling,4/shrinker/wflz/lzmat Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzbench 1.7.3 (64-bit Windows) Assembled by P.Skibinski Compressor name Compress. Decompress. Orig. size Compr. size Ratio Filename memcpy 6365 MB/s 6365 MB/s 133901432 133901432 100.00 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv ... The results sorted by column number 4: Compressor name Compress. Decompress. Orig. size Compr. size Ratio Filename csc 2016-10-13 -5 1.65 MB/s 45 MB/s 133901432 34749865 25.95 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzma 16.04 -9 0.78 MB/s 60 MB/s 133901432 34816931 26.00 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv xz 5.2.3 -9 0.82 MB/s 55 MB/s 133901432 34817747 26.00 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzham 1.0 -d26 -4 0.58 MB/s 122 MB/s 133901432 35117612 26.23 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzlib 1.8 -9 0.74 MB/s 40 MB/s 133901432 35346969 26.40 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv tornado 0.6a -16 0.87 MB/s 119 MB/s 133901432 36088796 26.95 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv brotli24 2017-12-12 -11 0.33 MB/s 172 MB/s 133901432 36237727 27.06 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzham24 1.0 -4 0.71 MB/s 122 MB/s 133901432 36536959 27.29 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zstd24 1.3.3 -22 0.89 MB/s 335 MB/s 133901432 36966062 27.61 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zstd24LDM 1.3.3 -22 0.91 MB/s 337 MB/s 133901432 37129453 27.73 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zling 2016-01-10 -4 18 MB/s 103 MB/s 133901432 41708378 31.15 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzham 1.0 -d26 -1 1.43 MB/s 125 MB/s 133901432 42404312 31.67 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zstd24 1.3.3 -12 5.02 MB/s 344 MB/s 133901432 44018384 32.87 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zstd24LDM 1.3.3 -12 4.88 MB/s 344 MB/s 133901432 44019143 32.87 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv crush 1.0 -2 0.20 MB/s 219 MB/s 133901432 45171471 33.73 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv brotli24 2017-12-12 -5 13 MB/s 246 MB/s 133901432 45354869 33.87 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv xpack 2016-06-02 -9 8.36 MB/s 448 MB/s 133901432 49434209 36.92 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lizard 1.0 -49 0.83 MB/s 664 MB/s 133901432 52052053 38.87 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv libdeflate 0.7 -12 5.71 MB/s 380 MB/s 133901432 52203890 38.99 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lizard 1.0 -29 0.87 MB/s 776 MB/s 133901432 52980228 39.57 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzfse 2017-03-08 35 MB/s 367 MB/s 133901432 53217444 39.74 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zlib 1.2.11 -9 13 MB/s 192 MB/s 133901432 54103240 40.41 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzsse2 2016-05-14 -17 5.90 MB/s 1808 MB/s 133901432 54676447 40.83 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zlib 1.2.11 -5 21 MB/s 190 MB/s 133901432 54783631 40.91 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv ucl_nrv2e 1.03 -9 0.92 MB/s 188 MB/s 133901432 55218581 41.24 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzsse4 2016-05-14 -17 6.82 MB/s 1876 MB/s 133901432 55450256 41.41 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzsse8 2016-05-14 -17 6.41 MB/s 1846 MB/s 133901432 55598759 41.52 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv ucl_nrv2d 1.03 -9 0.94 MB/s 190 MB/s 133901432 55700314 41.60 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv brotli24 2017-12-12 -1 91 MB/s 200 MB/s 133901432 56499193 42.19 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv ucl_nrv2b 1.03 -9 0.94 MB/s 188 MB/s 133901432 56995941 42.57 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv libdeflate 0.7 -1 88 MB/s 349 MB/s 133901432 58406821 43.62 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzo1b 2.09 -999 10 MB/s 393 MB/s 133901432 60063312 44.86 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lz4hc 1.8.0 -12 8.74 MB/s 1610 MB/s 133901432 60256681 45.00 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lizard 1.0 -19 5.38 MB/s 1781 MB/s 133901432 60301678 45.03 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lz4hc 1.8.0 -10 15 MB/s 1627 MB/s 133901432 60525615 45.20 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lizard 1.0 -39 5.43 MB/s 1626 MB/s 133901432 61587571 45.99 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzg 1.0.8 -9 0.62 MB/s 403 MB/s 133901432 61803020 46.16 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv zlib 1.2.11 -1 51 MB/s 190 MB/s 133901432 62234317 46.48 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzmat 1.01 22 MB/s 193 MB/s 133901432 62428884 46.62 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv yalz77 2015-09-19 -12 11 MB/s 174 MB/s 133901432 62982598 47.04 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv brieflz 1.1.0 70 MB/s 108 MB/s 133901432 63919589 47.74 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv density 0.12.5 beta -3 104 MB/s 196 MB/s 133901432 63987540 47.79 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv quicklz 1.5.0 -3 31 MB/s 532 MB/s 133901432 66622450 49.75 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzvn 2017-03-08 30 MB/s 546 MB/s 133901432 66786297 49.88 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv gipfeli 2016-07-13 102 MB/s 208 MB/s 133901432 68309192 51.01 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzrw 15-Jul-1991 -5 83 MB/s 279 MB/s 133901432 70927828 52.97 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv pithy 2011-12-24 -9 162 MB/s 815 MB/s 133901432 73138033 54.62 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv shrinker 0.1 193 MB/s 577 MB/s 133901432 75857895 56.65 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzf 3.6 -1 167 MB/s 346 MB/s 133901432 78638419 58.73 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv fastlz 0.1 -2 164 MB/s 302 MB/s 133901432 80024724 59.76 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv slz_zlib 1.0.0 -3 126 MB/s 167 MB/s 133901432 80345979 60.00 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv yappy 2014-03-22 -99 61 MB/s 1431 MB/s 133901432 81157014 60.61 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv blosclz 2015-11-10 -9 140 MB/s 470 MB/s 133901432 81334487 60.74 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv snappy 1.1.4 192 MB/s 652 MB/s 133901432 84587804 63.17 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lz4fast 1.8.0 -1 273 MB/s 1774 MB/s 133901432 86683715 64.74 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lz4 1.8.0 273 MB/s 1773 MB/s 133901432 86683715 64.74 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv wflz 2015-09-16 123 MB/s 508 MB/s 133901432 90616277 67.67 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lzjb 2010 155 MB/s 300 MB/s 133901432 101511464 75.81 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv lz4fast 1.8.0 -99 3442 MB/s 5355 MB/s 133901432 133073240 99.38 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv H:\smashshop_2018-Feb-12_Judaica>"turbobenchs_Official_v17.04_-_build_07_Apr_2017.exe" Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv -elibdeflate,12/oodle,19,49,89,112,114,116,118,129/lzsse2,17/lzturbo,19,12,29,22,39,32,49,59/zstd,12,22/lizard,19,29,39,49/brotli,11/lzma,9/bzip2/xpack,9/chameleon,2/density,3/lzham,4/trle/bsc,3,6/zpaq,2,5 -g -I1 -J31 -k1 -B2G C Size ratio% C MB/s D MB/s Name File 27751984 20.7 6.28 13.79 lzturbo 59 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 28626045 21.4 0.29 0.29 zpaq 5 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 29365736 21.9 12.30 5.76 bsc 6 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 33800605 25.2 0.60 61.26 lzturbo 49 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 34816935 26.0 0.79 60.60 lzma 9 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 34897942 26.1 0.59 122.19 lzham 4 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 35231273 26.3 0.69 314.19 lzturbo 39 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 35447440 26.5 0.67 324.30 zstd 22 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 36219098 27.0 0.34 342.69 oodle 129 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 36219098 27.0 0.39 342.40 oodle 89 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 37551395 28.0 0.20 206.53 oodle 19 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 38197262 28.5 0.35 212.81 brotli 11 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 38824278 29.0 15.90 10.57 bsc 3 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 39475083 29.5 9.44 18.91 bzip2 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 39775117 29.7 0.73 516.82 lzturbo 29 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 41317955 30.9 16.96 351.28 lzturbo 32 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 42616730 31.8 0.40 224.70 xpack 9 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 44018388 32.9 4.99 381.61 zstd 12 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 44786082 33.4 2.71 51.32 zpaq 2 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 52052057 38.9 0.85 680.56 lizard 49 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 52203900 39.0 5.74 360.87 libdeflate 12 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 52980232 39.6 0.87 795.93 lizard 29 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 53378419 39.9 16.99 603.31 lzturbo 22 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 54676451 40.8 5.62 1800.68 lzsse2 17 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 56151529 41.9 0.34 1621.35 oodle 116 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 56763285 42.4 0.45 1607.96 oodle 118 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 60271701 45.0 0.84 2400.20 lzturbo 19 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 60290973 45.0 2.73 1716.35 oodle 49 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 60301682 45.0 5.30 1850.90 lizard 19 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 61519812 45.9 8.27 1765.82 oodle 114 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 61587575 46.0 5.38 1738.74 lizard 39 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 63905083 47.7 29.59 2402.07 lzturbo 12 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 63987386 47.8 114.56 205.91 density 3 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 67517585 50.4 29.13 2244.17 oodle 112 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 82491467 61.6 1043.42 1581.51 chameleon 2 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb 133625257 99.8 104.70 1420.42 trle Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.tbb H:\smashshop_2018-Feb-12_Judaica>timer64 PPMd_varI_rev2_Intel15_32bit.exe e -o6 -m256 -fMachine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.O6.PPMd_varI Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Fast PPMII compressor for textual data, variant I, Apr 3 2016 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv:133901432 Kernel Time = 0.156 = 0% User Time = 28.797 = 97% Process Time = 28.953 = 97% Virtual Memory = 258 MB Global Time = 29.555 = 100% Physical Memory = 203 MB H:\smashshop_2018-Feb-12_Judaica>timer64 PPMd_varI_rev2_Intel15_32bit.exe e -o16 -m256 -fMachine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.O16.PPMd_varI Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Fast PPMII compressor for textual data, variant I, Apr 3 2016 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv:133901432 Kernel Time = 0.234 = 0% User Time = 48.719 = 98% Process Time = 48.953 = 99% Virtual Memory = 258 MB Global Time = 49.416 = 100% Physical Memory = 259 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "7za_v16.04_x64.exe" a -tgzip -mx9 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MX9.zip Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv 7-Zip (a) [64] 16.04 : Copyright (c) 1999-2016 Igor Pavlov : 2016-10-04 Scanning the drive: 1 file, 133901432 bytes (128 MiB) Creating archive: Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MX9.zip Items to compress: 1 Files read from disk: 1 Archive size: 52319186 bytes (50 MiB) Everything is Ok Kernel Time = 0.093 = 0% User Time = 143.130 = 99% Process Time = 143.224 = 99% Virtual Memory = 6 MB Global Time = 143.710 = 100% Physical Memory = 7 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "7za_v16.04_x64.exe" a -t7z -mx9 -md=29 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MX9Dict512.7z Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv 7-Zip (a) [64] 16.04 : Copyright (c) 1999-2016 Igor Pavlov : 2016-10-04 Scanning the drive: 1 file, 133901432 bytes (128 MiB) Creating archive: Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MX9Dict512.7z Items to compress: 1 Files read from disk: 1 Archive size: 34610398 bytes (34 MiB) Everything is Ok Kernel Time = 1.372 = 1% User Time = 180.368 = 136% Process Time = 181.741 = 137% Virtual Memory = 1356 MB Global Time = 132.258 = 100% Physical Memory = 1293 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "xz_v5.2.3_x64.exe" -z -k -f -9 -e -v -v --lzma2=dict=512MiB --threads=1 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv xz_v5.2.3_x64: Filter chain: --lzma2=dict=512MiB,lc=3,lp=0,pb=2,mode=normal,nice=64,mf=bt4,depth=0 xz_v5.2.3_x64: 5,378 MiB of memory is required. The limiter is disabled. xz_v5.2.3_x64: Decompression will need 513 MiB of memory. Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv (1/1) 100 % 33.0 MiB / 127.7 MiB = 0.258 750 KiB/s 2:54 Kernel Time = 0.811 = 0% User Time = 171.975 = 98% Process Time = 172.786 = 99% Virtual Memory = 5389 MB Global Time = 174.423 = 100% Physical Memory = 1525 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "bsc_v3.1.0_x64.exe" e Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.ST6Block512.bsc -b512 -m6 -cp -Tt This is bsc, Block Sorting Compressor. Version 3.1.0. 8 July 2012. Copyright (c) 2009-2012 Ilya Grebnov <Ilya.Grebnov@gmail.com>. Machine-Learning_www.kaggle.com_350000-movies-from-them compressed 133901432 into 28865952 in 11.420 seconds. Kernel Time = 0.374 = 3% User Time = 10.623 = 87% Process Time = 10.998 = 90% Virtual Memory = 715 MB Global Time = 12.197 = 100% Physical Memory = 709 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "zpaq_v7.05_x64.exe" add Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.method29.zpaq Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv -method 29 -threads 1 zpaq v7.05 journaling archiver, compiled Apr 17 2015 Adding 133.901432 MB in 1 files -method 29 -threads 1 at 2017-12-02 08:53:06. 100.00% 0:00:00 + Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv 133901432 100.00% 0:00:00 [1..1898] 133909032 -method 29,121,1 1 +added, 0 -removed. 0.000000 + (133.901432 -> 133.901432 -> 41.293302) = 41.293302 MB 62.728 seconds (all OK) Kernel Time = 0.234 = 0% User Time = 60.559 = 96% Process Time = 60.793 = 96% Virtual Memory = 1190 MB Global Time = 62.769 = 100% Physical Memory = 774 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "zpaq_v7.05_x64.exe" add Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.method59.zpaq Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv -method 59 -threads 1 zpaq v7.05 journaling archiver, compiled Apr 17 2015 Adding 133.901432 MB in 1 files -method 59 -threads 1 at 2017-12-02 08:54:09. 100.00% 0:00:00 + Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv 133901432 100.00% 0:00:00 [1..1898] 133909032 -method 59,121,1 1 +added, 0 -removed. 0.000000 + (133.901432 -> 133.901432 -> 26.153739) = 26.153739 MB 547.049 seconds (all OK) Kernel Time = 0.483 = 0% User Time = 544.100 = 99% Process Time = 544.583 = 99% Virtual Memory = 2064 MB Global Time = 547.053 = 100% Physical Memory = 1656 MB H:\smashshop_2018-Feb-12_Judaica>timer64 lz5 -49 -B7 --no-frame-crc Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv using blocks of size 262144 KB Compressed filename will be : Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.lz5 Compressed 133901432 bytes into 45174349 bytes ==> 33.74% Kernel Time = 0.202 = 0% User Time = 161.554 = 98% Process Time = 161.757 = 98% Virtual Memory = 676 MB Global Time = 163.938 = 100% Physical Memory = 463 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "nanozip-0.09a.win64.exe" a -t1 -cc Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.cc.nz Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv NanoZip 0.09 alpha/Win64 (C) 2008-2011 Sami Runsas www.nanozip.net Intel(R) Core(TM) i5-2430M CPU @ 2.40GHz\|35487 MHz\|#2+HT\|14832/16332 MB Archive: Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.cc.nz Threads: 1, memory: 512 MB Compressor #0: nz_cm [524 MB] Compressed 133 901 432 into 26 762 899 in 3m 16.03s, 667 KB/s IO-in: 0.08s, 1502 MB/s. IO-out: 0.01s, 1702 MB/s Kernel Time = 0.390 = 0% User Time = 200.008 = 99% Process Time = 200.398 = 99% Virtual Memory = 539 MB Global Time = 200.953 = 100% Physical Memory = 474 MB H:\smashshop_2018-Feb-12_Judaica>timer64 "nanozip-0.09a.win64.exe" a -t1 -co Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.co.nz Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv NanoZip 0.09 alpha/Win64 (C) 2008-2011 Sami Runsas www.nanozip.net Intel(R) Core(TM) i5-2430M CPU @ 2.40GHz\|49756 MHz\|#2+HT\|14843/16332 MB Archive: Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.co.nz Threads: 1, memory: 512 MB Compressor #0: nz_optimum1 [540 MB] Compressed 133 901 432 into 27 087 613 in 16.23s, 8055 KB/s IO-in: 0.10s, 1228 MB/s. IO-out: 0.13s, 187 MB/s Kernel Time = 0.858 = 4% User Time = 15.927 = 89% Process Time = 16.785 = 94% Virtual Memory = 559 MB Global Time = 17.731 = 100% Physical Memory = 407 MB CABARC, Microsoft (R) Cabinet Tool - Version 5.1.2600.0, Copyright (c) Microsoft Corporation. H:\smashshop_2018-Feb-12_Judaica>timer64 cabarc.exe -m LZX:21 N Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.LZX21.cab Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Microsoft (R) Cabinet Tool - Version 5.1.2600.0 Copyright (c) Microsoft Corporation. All rights reserved.. Creating new cabinet 'Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.LZX21.cab' with compression 'LZX:21': -- adding Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Completed successfully Kernel Time = 0.436 = 0% User Time = 135.206 = 98% Process Time = 135.642 = 98% Virtual Memory = 20 MB Global Time = 137.652 = 100% Physical Memory = 21 MB H:\smashshop_2018-Feb-12_Judaica>timer64 cabarc.exe -m MSZIP N Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MSZIP.cab Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Microsoft (R) Cabinet Tool - Version 5.1.2600.0 Copyright (c) Microsoft Corporation. All rights reserved.. Creating new cabinet 'Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MSZIP.cab' with compression 'MSZIP': -- adding Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Completed successfully Kernel Time = 0.280 = 1% User Time = 15.007 = 86% Process Time = 15.288 = 88% Virtual Memory = 1 MB Global Time = 17.293 = 100% Physical Memory = 3 MB Compress, version: (N)compress 4.2.4.4, compiled: Fri, Aug 23, 2013 11:56:09. Authors: Peter Jannesen, Dave Mack, Spencer W. Thomas, Jim McKie, Steve Davies, Ken Turkowski, James A. Woods, Joe Orost. H:\smashshop_2018-Feb-12_Judaica>timer64 compress.exe -c Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv 1>Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.Z H:\smashshop_2018-Feb-12_Judaica>timer64 zstd-v1.3.3-win64.exe --ultra -22 --zstd=wlog=29,clog=30,hlog=30,slog=26 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv : 26.40% (133901432 => 35354048 bytes, Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.zst) Kernel Time = 1.965 = 0% User Time = 1353.917 = 99% Process Time = 1355.882 = 99% Virtual Memory = 8339 MB Global Time = 1359.043 = 100% Physical Memory = 8340 MB H:\smashshop_2018-Feb-12_Judaica>timer64 rz_1.01.exe a -d 512M Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.512M.rz Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv * RAZOR Archiver 1.01 (2017-09-14) - DEMO/TEST version * * (c) Christian Martelock (christian.martelock@web.de) * Scanning h:\smashshop_2018-feb-12_judaica\machine-learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv Found 0 dirs, 1 files, 133901432 bytes. Creating archive Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.512M.rz Window : 130764K (512M..128G) Header : 98 Size : 29922927 Archive ok. Added 0 dirs, 1 files, 133901432 bytes. CPU time = 639.230s / wall time = 477.908s Kernel Time = 2.620 = 0% User Time = 639.229 = 133% Process Time = 641.850 = 134% Virtual Memory = 1600 MB Global Time = 478.017 = 100% Physical Memory = 1494 MB 12/02/2017 01:03 AM 26,153,739 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.method59.zpaq 12/02/2017 01:09 AM 26,762,899 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.cc.nz 12/02/2017 01:09 AM 27,087,613 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.co.nz 12/02/2017 12:53 AM 28,865,952 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.ST6Block512.bsc 12/02/2017 12:44 AM 29,087,569 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.O6.PPMd_varI 12/02/2017 01:42 AM 29,922,927 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.512M.rz 12/02/2017 12:45 AM 30,120,412 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.O16.PPMd_varI 12/02/2017 12:49 AM 34,610,398 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MX9Dict512.7z 11/13/2017 12:08 AM 34,610,800 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.L9Dict512.xz 11/13/2017 12:08 AM 35,354,048 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.zst 12/02/2017 01:11 AM 40,245,342 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.LZX21.cab 12/02/2017 12:54 AM 41,293,302 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.method29.zpaq 11/13/2017 12:08 AM 45,174,349 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.M49Block256.lz5 12/02/2017 12:47 AM 52,319,186 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MX9.zip 12/02/2017 01:12 AM 54,300,130 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.MSZIP.cab 12/02/2017 01:12 AM 58,780,239 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv.Z 11/13/2017 12:08 AM 133,901,432 Machine-Learning_www.kaggle.com_350000-movies-from-themoviedb.org.csv ...
7501	dbpedia	0	16	https://medium.com/%40imran.haidree/all-time-must-watch-greatest-movies-in-history-iconic-performances-by-legendary-actors-77700951b0cf	en	All-Time Must-Watch Greatest Movies in History: Iconic Performances by Legendary Actors.	https://miro.medium.com/v2/da:true/resize:fit:602/0*IQ7fMLu5usbZKCjn	https://miro.medium.com/v2/da:true/resize:fit:602/0*IQ7fMLu5usbZKCjn	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/1_NFWarXtQKRPB8-2pCeVpQ.png", "https://miro.medium.com/v2/resize:fill:144:144/1*_NFWarXtQKRPB8-2pCeVpQ.png" ]	[]	[]	[ "" ]	null	[ "Mani Writes", "medium.com", "@imran.haidree" ]	2024-06-11T10:19:14.882000+00:00	The history of cinema is rich with films that have left an indelible mark on culture, storytelling, and the art of filmmaking. Here’s a comprehensive look at some of the greatest movies in history…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@imran.haidree/all-time-must-watch-greatest-movies-in-history-iconic-performances-by-legendary-actors-77700951b0cf	The history of cinema is rich with films that have left an indelible mark on culture, storytelling, and the art of filmmaking. Here’s a comprehensive look at some of the greatest movies in history, their backgrounds, box office performances, and fun facts. Citizen Kane (1941) Historical Background: Directed by Orson Welles, “Citizen Kane” is often cited as the greatest film ever made. The film explores the life of Charles Foster Kane, a wealthy newspaper magnate, through a series of flashbacks as a reporter investigates the meaning of Kane’s last word, “Rosebud.” Box Office: Despite its critical acclaim, “Citizen Kane” faced significant obstacles due to William Randolph Hearst’s opposition. It earned around $1.6 million against a budget of $839,727, which was modest at the time. Fun Facts: The innovative use of deep focus cinematography by Gregg Toland. Welles’ transformation through makeup to portray Kane at different ages. The controversy over “Rosebud,” rumored to be a private joke related to Hearst’s mistress. The Godfather (1972) Historical Background: Directed by Francis Ford Coppola and based on Mario Puzo’s novel, “The Godfather” chronicles the powerful Italian-American crime family of Don Vito Corleone. It revolutionized the gangster genre with its deep character development and thematic complexity. Box Office: “The Godfather” was a massive success, grossing approximately $246–287 million worldwide against a budget of $6–7.2 million. Fun Facts: Marlon Brando used cotton balls in his cheeks to create Vito Corleone’s distinctive voice. Real mobsters were consulted during production to ensure authenticity. The iconic line, “I’m gonna make him an offer he can’t refuse,” became one of the most famous movie quotes. Casablanca (1942) Historical Background: Directed by Michael Curtiz, “Casablanca” is set during World War II and centers around Rick Blaine, an American expatriate who must choose between his love for Ilsa Lund and helping her husband escape from Casablanca to continue his fight against the Nazis. Box Office: The film was a box office hit, grossing approximately $3.7 million in its initial run. Fun Facts: The famous line “Here’s looking at you, kid” was ad-libbed by Humphrey Bogart. The film’s script was being written even as filming was underway, leading to on-the-spot changes. “Casablanca” won three Academy Awards, including Best Picture. Gone with the Wind (1939) Historical Background: Directed by Victor Fleming, this epic historical romance is set during the American Civil War and Reconstruction era. It follows the life of Scarlett O’Hara, the strong-willed daughter of a Georgia plantation owner. Box Office: Adjusted for inflation, “Gone with the Wind” remains the highest-grossing film of all time, earning approximately $390 million in its initial release and over $3.44 billion adjusted for inflation. Fun Facts: The film was one of the first major motion pictures shot in color. Vivien Leigh beat out 1,400 other actresses for the role of Scarlett O’Hara. Hattie McDaniel, who played Mammy, was the first African American to win an Academy Award. . Star Wars: Episode IV — A New Hope (1977) Historical Background: Directed by George Lucas, this epic space opera introduced audiences to the Galactic Empire, Jedi knights, and the struggle between good and evil in a galaxy far, far away. It revolutionized special effects and became a cornerstone of pop culture. Box Office: “A New Hope” grossed over $775 million worldwide, making it the highest-grossing film at the time of its release. Fun Facts: The film’s special effects company, Industrial Light & Magic (ILM), was created specifically for “Star Wars.” Harrison Ford, who played Han Solo, was originally a carpenter hired to build sets. The phrase “May the Force be with you” became a cultural phenomenon. Schindler’s List (1993) Historical Background: Directed by Steven Spielberg, this historical drama tells the true story of Oskar Schindler, a German businessman who saved over a thousand Polish Jews during the Holocaust by employing them in his factories. Box Office: “Schindler’s List” was both a critical and commercial success, grossing over $322 million worldwide. Fun Facts: The film was shot in black and white to give it a documentary-like realism. Spielberg did not accept a salary for the film, considering it “blood money.” The girl in the red coat, one of the few color elements in the film, became an iconic symbol of innocence amidst the horror. Pulp Fiction (1994) Historical Background: Directed by Quentin Tarantino, “Pulp Fiction” is a nonlinear narrative that intertwines multiple storylines involving crime, redemption, and violence. Its sharp dialogue, eclectic soundtrack, and unique storytelling structure redefined independent cinema. Box Office: “Pulp Fiction” grossed over $213 million worldwide against an $8–8.5 million budget. Fun Facts: The film revitalized John Travolta’s career, earning him an Academy Award nomination. Tarantino wrote the role of Jules specifically for Samuel L. Jackson. The dance scene between Travolta and Uma Thurman became an iconic moment in film history. “The Graduate” (1967) Director: Mike Nichols Plot: A comedy of alienation, it defines a generation. Fun Fact: The iconic scene with Dustin Hoffman and Anne Bancroft in a swimming pool is etched in cinematic history. Box Office: A critical and commercial success. “Pan’s Labyrinth” (2006) Director: Guillermo del Toro Plot: A dark fantasy set during the Spanish Civil War. Fun Fact: The film seamlessly blends fantasy and reality. Box Office: Acclaimed worldwide. “Rear Window” (1954) Director: Alfred Hitchcock Plot: A suspenseful thriller about a photographer who witnesses a crime. Fun Fact: The entire film takes place in one apartment courtyard. Box Office: A classic that stands the test of time. “Psycho” (1960) Director: Alfred Hitchcock Plot: A chilling tale of a motel owner with a dark secret. Fun Fact: The famous shower scene remains iconic. Box Office: A game-changer for horror cinema. “Parasite” (2019) Director: Bong Joon-ho Plot: A genre-defying masterpiece exploring class dynamics. Fun Fact: The film won four Academy Awards, including Best Picture. Box Office: A global phenomenon. Here are a few performances often considered the greatest:
7501	dbpedia	2	5	https://thetwingeeks.com/2018/11/01/citizen-kane-innovation-through-ignorance/	en	Citizen Kane: Innovation Through Ignorance	https://i0.wp.com/thetwi…=977%2C716&ssl=1	https://i0.wp.com/thetwi…=977%2C716&ssl=1	[ "https://i0.wp.com/thetwingeeks.com/wp-content/uploads/2018/11/screen-shot-2018-09-25-at-4-54-42-pm.png?resize=750%2C547&ssl=1", "https://i0.wp.com/thetwingeeks.com/wp-content/uploads/2018/11/screen-shot-2018-09-25-at-4-45-26-pm.png?resize=750%2C551&ssl=1", "https://i0.wp.com/thetwingeeks.com/wp-content/uploads...	[]	[]	[ "" ]	null	[ "David A. Punch" ]	2018-11-01T00:00:00	There is a great gift ignorance has to bring to anything, that was the gift I brought to Kane. Ignorance. For decades, Citizen Kane (1941) has been touted as “The Greatest Film of All Time,” a claim which has been verified by a multitude of credible sources. Celebrated author Ray Bradbury once said, “The whole…	en	https://i0.wp.com/thetwi…it=32%2C32&ssl=1	The Twin Geeks	https://thetwingeeks.com/2018/11/01/citizen-kane-innovation-through-ignorance/	There is a great gift ignorance has to bring to anything, that was the gift I brought to Kane. Ignorance. For decades, Citizen Kane (1941) has been touted as “The Greatest Film of All Time,” a claim which has been verified by a multitude of credible sources. Celebrated author Ray Bradbury once said, “The whole film should be admired as a gem you hold in your hand.” In an interview with AFI, Martin Scorsese claimed, “Citizen Kane will always be something that demands attention, and respect, and admiration for another way of looking at the world through the cinematic eye.” The British Film Institute’s Sight and Sound magazine holds an opinion poll every ten years for the “Top 50 Greatest Films of All Time,” and for 50 consecutive years Citizen Kane held the number one spot, only recently being dethroned by Alfred Hitchcock’s Vertigo (1958) in 2012. Hitchcock, though, had 44 films under his belt already when he made Vertigo, whereas Citizen Kane was the debut feature for Orson Welles, at a mere 25 years old. Welles had a prolific career in theater and radio before coming to Hollywood; he made big splashes with radical renditions of various Shakespeare plays, and an infamous Halloween broadcast of The War of the Worlds, which had many Americans convinced the broadcast was a real invasion. These events quickly propelled Welles to stardom, prompting George Schaefer, head of RKO Pictures, to offer him an exclusive contract to make whatever film he wanted, with complete control over the production; the offer was unprecedented, even for Hollywood’s most acclaimed directors, let alone a novice like Welles. The film he made was Citizen Kane, and with the absolute authority his contract provided him, Welles took the opportunity to create an innovative film that shook the industry to its core. It would be blasphemous to try and insinuate that Welles did this alone, though. When Welles agreed to make a film for RKO he didn’t know anything about movies and spent every night of pre-production for a month watching Stagecoach (1939), studying the technique of filmmaking. He relied heavily on his more experienced crew to teach him along the way. Co-writing the screenplay with Herman J. Mankiewicz, Welles worked in tandem to craft the unique story structure of Citizen Kane that has become so influential. The chaotic conception of telling a story through pieced-together, interconnected flashbacks from a variety of sources would require someone who had the ability, and the willingness, to be technically accommodating to this vision. Fortunately for Welles, Hollywood’s premier cinematographer, Gregg Toland, had heard of Welles’ ambitious undertaking, and sought him out personally to offer his services. Welles recalled the initial meeting as such: One day in the office they said “there’s a man named Toland waiting to see you.” He was, of course the leading cameraman. He said, “I want to make your picture,” and I said, “Well that’s wonderful. Why? I don’t know anything about movies.” And he said, “That’s why I want to do it. I think if you’re left as alone as much as possible we’re going to have a movie that looks different. I’m tired of working with people who know too much about it.” The result was Citizen Kane: a film that was just as inventive in its technical aspects as it is in the complex structure of its narrative. In a 1960 interview, Welles was asked how these innovations were achieved, to which he answered: “It was partly the great spirit of Toland, the fact that he was the greatest cameraman who ever lived, and the fastest, and had that wonderful spirit, and partly my own ignorance. I didn’t know what you couldn’t do. I didn’t deliberately set to out invent anything, it just seemed to me ‘why not?’ There is a great gift ignorance has to bring to anything, that was the gift I brought to Kane. Ignorance.” Welles and Toland’s effort to make the film as seamless as possible utilized every trick in the book. Dissolve transitions, deep-focus photography, and the integration of various models, matte paintings, and other practical special effects were the revolutionary tools they used to convey the fractured life story of the larger-than-life newspaper magnate, Charles Foster Kane. The first of the series of unconventional methods used for Citizen Kane is the conceit of its narrative. The film begins at the end of Kane’s life, as his age catches up with him and he dies uttering the most famous of final words in cinema: “Rosebud.” From there, a montage of news footage regarding Kane’s life begins. The “News on the March” segment is intended to emulate the “Time Marches On” newsreels that would play in theaters at the time Citizen Kane was made. The ten-minute segment covers Kane’s entire life, acting as a microcosm of the whole narrative to come. Every character and major event in the film is established here, which helps the viewer keep up with the constantly shifting timeline of the film’s narrative. The story is pieced together through five flashbacks during interviews conducted by the faceless character of Thompson, a newspaper reporter tasked with learning what the meaning of Kane’s last word is. The various flashbacks skip forward drastically in time depending on who is telling the story and oftentimes events overlap and provide a different perspective of Kane when someone else recalls their side of the story. The complex narrative structure of Citizen Kane demanded an equally creative manner of conveying the story to the audience from a technical level. Welles’ insistence that scenes flow together imperceptibly was a major factor in translating the story to the screen. To more effortlessly move the story from scene to scene, Welles and Toland planned many creative transitions that allowed for time to pass in the story without a noticeably jarring shift. In a 1941 article for Popular Photography magazine, Toland wrote about how they executed these intricate scene changes: “Our constant efforts toward increasing realism and making mechanical details imperceptible led eventually to the solution of all the problems we had created for ourselves. As we avoided direct cuts, so we steered clear of traditional transitions. Most of the transitions in Citizen Kane are lap-dissolves from one scene to the next shortly before the players in the foreground are dissolved. This was accomplished rather simply with two light-dimming outfits, one for the actors and one for the set. The dissolve is begun by dimming the lights on the background, eventually fading it out entirely. Then the lights on the people are dimmed to produce a fade-out on them. The fade-in is made the same way, fading in the set lights first, then the lights for the people.” These kinds of lighting fades are more common in theater then they are in film. Unlike in film, the director of a play is also in charge of designing the lighting for the show. As this was the practice Welles was used to, he spent the majority of the first week of shooting Citizen Kane setting up all the lights. Toland would follow behind him and make whatever adjustments he needed for it to work on camera while still keeping Welles’ intent with the shot. These theatrical fade-ins and fade-outs are prevalent throughout the film and noticeable from the very beginning. In the establishing shots of Kane’s palace, Xanadu, a single light shines from within. When the light fades down, the scene turns black. When fading in again the scene has transitioned into the interior of the castle. These transitions bookend each testimonial of the film as well, but the one that best exemplifies the artistry of it is during the flashbacks of Joseph Cotten’s character, Jed Leland. As Leland begins to recount the ill-fated relationship between Kane and his first wife, Emily, his image stays in the frame far longer than any other character in the previous scenes. By the time the flashback begins to play, Leland is only just beginning to fade out. The effect is truly remarkable, as the composite of the two shots makes for an immersive transition that is both practical to the story and beautiful to watch. Not every transition in the film involves the complicated lighting arrangement used primarily for the various interviews, though. There are a number of dissolves executed so they appear invisible to the audience. One of the more cleverly disguised transitions appears early on in the film, when we first see the establishing shot of Susan Alexander’s nightclub. The camera tracks in, moving through the “El Rancho” sign on the top of the nightclub in order to reach the skylight and peer inwards. In order to achieve this part of the shot, the sign was built to split apart into two pieces. As soon as the lens passed the sign, it could be pulled away so the rest of the rig could continue forward. When the camera reaches the skylight, it pushes up against the glass. The rain pouring down obscures the view, and with a flash of lightning the scene dissolves to the other side of the glass, making it appear as if the camera had just continued moving forward and passed through the window. Alternatively, there are a series of decidedly less invisible transitions that are meant to be a more flashy way of showing the passage of time. One of the better recognized examples is when Kane and his cohorts travel to rival newspaper, the Chronicle, to evaluate their competition. In the window of the Chronicle is a framed picture of their staff. The camera moves towards this photo and after the frame perfectly aligns, the men in the picture come to life. Six years have passed with this transition, and Kane has persuaded the staff of the Chronicle to change sides and now work for him at the Inquirer. It is a rather simple trick, but an effective one nonetheless. The numerous transitions, big and small, that pervade Citizen Kane help to keep the pieces of Kane’s story aligned and easily understood. Without them, the film would be a mess of confusingly contradicting stories that jump from time and place seemingly at random, rendering the film entirely incoherent. Welles and Toland’s idea to rely on constant dissolve transitions instead of cutting from scene to scene gives the film a consistent flow, which remains a crucial attribute for a film as convoluted as Citizen Kane. Toland brought along with him a myriad of other experimental techniques that he had been refining while working with John Ford. On both The Grapes of Wrath (1940) and The Long Voyage Home (1940), Toland was able to compose shots with a greater depth of field by playing with different lenses and adjusting the aperture. Given ample time during pre-production for Citizen Kane, Toland was able to explore his theories further, and perfect this practice and later remarked on it: “The attainment of an approximate human-eye focus was one of our fundamental aims in Citizen Kane… We built our system of ‘visual reality’ on the well-known fact that lenses of shorter focal length are characterized by comparatively greater depth, and that stopping a lens increases the depth even further.” Toland also used a combination of lens coatings, specialized arc-lamps, and high-speed film to further increase depth of field for some of the trickier interior scenes. The culmination of all this effort is that every shot in Citizen Kane remains entirely in focus. This effect is best demonstrated in two particular scenes from Mr. Thatcher’s flashbacks early on in the film. First, when the young Kane’s life is being signed over to Mr. Thatcher by his mother, we see him framed in the window with his mother looking out at him playing in the snow. The camera follows as she makes her way towards the table with the boy remaining perfectly in focus as he grows smaller and smaller in the shot. The shot never loses focus on her, nor Kane, nor any of the other parts of the frame, no matter how far apart they are in terms of focal depth. This continues as the camera again follows Mrs. Kane away from the table back to the window where Kane is still playing, and still in focus. The whole sequence is an extended one-take shot that lasts a minute and 46 seconds before cutting, never once losing focus on any of the subjects in the frame. The second scene that exemplifies Toland’s deep-focus technique sees Kane selling off his newspaper empire after making poor investments and running out of funding. Mr. Bernstein is positioned mere inches away from the lens in the bottom right corner of the frame; Thatcher is on the left, more in the middle ground; and Kane begins the scene pacing about in the background before joining the two men at the table. What’s incredible about this shot is how the depth of field warps your perception of the background. Wide-angle lenses have a tendency to flatten an image by bringing the foreground and background closer together, and because of this Thatcher’s office building appears smaller at first when Kane begins his walk towards the windows. As he gets closer to them, it becomes more apparent that the windows, which appeared to be of average size, are much larger than expected. The effect lends the scene a layer of symbolism as well. Kane’s stature is diminished both literally and figuratively in the scene: the seizure of his company strips him of his power, while the towering windows dwarf him as he sullenly walks towards them and back. Shots like these permeate every scene in Citizen Kane, and the complete focus they provide creates a sense of actuality to the events of the film. The least remarked upon technical accomplishments of Citizen Kane are the decidedly less noticeable ones. Despite all the buzz about the film during production, and the prestigious contract Welles was provided for the film, the actual budget was fairly modest for the time. He was first allotted $500,000 to make any film he wanted without any kind of studio interference; they wouldn’t even be allowed to see the daily rushes. At first, Welles’ ambitions proved far greater than what RKO would allow. His initial idea, an adaptation of Joseph Conrad’s Heart of Darkness, was scrapped because there was no conceivable way to make the film within the budget the studio gave him. When Welles finally landed on the concept that evolved into Citizen Kane, he found the extravagant life of the film’s main character would still require a great deal of practical trickery to convincingly conceal the film’s meager budget. Like most films of the time, Citizen Kane was shot exclusively on a soundstage. There was, of course, no real Floridian pleasure palace built on a mountainside they could send a crew out to film exteriors for. The shots of the lonely castle seen in the opening and closing shots of the film are darkly shaded matte paintings. Many of the larger establishing shots in Citizen Kane were all achieved with matte paintings, including the building for the Inquirer, the hospital under the bridge where Leland is located, and even the massive doorways and windows inside Xanadu. In order to incorporate these matte paintings with the live-action elements of the film, an optical printer was required to put the two pieces together. Optical printers had only recently been invented when they were being used on Citizen Kane, but many of the most important shots from the film would have been nigh impossible to achieve without them. One of the most iconic and impressive shots of the film utilized the optical printer in a particularly skillful manner. The sweeping shot of Kane giving his campaign speech is composed of a matte painting of the audience and footage of the stage taken from the following shot. A series of holes were poked through the painting so that a light could be shined through the back of it to simulate movement from the audience. The shot is from far enough away that the effect works perfectly, giving the impression of a full audience without the production having to actually recreate such an event. Optical printers were also used to create smaller, but equally important shots, like the announcement of Kane’s death in Times Square, the empty medicine bottle in the foreground of Susan’s suicide attempt, and the shot of Jim Gettys watching Kane’s campaign speech from the balcony, which also utilizes stage footage from the previously mentioned example. The masterful wizardry that binds Citizen Kane together is even more invisible than the techniques already described. As discussed, the reliance on transitions to seamlessly connect each scene together was integral to maintaining the flow of the film, but they were also implemented in ways that bridged certain pieces of live-action with models and matte-paintings in order to increase the perceived size of the film’s settings. Early on, when Thompson first arrives at the Thatcher estate to seek out information about Rosebud, there is a large statue that looms over the entrance. It is, in fact, a miniature made from paper-mâché. There is a cleverly hidden wipe that masks the change from the model to the full-sized base that is seen in the shot with the actors. The same technique was used to create the famous sequence of Susan’s first performance at the newly constructed opera house. The camera begins on a close-up of Susan on stage, making her final preparations before the curtain goes up. Everyone is running frantically around her, making all the last-minute adjustments while the camera begins to pull back further and further. By the time the shot encompasses the whole stage, the curtain and the camera both begin to rise. The camera continues to rise above the stage as the performance begins, moving through the rafters to reveal two light technicians watching from above. One of the men turns to the other and clamps his fingers over his nose, clearly expressing his disdain for Susan’s singing capabilities. What looks like an impressive one-take crane shot is actually composed of three separate pieces. The shot of the stage is live-action all the way through when the camera reaches the curtain, where it then wipes to a matte of the rafters as the shot continues moving upwards. The rafters then transition back into live-action using one of the beams as the dividing line between the matte and the footage that contains the two men. The blending of the live-action scenes and special effect elements helps expand the visuals of Citizen Kane to a scale it could not hope to have reached through any other means. The technical bounds achieved in making the film have labeled it as an ambitious cornerstone of Hollywood filmmaking. The strides made to attain the unprecedented techniques for the film remain a testament to the brilliance of Welles and Toland’s combined efforts to bring something wholly original to the screen. Welles, endlessly appreciative of Toland’s imperative contributions, opted to share his credit for the film on the same title card as Toland. Even today, such a thing is unheard of. Welles praised Toland throughout his life, never forgetting how crucial he was to the legacy of Citizen Kane. In an interview with Peter Bogdanovich, Welles said: “He was the greatest gift a director could ever, ever have had because, as I say, anything was possible. And he never tried to impress me with the fact that he was doing impossible things, and he was! I was calling for things which only an ignorant person could call for and he was doing them in a way that only a genius could.” Despite its reputation, Citizen Kane is not necessarily the greatest film ever made. That title can never truly belong to a single film. As Sight and Sound’s critics poll demonstrates, our perception of art changes with time and we constantly re-evaluate the quality and meaning of a piece. What is true, however, is that Citizen Kane will always be an important film. It will always be significant for the way it went against the grain of typical Hollywood filmmaking. Citizen Kane is the product of Welles’ artistic vision, which could not have been created without the skillful assistance of his seasoned crew and Toland in particular. Citizen Kane will forever stand as a pillar of superlative filmmaking, continually inspiring and entertaining new breeds of filmmakers and audiences alike. As director William Friedkin once said: In a changing world some things just get mellower and better with time, like good wine. Citizen Kane is like a great wine. It just gets mellower and better as we see it in relation to what came after.
7501	dbpedia	3	34	https://www.vox.com/culture/21618200/mank-citizen-kane-netflix-kael-auteur-welles-hearst	en	The tangled history behind David Fincher’s Mank — and its link to Citizen Kane — explained	https://platform.vox.com…820694122&w=1200	https://platform.vox.com…820694122&w=1200	[ "https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/22142545/Screen_Shot_2020_12_03_at_3.44.20_PM.jpg?quality=90&strip=all&crop=0.96882898062341%2C0%2C98.062342038753%2C100&w=376 376w, https://platform.vox.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/22142545/Scr...	[]	[]	[ "" ]	null	[ "Alissa Wilkinson" ]	2020-12-04T14:00:00+00:00	The new Netflix movie is about Hollywood politics and critical arguments that span decades.	en	/static-assets/icons/favicon.ico	Vox	https://www.vox.com/culture/21618200/mank-citizen-kane-netflix-kael-auteur-welles-hearst	Midway through Mank, Herman J. Mankiewicz (Gary Oldman) is explaining his screenplay — tentatively titled American— to producer John Houseman (Sam Troughton). Houseman has been tasked with keeping the legendarily alcoholic writer on schedule, and though he likes what he’s read, he finds Mankiewicz’s script “a bit of a jumble, a hodgepodge of talky episodes, a collection of fragments that leap around in time like Mexican jumping beans,” he says. “The story is so scattered, I’m afraid one will need a road map.” “The narrative is one big circle, like a cinnamon roll,” Mankiewicz replies. “Not a straight line pointing to the nearest exit. You cannot capture a man’s entire life in two hours. All you can hope is to leave the impression.” Mankiewicz — “Mank” is his nickname — is explaining his elliptical script, which in 1941 would be released as Citizen Kane, the seminal film on which he officially shares the screenwriting credit with Citizen Kane director, producer, and star Orson Welles. And yet his cinnamon roll analogy is a useful way to describe Mank, which itself is a bit of a puzzle. On the one hand, the movie is plenty watchable even without much knowledge of the real-life characters and historical story it’s telling; Mank is about a former journalist and playwright who struck gold in Hollywood — like many writers of his era — only to be tossed out by the industry and go on to strike back the best way he can. Directed by David Fincher (Gone Girl, The Social Network) from a screenplay written by his father Jack Fincher, it’s fast, talky, and shot in black and white with old-timey flourishes, and its plot is simple enough to follow even though the film is not very interested in explaining itself. But on the other hand, it’s possible — even likely — to get to the end of Mank and wonder, “What was that all about?” The film is dense with references to multiple real-life feuds, long-running critical arguments, and, perhaps most of all, the political allegiances and alliances that were so much a part of Hollywood’s first several decades. It’s really a movie about a writer who comes to realize the business he’s in is being twisted by the powerful, toward terrible ends. And he decides to take revenge by making a film about the powerful media magnate William Randolph Hearst, whom he once saw as his friend. So to unroll the cinnamon bun of Mank — especially if you’ve found yourself confused as to why the film even exists — it’s worth understanding everything that’s going on beneath it. The genesis of Mank is in a film critic feud from the 1960s and ’70s The first layer of this movie is a decades-long argument over who is actually responsible for the masterpiece that is Citizen Kane. The comprehensive history of this quarrel — and the question of why anyone cares about it — has filled books and occupied historians, critics, and cinephiles to a degree that can seem baffling from the outside. A quick sketch requires turning to the late Pauline Kael, one of the foremost American film critics, and the year 1971. At that time, Kael was the film critic for the New Yorker, and one of the most prominent critics in the field. For more than a decade, she had been clashing with the Village Voice’s Andrew Sarris over the rightness of the auteur theory, a way of thinking about films developed by French critics in the late 1940s. In brief, the theory proposes that films ought to be seen as a reflection, primarily, of the director’s vision, and that it’s both possible and useful to meaningfully consider a consistency of style or thematic content across one director’s body of work. For some critics, this concept was especially helpful in finding new ways to talk about American films. In its early decades, Hollywood operated like a series of little factories. Studios kept a bevy of directors, writers, producers, actors, and many others on their payroll under exclusive contracts. Today, it’s common for directors to have their films distributed by a range of different studios, and for actors to work on a variety of films — even in the same year — that are bankrolled by different studios. Or a studio might not even be involved; many modern productions operate independently of the six major studios that make up the Motion Picture Association: Disney, Paramount, Warner Bros., Sony, Universal, and, as of 2019, Netflix, the studio that produced Mank. But until the middle of the 20th century, a film was often billed to the public as an “MGM picture” or a “Paramount picture,” starring players under contract with that studio; in those days, the names of the director and writer were usually of little importance. The emergence of the auteur theory gave critics a handle to grab onto when talking about, for instance, the films of Howard Hawks or Alfred Hitchcock: They were the work of a director with a singular vision, even if their studios preferred not to think of them that way. Sarris is the American critic most responsible for importing the auteur theory to the US. And Kael, without exaggeration, hated the idea of it. She saw it as a lot of bunk, reductive in a way that could be exploited to downgrade great movies and praise bad ones, and she attacked Sarris ferociously in her 1963 essay “Circles and Squares,” which had the effect of raising the auteur theory’s profile as well as Sarris’s. Fights over the rightness or wrongness of the auteur theory have continued to erupt ever since. These days, they happen most often on Twitter; in 2020, everyone seems to have a different opinion about what the auteur theory even is and what it is meant to do. But in the 1960s, Sarris’s auteur-driven approach to criticism and Kael’s rejection of that approach fueled the hottest debate among critics and cinephiles. (If you ask me, both Sarris and Kael were a little right and a little wrong, but then, that’s the fun of being a critic.) So that’s what was swirling in the air back in 1971 when Kael was asked to write the foreword to a published version of the Citizen Kane shooting script, timed to its 30-year anniversary. She wrote 50,000 words — the equivalent of a short novel — that were published in two parts in the New Yorker before the book came out. The essay, which has been reprinted in collections of Kael’s work, was titled “Raising Kane” — a cheeky reference to the idiom “raising Cain,” which means to cause a ruckus or raise hell. Kael knew what she was doing. In “Raising Kane,” Kael proposed, in a long-winded and somewhat factually inaccurate but highly readable fashion, that Mankiewicz’s screenplay was the real reason that Citizen Kane was great — and not, as an auteur-theory purist might believe, mostly the byproduct of Orson Welles’s brilliance. She didn’t dispute that star, producer, and director Welles was a huge part of what made the film work, or that Welles himself was a genius. But at its core, she said, Citizen Kane’s true auteur was a writer. Kael’s argument was that Mankiewicz’s screenplay — for which she strongly suggested Welles took far too much credit — is what makes the whole thing sing. Kael built this argument by recounting the entire history of the making of the film, pointing out the commonalities between Citizen Kane and other films that Mankiewicz wrote, tracing Welles’s arrival in Hollywood, and weaving in many other related matters. But her goal in the whole endeavor was to get in another jab at auteur theory acolytes, and so she cherry-picked the facts on which she focused, selectively omitted others, and failed to even talk to Welles, who was very much alive, about his side of the matter. (Whatever else “Raising Kane” is, it is not very good journalism, and for some reason it seems to have evaded the scrutiny of the New Yorker’s famously rigorous fact-checking department.) The result of “Raising Kane” was an outcry among people who care about movies, not least because Citizen Kane had attained the nearly universal status of masterpiece in the three decades since its debut — not just as Welles’s masterpiece, but as one of the greatest films ever made. The director Peter Bogdanovich, a protégé of Welles’s, penned a lengthy rebuttal in Esquire (though it was much shorter, at 10,000 words) titled “The Kane Mutiny.” He quoted Welles extensively (and some believe that Welles himself wrote the whole thing), accused Kael of twisting the truth, and said that Kael’s account was “so loaded with error and faulty supposition that it would require at least as many words as were at her disposal to correct, disprove and properly refute it.” Welles, he argued, did not deserve to be so unfairly maligned. Mank is on Mankiewicz’s side. But it’s also not very interested in the question of who deserves the most credit for Citizen Kane. Which side of this argument is Mank on? The film is definitely slanted toward Mankiewicz, which is no big shocker. Nobody disputes that Mankiewicz did, indeed, co-write the Citizen Kane screenplay; the argument is over how much of the resulting masterpiece is due to him and how much is due to Welles, a matter that Mank is happy to elide by skipping from Mankiewicz and Welles fighting about the screenplay draft to the 1942 Oscars, from which Welles was absent as Mankiewicz accepted the trophy for Best Original Screenplay. Citizen Kane was nominated for nine Oscars, including Best Picture, but it only won for its screenplay, which seems to underline Kael’s point a little if you take it as read that the best films in each individual category always win. But more to the point, the author of Mank’s screenplay, Jack Fincher, used “Raising Kane” as the basis for his first draft. Between looking to Kael as a primary text and fudging some facts the ways “true” story adaptations usually do, some parts of the film match the historical record while other parts veer wildly away from it. (Matthew Dessem wrote a great rundown of Mank’s facts, half-truths, and fictions at Slate.) Still, Mankiewicz is, if not the triumphant hero of Mank, at least a kind of tragic hero, for reasons tied to its story arc. In the Esquire article, Welles himself, as quoted by Bogdanovich, addresses how the studio system of the era treated writers like Mankiewicz, and how that treatment affected them: The big studio system often made writers feel like second-class citizens—no matter how good the money was. They laughed it off, of course, and provided a good deal of the best fun—when Hollywood, you understand, was still a funny place. But basically, you know, a lot of them were pretty bitter and miserable. And nobody was more miserable, more bitter and funnier than Mank. ... A perfect monument of self-destruction. But, you know, when the bitterness wasn’t focused straight onto you—he was the best company in the world. The reason the “who deserves the credit for Citizen Kane” controversy still has legs is that the film is still venerated as one of the greatest films of all time, and plenty of writers have tackled the question of its authorship. But for people who first encounter Citizen Kane in a film class or revival cinema, or on a streaming platform today, the fact that any controversy exists may not be evident — and in truth, it’s probably irrelevant. These days, it’s much more common for directors to have solo or co-writing credits on their own films, and while the auteur theory is still a widely used lens to look at movies (and I use it all the time), it doesn’t have quite the same dogmatic hold as it might have for some in the past. Besides, Citizen Kane is just a really great movie, pleasurable from beginning to end, which is remarkable given that it’s about a would-be demagogue who dies alone and miserable. (That’s no spoiler; it happens in the first two minutes of the film.) The film holds up splendidly, nearly 80 years after its debut, which is notable in itself. But its continuing relevance is even more astonishing if you’re aware that its original audience would have seen it as a thinly veiled tell-all movie about a very, very famous man — and a real guy, not a fictional one. That man was the megafamous businessman, newspaper publisher, and politician William Randolph Hearst. Mank is more interested in the contentious relationship between Mankiewicz and William Randolph Hearst than what critics say about Citizen Kane Citizen Kane’s central figure is Charles Foster Kane, an avatar of Hearst played by Welles. Kane is an incredibly wealthy man, a newspaper baron with few scruples about journalism who attains immense power, only to see it start to fade near the end of his life. In his youth, he buys a newspaper and builds it into an empire; then he marries the president’s niece. He has political aspirations. He runs for governor of New York. But his marriage ends when he falls in love with a singer of moderate talent, and the ensuing scandal destroys his political career. So he turns his attention to promoting his wife’s opera career, something she doesn’t particularly want to pursue; eventually he brings her to his Florida estate, Xanadu, which is filled with the treasures of the world, objects he can’t help but compulsively buy. Eventually she leaves him, and he dies alone, whispering the word “Rosebud.” This story is told in a nonlinear fashion, with flashbacks and retreads. The first stretch of the film announces Kane’s death and tells the story of his life in the style of a newsreel, the sort that would have played before a feature film in a movie theater, as was common at the time. The men cutting the reel aren’t satisfied because they can’t figure out why Kane’s last word was “Rosebud,” and they send a reporter to go figure it out by interviewing Kane’s former friends and associates. So the beats of Kane’s life unfurl in bits and pieces as Citizen Kane moves between timelines. (Mank imitates this structure by bouncing back and forth between two main timelines, one as Mankiewicz writes the Citizen Kane screenplay in 1940 and one as Mankiewicz rubs elbows with Hearst in the early 1930s.) As Mankiewicz explains to his producer in Mank, Citizen Kane is coiled like a cinnamon bun. And the reason the film holds up so well today is thanks to its very finely tuned screenplay, meaning — most likely — that its magic stems from some combination of what Mankiewicz wrote and what Welles did with it. But Citizen Kane is also a pretty shocking film, given that Kane is very clearly William Randolph Hearst, or a figure who so closely resembles Hearst that most anyone in Citizen Kane’s 1940s audience would have recognized him as such. In the late 1880s and ’90s, Hearst built the largest newspaper and media company in America, and became famous for sensationalist “yellow journalism.” In the early 1900s, he was elected twice to Congress, and mounted unsuccessful bids for New York governor and president — all as a progressive Democrat. After he left the political sphere, his own politics began to skew more to the right; he became an isolationist and broke with FDR, whom he had previously supported. He then spent years building Hearst Castle on a 240,000-acre estate near San Simeon, California, which he never finished but where he collected vast amounts of art and other treasures from around the globe. It was as though he wanted to have the vast spoils of the world all for himself. Hearst — who is played in Mank by Charles Dance — wasn’t dead when Citizen Kane came out in 1941, but otherwise the contours of his life were eerily similar to Kane’s. Susan, the singer who marries Kane, is modeled on Hearst’s longtime mistress, the actress Marion Davies (in Mank, Davies is played by Amanda Seyfried). Like Kane’s focus on Susan’s opera career, Hearst spent lavish amounts of money trying to put Davies in roles for which she wasn’t quite right (by all accounts, her comedic chops would’ve made her a better fit for comic roles, rather than the romantic leading lady parts he thrust her into). Like Kane, Hearst had the house, the yellow journalism career, the failed political bids — all details that moviegoers of the era would have read about. The similarities were so striking that friends and associates of Hearst tried to strong-arm Citizen Kane’s studio, RKO, into not making the film at all, and then into canceling its release. (They were partly successful. When Citizen Kane came out, only a few theaters initially agreed to show it, fearing reprisals from Hearst.) Welles enjoyed a lot of creative freedom in making the film, and he had no particular connection to Hearst. He was a 25-year-old upstart when he was hired by RKO after its president, George Schafer, heard Welles’s War of the Worlds broadcast and decided to give him a huge contract to make whatever movie he wanted. Welles brought in his own acting company and hired his own writer: Mankiewicz. In Mank, Welles informs Mankiewicz of this freedom on the phone: that they will have “no studio notes, no one but ourselves to blame” for whatever the final product turns out to be. Mankiewicz seems to take Welles’s comment as a signal that it’s the right time to go after Hearst. Mankiewicz and Hearst were once friends, and their break — combined with 1930s politics — is what fuels Mank The thing is, Mankiewicz had been close with Hearst. They weren’t just acquainted; they were friends, having met when Mankiewicz started writing for Hollywood. Hearst loved having Mankiewicz around because he was amused by the writer’s sharp wit and barbed bon mots. Mankiewicz loved visiting Hearst’s palatial California estate, which, among other things, had exotic zoo animals on the grounds. Davies lived there most of the time, vacating only when Mrs. Hearst (who lived on the East Coast) came to town. Davies and Mankiewicz were pals, too. Mankiewicz and his long-suffering wife Sarah were invited to Hearst’s lavish parties, along with everyone who was anyone at the time. So Mankiewicz’s decision to target Hearst was shocking, and the explanation for it requires a detour into Mankiewicz’s long and winding biography. To cut to the point, Hearst didn’t really approve of alcohol, and Mankiewicz’s truly excessive, legendary drinking made him progressively less welcome at Hearst’s table. The result was that Mankiewicz became progressively less welcome in Hollywood, especially in the eyes of Louis B. Mayer (in Mank, played by Arliss Howard) who ran MGM, where Mankiewicz worked for years. In Mank, Mankiewicz calls Mayer Hearst’s “lap dog” and the Sancho Panza to Hearst’s Don Quixote; he does not have much respect for Mayer at all. And he slowly grows to realize that the two of them are responsible for the industry that’s trying to shove him out the door. All of this backstory makes Citizen Kane look like a needling act of revenge, and a profoundly surgical one, calculated to dissect Hearst’s greatest weaknesses on a big screen for everyone to see. The film portrays Hearst as both pathetically power-hungry and desperate to be loved. In writing Mank, Fincher goes a step further, integrating a political backdrop that is both accurate and smudged around the edges. The movie flashes back frequently to a story that takes place about 10 years before the “present,” in the early 1930s, when Upton Sinclair (portrayed in Mank by Bill Nye in a delightful cameo) was running for California governor. Sinclair was a self-avowed socialist and a muckraker whose journalism was partly responsible for exposing Hearst’s brand of “yellow journalism” — a kind of “fake news” — and showing how it pushed the limits of the American ideal of the “free press.” He wrote many books (including The Jungle, about the horrendous conditions in the meatpacking industry) and ran for governor in 1934. There’s no real evidence that Mankiewicz was a big Sinclair fan, but in Mank, he is depicted as becoming one. He is also what one might call “socialism-curious.” Mankiewicz resists when his younger brother Joe (Tom Pelphrey), another screenwriter, urges him to join the newly formed Screen Writers Guild, a union designed to protect writers against labor exploitation by the big studios. Mank then adds another layer to Mankiewicz’s frustration with Hearst, and one with perhaps a little more heart. He seems to develop a growing empathy for the people who don’t have the big contracts that he and other screenwriters, to say nothing of film stars and directors, have at their respective movie studios — the scenics and camera operators and others whose salaries would take a hit as the Depression went on. Everyone in Hollywood is affected when the movie business hits rocky ground, but 50 percent of Lionel Barrymore’s salary is easier to live on than 50 percent of a makeup girl’s salary. Over the course of Mank, you can see Mankiewicz’s sympathies growing. Eventually, he backs Sinclair, who loses, largely because many of Hollywood’s richest men — including Mayer, who’d soon be the chair of the state’s Republican Party, and Hearst himself — backed the conservative, Frank Merriam. Mank ties the reason for Sinclair’s loss to a newsreel played in movie theaters that mixes truth and fiction. In it, Californians are asked who they are voting for. White, middle-class folks with American accents say they are voting for Merriam to “preserve our way of life” and to prevent their wealth from being taken away. The Sinclair backers are a Black man, shown in a truck that signifies he’s a migrant, and a Russian man who says that socialism worked in Soviet Russia, so why not here? In Mank, the director of that reel (a fictional hybrid character) feels immensely guilty over his part in sinking Sinclair’s chances. And after Mankiewicz sees the effects of that guilt, he seems to turn entirely against Hearst and Mayer. When Mankiewicz’s work evaporates too, he has no reason to make nice anymore. And so we get Citizen Kane. Like Citizen Kane, Mank gives an impression of a man rather than a biography That’s a lot of background just to understand a movie like Mank. But it also suggests something important: Mank is not really a movie about who really wrote Citizen Kane. Nobody suggests that Mankiewicz doesn’t deserve his writing credit, not even Welles. And since Mank skips right over the actual production of Citizen Kane, it’s not super interested in the film itself. Rather, Mank is a movie about a man who left a career in journalism and the theater to write for Hollywood, and found it to be almost stupidly easy. He develops drinking and gambling habits, and he makes friends in high places who love his keen wit. But then he falls out of their good graces and starts to feel uncomfortable with Hollywood hypocrisy, including his own. He catapults his own life into ruin, and he knows it. So he makes good the only way he knows how: by refusing to be deterred from writing a movie about the man, his former friend, whom he believes harbors a pathos more pathetic than his own. And damn it, even if people will pay him to relinquish his imprimatur on Citizen Kane, he wants his name on the movie. He wants to make sure Hearst knows that Citizen Kane is not a jab from some upstart kid; it’s from Herman J. Mankiewicz, his former friend. So Mankiewicz stands his ground and gets his credit. That’s why we’re still talking about him today. And Mank attempts to capture his legacy by crafting a dramatic story out of fact and fiction that poses at its center a different tragic, heroic-ish figure who dies broken, if not entirely alone. If it doesn’t quite reach the heights of Citizen Kane, well — with so much real-life history and drama in the mix — who could blame the Finchers for trying? Mank premieres on Netflix on December 4.
7501	dbpedia	0	61	https://www.workandmoney.com/s/worst-best-picture-snubs-oscars-ab31fbe6195c4f24	en	Worst Best Picture Snubs in Oscars History	https://thumbor.bigediti…6ea0bdd6fc50.jpg	https://thumbor.bigediti…6ea0bdd6fc50.jpg	[ "https://thumbor.bigedition.com/joe-pesci-in-goodfellas/W9TpPq72xQ522iYX-HB4GtzIGYk=/0x0:1222x916/800x0/filters:quality(80)/granite-web-prod/c8/a1/c8a1fd70eb3d4a6ebb2d1274ef2986b5.jpg", "https://thumbor.bigedition.com/all-the-presidents-men/7wpYdriGKHcH_IDb_PNW9LmVUnw=/800x0/filters:quality(80)/granite-web-prod/4...	[]	[]	[ "biggest oscar snubs of all time", "academy award best picture snubs", "academy award best picture winners", "worst best picture winners", "worst academy award winners", "worst best picture oscar winners" ]	null	[ "Tony Adame" ]	2021-10-11T00:00:00	The Academy Awards missed the boat when these films didn't win Best Picture at the Oscars.	en	https://media.workandmon…5bbd10c27f2f.png		https://www.workandmoney.com/s/worst-best-picture-snubs-oscars-ab31fbe6195c4f24	Worst Best Picture Snubs in Oscar History The Academy doesn't always get it right. Worst Best Picture Snubs in Oscars History The Academy Awards represent the pinnacle of what a movie can be. Since 1929, they've awarded statuettes to the best moviemaking every year. But in that time, they've made some mistakes. None of those mistakes are more visible than when there's a big miss on the final award of the night: Best Picture. Whether it's politics or bias or whatever excuse you want to make for Academy Award voters, these are the worst Best Picture snubs in the history of the Oscars — several of which had incredible box office numbers that only drive the point home. 30. All the President's Men (1976) Warning: Content contains spoilers. Oscar year: 1977 Best Picture winner: Rocky Best Picture nominees: All the President's Men, Rocky, Bound for Glory, Network, Taxi Driver Best Director winner: John G. Avildsen, Rocky Budget: $8.5 million Box office: $70.6 million Bottom line: Don't get it twisted. We love "Rocky" and want to acknowledge 1977 (honoring movies released in 1976) as one of the most stacked Best Picture fields of all time. The problem is, if we're looking at things in a historical context, we have to understand that "Rocky" needs to take a backseat to two other movies that received nominations — Martin Scorsese's brilliant "Taxi Driver" and "All the President's Men" starring Robert Redford and Dustin Hoffman. Out of those two, "President's Men" is still the one you can just hit "play" on today and watch from start to finish and get much of the same experience you had the first time you ever saw it. Thrilling, exhilarating, empowering. 29. Mystic River (2003) Oscar year: 2004 Best Picture winner: The Lord of the Rings: Return of the King Best Picture nominees: Mystic River, The Lord of the Rings: Return of the King, Lost in Translation, Master and Commander: The Far Side of the World, Seabiscuit Best Director winner: Peter Jackson, The Lord of the Rings: Return of the King Budget: $25-30 million Box office: $156.6 million Bottom line: This may have been a makeup move by the Oscars. They screwed up in 2002 when they honored "Chicago" as best picture over "The Lord of the Rings: The Two Towers," which was the best of Peter Jackson's film trilogy based on the books by J.R.R. Tolkien. Instead, in typical Oscars fashion, they chose to award Jackson the next year, when the obvious Best Picture choice was Clint Eastwood's brilliant "Mystic River" based on the Dennis LeHane novel. Stars Sean Penn and Tim Robbins became the first duo to bring home Best Actor and Best Supporting Actor honors since "Ben-Hur" in 1959. 28. High Noon (1952) Oscar year: 1953 Best Picture winner: The Greatest Show on Earth Best Picture nominees: High Noon, The Greatest Show on Earth, Ivanhoe, Moulin Rouge, The Quiet Man Best Director winner: John Ford, The Quiet Man Budget: $730,000 Box office: $12 million Bottom line: "High Noon" isn't just one of the best Western films of its era. It is one of the best movies of its era. While it lost to the sappy "The Greatest Show on Earth," the thrilling Western came away with four Academy Awards out of its seven nominations, including Best Actor for the great Cary Cooper. We like to think audiences at the time didn't know what to make of "High Noon" as it flipped the tried-and-true plot at the end, with the heroine saving the hero instead of vice versa. Which is just awesome that it came out in 1952. 27. Funny Girl (1968) Oscar year: 1969 Best Picture winner: Oliver! Best Picture nominees: Funny Girl, Oliver!, The Lion in Winter, Rachel, Rachel, Romeo and Juliet Best Director winner: Carol Reed, Oliver! Budget: $14.1 million Box office: $58.5 million Bottom line: "Funny Girl" was the movie that made Barbara Streisand a huge star and should have been the Best Picture winner over the incredibly corny "Oliver!" which brought home the statue in 1968. Streisand was a revelation in reprising her role of Fanny Brice from the hit Broadway musical, and the performance won her the Academy Award for Best Actress in a tie with Katharine Hepburn for "The Lion in Winter," another movie that's better than "Oliver!" 26. Star Wars (1977) Oscar year: 1978 Best Picture winner: Annie Hall Best Picture nominees: Star Wars, Annie Hall, The Goodbye Girl, Julia, The Turning Point Best Director winner: Woody Allen, Annie Hall Budget: $11 million Box office: $775.8 million Bottom line: An Academy Award for Best Picture has never gone to a sci-fi picture. This is one of the few times where it probably should have. In this case, "Star Wars" really took audiences by surprise, and it's probably a miracle that it even received an Academy Award nomination for Best Picture in the first place. You might say that "Annie Hall" was probably Woody Allen's best film. We say "Star Wars" is just as popular as it was when it came out in 1977. That's actually saying something. 25. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Oscar year: 1965 Best Picture winner: My Fair Lady Best Picture nominees: Dr. Strangelove, My Fair Lady, Becket, Mary Poppins, Zorba the Greek Best Director winner: Mike Nichols, The Graduate Budget: $1.8 million Box office: $9.4 million Bottom line: Stanley Kubrick's masterpiece was about 10 years ahead of its time and chronicled the world's fear of nuclear war. While "My Fair Lady" took home the Best Picture Oscar that year, it's worth giving the Academy props for even nominating "Dr. Strangelove" for Best Picture. For plenty of years, we were left without a cutting-edge movie like this in the nominees. 24. Double Indemnity (1944) Oscar year: 1945 Best Picture winner: Going My Way Best Picture nominees: Double Indemnity, Going My Way, Gaslight, Since You Went Away, Wilson Best Director winner: Leo McCarey, Going My Way Budget: $980,000 Box office: $5 million Bottom line: In 1944, "Going My Way" was the movie that brought home seven out of 10 Academy Award nominations and made Bing Crosby one of the biggest stars in the world. It's very much a testament to the time — a musical about two battling priests at a parish in New York City. It's unwatchable today. What's not unwatchable? Director Billy Wilder's bravura psychological thriller "Double Indemnity" starring Fred McMurray, Edward G. Robinson and Barabara Stanwyck. "Double Indemnity" was nominated for seven Academy Awards and came away from the big night with zero wins. 23. Pulp Fiction (1994) Oscar year: 1995 Best Picture winner: Forrest Gump Best Picture nominees: Pulp Fiction, Forrest Gump, Four Weddings and a Funeral, Quiz Show, The Shawshank Redemption Best Director winner: Robert Zemeckis, Forrest Gump Budget: $8-8.5 million Box office: $213.9 million Bottom line: It's not every year you get three of the most beloved films of all time in a single Best Picture category, but that's what we got in 1994, with "Forrest Gump" winning Best Actor (Tom Hanks), Best Director (Robert Zemeckis) and Best Picture. No offense to "Gump" fans. It was the third-best movie on the list of classics behind "The Shawshank Redemption" and Quentin Tarantino's breakthrough film "Pulp Fiction" for which he won the Best Original Screenplay Oscar. 22. A Streetcar Named Desire (1951) Oscar year: 1951 Best Picture winner: An American in Paris Best Picture nominees: A Streetcar Named Desire, An American in Paris, Decision Before Dawn, A Place in the Sun, Quo Vadis Best Director winner: George Stevens, A Place in the Sun Budget: $1.8 million Box office: $8 million Bottom line: What's amazing about "A Streetcar Named Desire" boils down to one of the greatest movie stars of all time — Marlon Brando as the evil Stanley Kowaski. It's Brando's simmering rage that pushes this tragedy toward its conclusion and his begging in the street for his wife to take him back — "Stella! Stella!" — has become one of the more famous movie scenes of all time. Want to see if we're right? Go ahead and watch Best Picture winner "An American in Paris" and see if it holds up compared to "Streetcar." It won't. 21. Inglourious Basterds (2009) Oscar year: 2010 Best Picture winner: The Hurt Locker Best Picture nominees: Inglourious Basterds, The Hurt Locker, Avatar, The Blind Side, District 9, An Education, Precious: Based on the Novel 'Push' by Sapphire, A Serious Man, Up, Up in the Air Best Director winner: Kathryn Bigelow, The Hurt Locker Budget: $70 million Box office: $321.5 million Bottom line: One day, we'll look back and realize we should have appreciated Quentin Tarantino's genius a lot more than we did. His films should have won more Best Picture and Best Director Oscars. You can make a good argument that Tarantino's World War II epic "Inglourious Basterds" is his greatest film in terms of scope and magnitude. That it lost to a modern war film, "The Hurt Locker," makes it sting a little bit more, although "The Hurt Locker" director Kathryn Bigelow's Best Director Oscar was well deserved. 20. E.T. the Extra-Terrestrial (1982) Oscar year: 1983 Best Picture winner: Gandhi Best Picture nominees: E.T. the Extra-Terrestrial, Gandhi, Missing, Tootsie, The Verdict Best Director winner: Richard Attenborough, Gandhi Budget: $10.5 million Box office: $792.9 million Bottom line: There are a lot of problems with Best Picture winner "Gandhi." It starts with British actor Ben Kingsley portraying an Indian man, Mahatma Gandhi. There aren't a lot of problems with "E.T the Extra-Terrestrial," and that's why it became, at the time, the highest-grossing film of all time. It also is one of several sci-fi/horror films that in retrospect should have brought home Best Picture honors. 19. Apocalypse Now (1979) Oscar year: 1980 Best Picture winner: Kramer vs. Kramer Best Picture nominees: Apocalypse Now, Kramer vs. Kramer, All That Jazz, Breaking Away, Norma Rae Best Director winner: Robert Benton, Kramer vs. Kramer Budget: $31 million Box office: $100-150 million Bottom line: "Kramer vs. Kramer" was the anthem for divorced kids everywhere, maybe for all time. But you can't make an argument that it should have won the Best Picture Oscar over Francis Ford Coppola's Vietnam epic "Apocalypse Now." You just can't. No, don't even try. We're even sort of willing to give the Academy Award some slack for this miss. But denying Coppola another Academy Award for Best Director to go with the one he won for "The Godfather Part II" is probably even a worse sin. 18. The Color Purple (1985) Oscar year: 1986 Best Picture winner: Out of Africa Best Picture nominees: The Color Purple, Out of Africa, Kiss of the Spider Woman, Prizzi's Honor, Witness Best Director winner: Sydney Pollack, Out of Africa Budget: $15 million Box office: $142 million Bottom line: What in the world happened with the adaptation of Alice Walker's "The Color Purple" getting beat by "Out of Africa" in 1985? We don't really know other than Sydney Pollack's sentimental tale of a white savior/love triangle story drew in Academy voters with starring roles from Robert Redford and Meryl Streep. The fact that Pollack won Best Director for "Out of Africa" is just, whatever, fine. But the fact that a movie of such cultural significance like "The Color Purple" was denied its rightful spot as a Best Picture Academy Award winner still stings. 17. Bonnie and Clyde (1967) Oscar year: 1968 Best Picture winner: The Heat of the Night Best Picture nominees: Bonnie and Clyde, In the Heat of the Night, Doctor Dolittle, The Graduate, Guess Who's Coming to Dinner Best Director winner: George Cukor, My Fair Lady Budget: $2.5 million Box office: $70 million Bottom line: Best Picture winner "In the Heat of the Night" is a very good film. Best Picture loser "The Graduate" is a great film. Best Picture loser "Bonnie and Clyde" is a great film that changed Hollywood and the film industry forever. "Bonnie and Clyde" was a combination of a visionary talent (Warren Beatty) working with a decent director (Arthur Penn) to make a film that was groundbreaking in its approach to violence and story. This was the film that set up the greatest era of film of all time in the 1970s. 16. It's a Wonderful Life (1946) Oscar year: 1947 Best Picture winner: The Best Years of Our Lives Best Picture nominees: It's a Wonderful Life, The Best Years of Our Lives, Henry V, The Razor's Edge, The Yearling Best Director winner: William Wyler, The Best Years of Our Lives Budget: $3.18 million Box office: $3.3 million Bottom line: "The Best Years of Our Lives" won seven Academy Awards for its dramatic portrayal of men returning home from World War II, but in retrospect, it falls flat in comparison to other World War II dramas that came out over the ensuing decade. What we do know is that "It's a Wonderful Life" has reached some type of film immortality over the years, thanks to its masterful direction by Frank Capra, a genuine movie star in Jimmy Stewart as George Bailey, and an untold number of Christmas screenings on Turner Classic Movies. That's a long-winded way of saying that it's obviously a better movie than what actually won. 15. The Exorcist (1973) Oscar year: 1974 Best Picture winner: The Sting Best Picture nominees: The Exorcist, The Sting, American Graffiti, Cries and Whispers, A Touch of Class Best Director winner: George Roy Hill, The Sting Budget: $12 million Box office: $441.3 million Bottom line: Moviegoers had never seen anything like "The Exorcist" when it premiered in 1973, and the sheer terror it evoked from audiences only added to its legend. "The Exorcist" is one of two horror films that should have won the Academy Award for Best Picture. Just a few generations later, the brilliant "Get Out" was also left holding the bag. Just like director Jordan Peele that year, "Exorcist" director Wiliam Friedkin definitely should have earned a statue. "The Exorcist" was groundbreaking in that it was the first horror film to be nominated for Best Picture — one of 10 Academy Award nominations for the film. 14. Moneyball (2011) Oscar year: 2012 Best Picture winner: The Artist Best Picture nominees: Moneyball, The Artist, The Descendants, Extremely Loud & Incredibly Close, The Help, Hugo, Midnight in Paris, The Tree of Life, War Horse Best Director winner: Michel Hazanavicius, The Artist Budget: $50 million Box office: $110.2 million Bottom line: This was a brutal year for Best Picture nominees, but even at that, somehow, the Academy Awards decided that French film "The Artist" was the one to win Best Picture, Best Director and Best Actor for Jean Dujardin. It's easy to point to 2011 as one of the years that began the "Oscars So White" movement in protest of the Academy's lack of diversity in its nominees. Waiting in the wings was a brilliant movie with the backdrop of baseball — "Moneyball" — directed by Bennett Miller and starring Brad Pitt as Oakland A's general manager Billy Beane and Jonah Hill in a supporting role. And if it's not "Moneyball" that should have won, we can point to George Clooney's "The Descendants" as another nominee more worthy of the award than what actually won. 13. Born on the Fourth of July (1989) Oscar year: 1990 Best Picture winner: Driving Miss Daisy Best Picture nominees: Born on the Fourth of July, Driving Miss Daisy, Dead Poets Society, Field of Dreams, My Left Foot Best Director winner: Oliver Stone, Born on the Fourth of July Budget: $17.9 million Box office: $161 million Bottom line: Of the five nominees for Best Picture on this list, the weakest of those films won when "Driving Miss Daisy" brought home the Academy Award. The real winner should have been the powerhouse "Born on the Fourth of July" starring Tom Cruise as paralyzed Vietnam veteran Ron Kovic and based on his bestselling memoir. The Academy managed to salvage some credibility when "Born on the Fourth of July" brought home the Best Director Academy Award for Oliver Stone. "Dead Poets Society" also was a worthy movie contender ahead of what actually won. 12. Lord of the Rings: The Two Towers (2002) Oscar year: 2003 Best Picture winner: Chicago Best Picture nominees: The Lord of the Rings: The Two Towers, Chicago, Gangs of New York, The Hours, The Pianist Best Director winner: Roman Polanski, The Pianist Budget: $94 million Box office: $947.5 million Bottom line: This was a brutal two-year stretch for the Academy Awards that started with denying Peter Jackson's best film of his "Hobbit" trilogy, "The Lord of the Rings: The Two Towers,'' its rightful Best Picture Oscar. Instead, the Oscar went to the schmaltzy musical "Chicago," the first musical to win Best Picture since "Oliver!" in 1968. "Chicago" hasn't had much staying power since it was released. It's not a movie that's rewatchable or even really that much fun on the first watch. It's probably not even the third-best movie out of the nominees if you bring "Gangs of New York" into the conversation. 11. Who's Afraid of Virginia Woolf? (1966) Oscar year: 1967 Best Picture winner: A Man For All Seasons Best Picture nominees: Who's Afraid of Virginia Woolf?, A Man For All Seasons, Alfie, The Russians Are Coming, The Sand Pebbles Best Director winner: Fred Zinnemann, A Man For All Seasons Budget: $7.5 million Box office: $33.7 million Bottom line: The British biographical drama "A Man For All Seasons" is one of the harder movies on this list to make your way through. It's infinitely boring, and it just doesn't do much for the imagination. What's not boring? "Who's Afraid of Virginia Woolf?" starring Elizabeth Taylor, who won her second Best Actress Academy Award. The film was directed by a young and on his way up the ladder Mike Nichols, who would win an Academy Award for Best Director the next year for "The Graduate" starring Dustin Hoffman. 10. A Star is Born (2018) Oscar year: 2019 Best Picture winner: Green Book Best Picture nominees: Green Book, A Star is Born, Black Panther, BlacKkKlansman, Bohemian Rhapsody, The Favourite, Roma, A Star is Born, Vice Best Director winner: Alfonso Cuaron, Roma Budget: $36 million Box office: $436.2 million Bottom line: There was no more clear Best Picture favorite in the months leading up to the 2019 Academy Awards than "A Star is Born" starring Bradley Cooper and Lady Gaga. The film also was directed by Cooper, and Cooper's utter reluctance to campaign for the award pretty much killed the film's chances at Oscar glory and his chances at a Best Director nomination. In stepped the milquetoast "Green Book" to win Best Picture, even with the groundbreaking "Black Panther" and Spike Lee's "BlackkKlansman" waiting in the wings. 9. Raiders of the Lost Ark (1981) Oscar year: 1982 Best Picture winner: On Golden Pond Best Picture nominees: Raiders of the Lost Ark, On Golden Pond, Chariots of Fire, Atlantic City, Reds Best Director winner: Warren Beatty, Reds Budget: $20 million Box office: $389.9 million Bottom line: You can snooze your way through "On Golden Pond" again — remember when you watched it at your grandmother's house that one time? Or you can watch "Raiders of the Lost Ark" for the umpteenth time and get that same thrill you got the first time you ever watched the Steven Spielberg classic. "On Golden Pond" is a classic example of the Academy Awards wanting to award some drama-fueled drivel over what's actually the best movie that came out that year. If we're ranking the Best Picture nominees for 1982, you can probably slate "Reds" in at No. 2, leaving the actual winner a distant third. Sorry to all you Pond-heads out there. 8. Fargo (1996) Oscar year: 1997 Best Picture winner: The English Patient Best Picture nominees: Fargo, The English Patient, Jerry Maguire, Secrets & Lies, Shine Best Director winner: Anthony Minghella, The English Patient Budget: $7 million Box office: $60.6 million Bottom line: If you've ever slogged your way through a viewing of "The English Patient," you are a true movie fan/auteur. It's not easily consumable. Had the Academy wanted to truly honor the brilliance of "Patient" director Anthony Minghella, they could have done it with "The Talented Mr. Ripley" a few years later and not at the expense of "Fargo" — one of the best films of the 1990s and the vehicle that brought Frances McDormand the first of three Academy Awards for Best Actress. You can make an argument that "Jerry Maguire" was even more deserving of the Best Picture Oscar than "The English Patient." 7. Raging Bull (1980) Oscar year: 1981 Best Picture winner: Ordinary People Best Picture nominees: Raging Bull, Ordinary People, Coal Miner's Daughter, The Elephant Man, Raging Bull, Tess Best Director winner: Robert Redford, Ordinary People Budget: $18 million Box office: $23.4 million Bottom line: Cinephiles everywhere understand what a slap in the face it was to legendary director Martin Scorsese that he didn't win for "Raging Bull." He had to watch Robert Redford bring home both Best Director and Best Picture awards for "Ordinary People" and its Rich White People Are Really Sad tropes. "Raging Bull" didn't get entirely shut out. Robert De Niro brought home the Oscar for Best Actor for his portrayal of boxer Jake LaMotta, which included De Niro gaining a staggering 60 pounds to portray LaMotta later in his life. 5. Get Out (2017) Oscar year: 2018 Best Picture winner: The Shape of Water Best Picture nominees: Get Out, The Shape of Water, Call Me by Your Name, Darkest Hour, Dunkirk, Get Out, Lady Bird, Phantom Thread, The Post, Three Billboards Outside Ebbing, Missouri Best Director winner: Guillermo del Toro, The Shape of Water Budget: $4.5 million Box office: $255.4 million Bottom line: In a stacked field of Best Picture nominees in 2017, the Academy Awards didn't even get close to making the right choice when it tabbed "The Shape of Water" as that year's winner. The Academy Awards must be scared of horror movies. "Get Out" is one of two that should undoubtedly been Best Picture winners alongside "The Exorcist" in 1973. And that's not even taking into account that "Lady Bird," "Dunkirk," "Call Me by Your Name" and "Lady Bird" were all better movies than "The Shape of Water," which also brought home Best Director honors for Guillermo del Toro. But it's "Get Out" that should have won Best Picture, and Jordan Poole should have won Best Director. He settled for the Academy Award for Best Original Screenplay. 4. Saving Private Ryan (1998) Oscar year: 1999 Best Picture winner: Shakespeare in Love Best Picture nominees: Saving Private Ryan, Shakespeare in Love, Elizabeth, Life is Beautiful, The Thin Red Line Best Director winner: Steven Spielberg, Saving Private Ryan Budget: $70 million Box office: $482.3 million Bottom line: "Shakespeare in Love" winning Best Picture at the Academy Awards seems now, in retrospect, to speak more to the campaigning skills of disgraced producer Harvey Weinstein than the movie's worth. Today, it's easy to look back and see the combination of Steven Spielberg, who won Best Director, along with stars Tom Hanks and Matt Damon as valid reasons why "Saving Private Ryan" should have cruised to the Best Picture win. It was another shameful day for the Academy Awards. Gwyneth Paltrow winning Best Actress for "Shakespeare" should have been where it ended for this flick. 3. The Social Network (2010) Oscar year: 2011 Best Picture winner: The King's Speech Best Picture nominees: The Social Network, The King's Speech, 127 Hours, Black Swan, The Fighter, Inception, The Kids Are All Right, Toy Story 3, True Grit, Winter's Bone Best Director winner: Tom Hooper, The King's Speech Budget: $40 million Box office: $224.9 million Bottom line: Few Best Picture snubs have been as egregious or heartbreaking as when "The King's Speech" took home the 2011 honors over David Fincher's brilliant "The Social Network" — perhaps the best movie of the 2010s. Do you hear many people still talk about "The King's Speech" or do you know many people that rewatch it? Us either. The Academy Awards decided to double down on its mistakes that year by awarding the Oscar to "The King's Speech" director Tom Hooper over Fincher in the Best Director category. Brutal. 2. Citizen Kane (1941) Oscar year: 1942 Best Picture winner: How Green Was My Valley Best Picture nominees: Blossoms in the Dust, How Green Was My Valley, Here Comes Mr. Jordan, Hold Back the Dawn, The Little Foxes, The Maltese Falcon, One Foot in Heaven, Sergeant York, Suspicion, Citizen Kane Best Director winner: John Ford, How Green Was My Valley Budget: $839,727 Box office: $1.6 million Bottom line: "Citizen Kane" is considered by many to be the greatest film ever made. Academy Award voters in 1941 didn't even consider it the best movie that came out that year. Instead, they heaped praise and Academy Awards on "How Green Was My Valley" and its put-'em-to-sleep plot about a Welsh farming family. At least "Citizen Kane" and director Orson Welles had good company. "The Maltese Falcon" was alongside them on the list of also-rans that year. 1. Goodfellas (1990) Oscar year: 1991 Best Picture winner: Dances with Wolves Best Picture nominees: Goodfellas, Dances with Wolves, Awakenings, Ghost, The Godfather Part III Best Director winner: Kevin Costner, Dances with Wolves Budget: $25 million Box office: $47.1 million Bottom line: No Best Picture race has staggered movie lovers throughout the decades more than when "Goodfellas" lost to "Dances with Wolves" in 1990, and "Wolves" director Kevin Costner beat out Martin Scorsese for Best Director. While "Wolves" is a fine film in its own right, the fact that it beat out "Goodfellas" in anything, anywhere, at any time is a slap in the face. It's possibly the greatest American film ever made.
7501	dbpedia	1	95	https://neiloseman.com/citizen-kane-retrospective/	en	"Citizen Kane" Retrospective	https://neiloseman.com/w…ane-660x330.jpeg	https://neiloseman.com/w…ane-660x330.jpeg	[ "https://neiloseman.com/wp-content/uploads/2022/04/Citizen-Kane-660x330.jpeg", "https://neiloseman.com/wp-content/uploads/2022/04/citizen-kane-1941-framegrab-16-660x495.jpg", "https://neiloseman.com/wp-content/uploads/2022/04/citizen_kane_silhouette-660x495.jpg", "https://neiloseman.com/wp-content/uploads/202...	[]	[]	[ "" ]	null	[ "neiloseman" ]	2022-05-02T14:00:25+00:00	For five decades in a row, Citizen Kane was voted the greatest film of all time in Sight & Sound’s International Critic’s Choice poll. Although pipped to the top spot by Vertigo in the latest poll, there are still plenty of filmmakers, academics and fans who consider actor-director Orson Welles’ 1941 debut the very pinnacle […]	en	https://neiloseman.com/w…e-icon-32x32.jpg	Neil Oseman	https://neiloseman.com/citizen-kane-retrospective/	For five decades in a row, Citizen Kane was voted the greatest film of all time in Sight & Sound’s International Critic’s Choice poll. Although pipped to the top spot by Vertigo in the latest poll, there are still plenty of filmmakers, academics and fans who consider actor-director Orson Welles’ 1941 debut the very pinnacle of cinematic accomplishment. The spoilt son of a hotelier and a concert pianist, Orson Welles found fame in 1938 when he directed and starred in a radio adaptation of The War of the Worlds which was so convincing that thousands thought it was real and fled their homes. Not long afterwards, RKO, one of the five big studios of Hollywood’s Golden Age, offered a generous two-picture deal to the 24-year-old who had never made a film before and didn’t much want to. 12 months and two abandoned concepts later, Welles teamed with screenplay-fixer Herman J. Mankiewicz, whose past projects included The Wizard of Oz, to script the rise and fall of a powerful newspaper magnate based on William Randolph Hearst. The pair went through five drafts, making changes for creative, financial and legal reasons (hoping to avoid a lawsuit from Hearst). The story’s fictionalised press baron, Charles Foster Kane, dies in the opening scene, but his mysterious last word – “Rosebud” – spurs a journalist to investigate his life. The journalist’s interviews with Kane’s friends and associates lead the viewer into extended flashbacks, an innovative structure for the time. Welles himself took the title role, spending many hours in the make-up chair to portray Kane from youth to old age. Inventive, non-union make-up artist Maurice Seiderman developed new techniques to create convincing wrinkles that would not restrict the actor’s facial expressions. Sometimes Welles would be called as early as 2:30am, holding production meetings while Seiderman worked on him. “I was just as made-up as a young man as an old man,” Welles said later, noting that he wore a prosthetic nose, face-lifting tape and a corset to satisfy both his own vanity and the demands of the studio for a handsome leading man. The young auteur – who directed part of the film from a wheelchair after fracturing his ankle – was not easy to work with. Editor Robert Wise said: “He could one moment be guilty of a piece of behaviour that was so outrageous it would make you want to tell him to go to Hell and walk off the picture. Before you could do it he’d come up with some idea that was so brilliant that it would literally have your mouth gaping open, so you never walked. You stayed.” Welles was keen for his film to look different from others, drawing on his experience of directing theatre. The leading DP of the time, Gregg Toland, jumped at the chance to break the rules. Influenced by German Expressionism, he was not afraid of silhouettes and bright shafts of light. Welles cast many of his Mercury Players – a theatre repertory company he had set up himself – who he knew could handle long takes. He insisted on a large depth of field and often shot from low angles to mimic the experience of a theatre-goer, specifically someone in the front row looking up at the cast. This required many of the sets to have ceilings, unconventionally, and these were made of fabric in some cases so that the boom mic could record through them. Special effects were used extensively to reduce set-building costs and avoid location shooting wherever possible. One example is a crane-up from a theatre’s stage to a pair of technicians watching from the flies above; the middle part of the shot is a matte painting, bridging the two live-action set pieces. In another scene, the camera travels through a neon sign on the roof of a building and down through the skylight; the rooftop is a miniature, the sign is rigged to split apart as the camera moves through it, and a flash of lightning eases the transition into the live-action set. “We were under schedule and under budget,” Welles proudly stated in a 1982 interview. He cheated though, because he asked the studio for ten days of camera tests, citing his inexperience behind the lens, and used those ten days to start shooting the movie! When Citizen Kane was premiered in May 1941, William Randolph Hearst was not fooled by the script tweaks and took the title character as an unflattering portrayal of himself. While he was unable to suppress the film’s release – though not for the want of trying – a smear campaign in his publications ensured it only enjoyed moderate success and that Welles would never have the filmmaking career that such a startling debut should have sparked. It wasn’t until the 1950s that Citizen Kane received the critical acclaim which it still holds today, 81 years on.
7501	dbpedia	3	63	https://www.linkedin.com/pulse/20140619122050-12921524-happiness-from-citizen-kane	en	Happiness from Citizen Kane	https://static.licdn.com/aero-v1/sc/h/en3f1pk3qk4cxtj2j4fff0gtr	https://static.licdn.com/aero-v1/sc/h/en3f1pk3qk4cxtj2j4fff0gtr	[ "https://media.licdn.com/dms/image/v2/C4D12AQHrwtelcdfU6w/article-inline_image-shrink_400_744/article-inline_image-shrink_400_744/0/1520216053317?e=1730332800&v=beta&t=RMR9mxhkd8J80k9GlbB-b4dLtM91SqOOek_NK2dsFCA" ]	[]	[]	[ "" ]	null	[ "Joshua Leibowitz" ]	2014-06-19T12:20:50+00:00	The second most common regret expressed by those on their death beds is “I wish I hadn’t worked so hard.” That’s according to Bronnie Ware, an Australian hospice nurse who kept track of the regrets expressed by her patients over the years and compiled them into her book, “The Top Five Regrets of the	en	https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca		https://www.linkedin.com/pulse/20140619122050-12921524-happiness-from-citizen-kane	The second most common regret expressed by those on their death beds is “I wish I hadn’t worked so hard.” That’s according to Bronnie Ware, an Australian hospice nurse who kept track of the regrets expressed by her patients over the years and compiled them into her book, “The Top Five Regrets of the Dying.” Are her observations – particularly this one - statistically accurate? Who knows? But it’s safe to say, that people nearing life’s end do regret having focused too much of their life on work, and, as a result, having missed many great experiences with family, friends, nature, and the world around them. That subject has been a staple of literature as long as – well, as long there’s been literature. It’s even the theme of what many film experts call the greatest movie ever made, Orson Welles’ 1941 masterpiece Citizen Kane. The movie begins with a dying Charles Foster Kane, played by Welles, whispering longingly the word “Rosebud.” The rest of the movie is built around a journalist’s examination of Kane’s spectacular – and scandalous – rags-to-riches life to discover what Kane’s last utterance meant. (Spoiler alert if somehow you’ve never seen this 75-year-old classic) “Rosebud” turns out to have been the name painted on his sled as a poor child. And it represented the only time in Kane’s life when he was truly happy. Ultimately, isn’t that what we all really cherish the most? Not a sled, or any other material possession, but the experience of doing something fun, something interesting, something that has long-lasting personal meaning, something that sends our spirits soaring? Think about it. What are those two or three things you remember most fondly? They probably aren’t “things,” or possessions but rather experiences. Sure, we all have highly valued possessions: homes, jewelry, furnishings, vehicles, pieces of art, etc. Some we need, like clothing, shelter and food. Yet a lot (most?) of our possessions are “luxuries” in that they are excess to our basic needs, and in that they are designed to make our lives easier, better or happier. But if we are wise, we also spend a good bit of time and money on creating the kind of experiences that we talk about and remember fondly for the rest of our lives. We arrange family get-togethers. We travel to exotic, new, interesting or just different places, typically with our families or people whose company we really enjoy. We linger over good meals with our loved-ones, swapping stories and jokes and philosophical thoughts and deep feelings; letting our silly inner-child run free or engaging our intellects in the most serious thought challenges. There’s a ton of evidence from the field of psychology showing just how important having memorable experiences – big and small – is to our overall well-being. A research report published in 2010 by psychologist Art Markham showed definitively that spending money on experiences increases happiness more than spending money on “things.” Interestingly, the same study noted that it’s actually more important to spend your money on multiple, smaller and usually less expensive “experiences” than to spend a larger amount on one big experience. Why? Because we all need multiple and frequent experiences. We’re wired to need them. Thus it’s good to take vacations – plural – each year, to have hobbies, to get together regularly with friends and family, and to plan frequent enjoyable activities. Admittedly, as chief strategy officer of the world’s largest cruise ship company, my argument is self-serving. We are in the business of delivering incredible “experiences” aboard one of our 100-plus ships. But you’ll benefit even more. A romantic cruise in the Mediterranean or an adventurous cruise in Alaska or the Panama Canal can create the kind of memories you’ll remember forever. But I’d be foolish not to recognize that smaller experiences, like an overnight camping trip, or a trip to the zoo are important and that they can create big memories, too. So I encourage you to look for and make the most of such opportunities. Experiences last forever....possessions don't --- Josh Leibowitz
7501	dbpedia	0	36	https://www.wikiwand.com/en/Mercury_Theatre	en	Wikiwand articles	https://upload.wikimedia…-Poster-1938.jpg	https://upload.wikimedia…-Poster-1938.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Mercury-Theatre-Poster-1938.jpg/360px-Mercury-Theatre-Poster-1938.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Mercury-Theatre-Poster-1938.jpg/240px-Mercury-Theatre-Poster-1938.jpg", "https://upload.wikimedia.org/wikipedia/commons/th...	[]	[]	[ "" ]	null	[]	null	The Mercury Theatre was an independent repertory theatre company founded in New York City in 1937 by Orson Welles and producer John Houseman. The company produc...	en			https://www.wikiwand.com/en/articles/Mercury_Theatre	Part of the Works Progress Administration, the Federal Theatre Project (1935–39) was a New Deal program to fund theatre and other live artistic performances and entertainment programs in the United States during the Great Depression.[1] In 1935, John Houseman, director of the Negro Theatre Unit in New York, invited his recent collaborator, 20-year-old Orson Welles, to join the project.[2]: 80 Their first production was an adaptation of William Shakespeare's Macbeth with an entirely African-American cast. It became known as the Voodoo Macbeth because Welles changed the setting to a mythical island suggesting the Haitian court of King Henri Christophe,[3]: 179–180 with Haitian vodou fulfilling the rôle of Scottish witchcraft.[4]: 86 The play opened April 14, 1936, at the Lafayette Theatre in Harlem and was received rapturously.[5] That production was followed by an adaption of the farce Horse Eats Hat[6]: 334 and, in 1937, Marlowe's Doctor Faustus[6]: 335 and Marc Blitzstein's socialist musical The Cradle Will Rock. The latter received much publicity when on the eve of its preview the theatre was padlocked by the WPA. Welles invited the waiting audience to walk several blocks to a neighboring theatre where the show was performed without sets or costumes. Blitzstein played a battered upright piano while the cast, barred from taking the stage by their union, sat in the audience and rose from their seats to sing and deliver their dialogue.[6]: 337–338 Welles and Houseman broke with the Federal Theatre Project in August 1937 and founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury.[2]: 119–120 "All the Mercury offerings bore the credit line, 'Production by Orson Welles,'" wrote critic Richard France, "implying that he functioned not only as the director, but as designer, dramatist, and, most often, principal actor as well. To be sure, this generated a good bit of resentment among his collaborators (the designers, in particular). However, in a more profound sense, that credit is, in fact, the only accurate description of a Welles production. The concepts that animated each of them originated with him and, moreover, were executed in such a way as to be subject to his absolute control."[7]: 54 Welles and Houseman secured the Comedy Theatre, a 687-seat Broadway theatre[8]: 286 at 110 West 41st Street in New York City, and reopened it as the Mercury Theatre. It was the venue for virtually all their productions from November 1937 through November 1938.[9] Caesar (1937–38) Main article: Caesar (Mercury Theatre) The Mercury Theatre began with a groundbreaking, critically acclaimed adaption of The Tragedy of Julius Caesar that evoked comparison to contemporary Fascist Italy and Nazi Germany. It premiered on Broadway on November 11, 1937.[10]: 339[11] The production moved from the Mercury Theatre to the larger National Theatre on January 24, 1938.[6]: 341 It ran through May 28, 1938, for a total of 157 performances.[12] The cast included Joseph Holland (Julius Caesar), George Coulouris (Marcus Antonius), Joseph Cotten (Publius), Martin Gabel (Cassius), Hiram Sherman (Casca), John A. Willard (Trebonius), Grover Burgess (Ligarius), John Hoysradt (Decius Brutus), Stefan Schnabel (Metellus Cimber), Elliott Reid (Cinna), William Mowry (Flavius), William Alland (Marullus), George Duthie (Artemidorus), Norman Lloyd (Cinna, the poet), Arthur Anderson (Lucius), Evelyn Allen (Calpurnia, wife to Caesar), Muriel Brassler (Portia, wife to Brutus),[7]: 186 and John Berry (extra).[8]: 324 At the National Theatre, Polly Rowles took the role of Calpurnia and Alice Frost played Portia.[13] From January 20, 1938, a roadshow version of Caesar with a different cast toured the United States. The company included Tom Powers as Brutus, and Edmond O'Brien as Marc Antony.[6]: 341 The Shoemaker's Holiday (1938) The Mercury Theatre's second production was a staging of Thomas Dekker's Elizabethan comedy The Shoemaker's Holiday, which attracted "unanimous raves again". It premiered on January 1, 1938, and ran to 64 performances in repertory with Caesar, until April 1. It then moved to the National Theatre through April 28.[10]: 340–341 Heartbreak House (1938) The first season of the Mercury Theatre concluded with George Bernard Shaw's Heartbreak House, which again attracted strong reviews. It premiered April 29, 1938, at the Mercury Theatre and ran for six weeks, closing June 11. Shaw insisted that none of the text be altered or cut, resulting in a longer and more conventional production that limited Welles's creative expression. It was chosen to demonstrate that the Mercury's style did not depend upon extensive revision and elaborate staging.[14]: 47–50 Geraldine Fitzgerald, a fellow member of the Gate Theatre company while Welles was in Dublin, was brought over from Ireland for her American debut as Ellie Dunn.[15][16]: 51 Welles played the octogenarian Captain Shotover. Other cast were Brenda Forbes (Nurse Guinness), Phyllis Joyce (Lady Utterword), Mady Christians (Hesione Hushabye), Erskine Sanford (Mazzini Dunn), Vincent Price (Hector Hushabye), John Hoysradt (Randall Utterword) and Eustace Wyatt (The Burglar)[17] Too Much Johnson (1938) Main article: Too Much Johnson The fourth Mercury Theatre play was planned to be a staging of Too Much Johnson, an 1894 comedy by William Gillette. The production is now remembered for Welles's filmed sequences, one of his earliest films. There were to be three sequences: a 20-minute introduction, and 10-minute sequences transitioning into the second and third acts.[18]: 118 The production was meant to be a summer show on Broadway in 1938, but technical problems (the Mercury Theatre in New York was not yet adequately equipped to project the film segments) meant that it had to be postponed. It was due to run in repertory with Danton's Death in the fall of 1938, but after that production suffered from numerous budgetary over-runs, a New York run of Too Much Johnson was abandoned altogether. The play ran for a two-week trial at the Stony Creek Summer Theatre, Stony Creek, Connecticut, from August 16, 1938, in a scaled-back version which never made use of the filmed sequences.[7]: 142–143, 187–188[10]: 344–345 Long considered lost, the footage for Too Much Johnson was rediscovered in 2013.[19] Danton's Death (1938) A production of Georg Büchner 1835 play Danton's Death, about the French Revolution, was the next Mercury stage production. It opened on November 2, 1938, but met with limited success and only ran to 21 performances,[20] closing November 19.[21] The commercial failure of this play forced the Mercury to significantly scale back on the number of plays planned for their 1938–39 season.[10]: 347 Danton's Death was the last Mercury production at the Mercury Theatre, which had been leased until 1942. The company relinquished the theatre in June 1939.[22] Five Kings (Part One) (1939) Main article: Chimes at Midnight The final full-length Mercury production before the troupe headed to Hollywood in 1939 was Five Kings (Part One). This was an entirely original play by Welles about Sir John Falstaff, which was created by mixing and re-arranging dialogue from five different Shakespeare plays (primarily taken from Henry IV, Part I, Henry IV, Part II, and Henry V, but also using elements of Richard II and The Merry Wives of Windsor), to form a wholly new narrative. It opened on February 27, 1939, at the Colonial Theatre, Boston, in a five-hour version playing from 8pm to 1am. As the title suggests, the play was intended to be the first of a two-part production, but although it opened in three other cities, poor box-office receipts meant that plan had to be abandoned, and Five Kings (Part One) never played in New York, while Five Kings (Part Two) was never produced at all.[10]: 350–351 Five Kings was an intensely personal project for Welles, who would revive a substantially rewritten version of the play (retitled Chimes at Midnight) in Belfast and Dublin in 1960, and would eventually make a film of it, which he came to regard as his favourite of his own films. The Green Goddess (1939) In July and August 1939, after having signed a contract with the RKO film studio, the Mercury Theatre toured the RKO Vaudeville Theatre circuit with an abbreviated, twenty-minute production of the William Archer melodrama The Green Goddess, five minutes of which took the form of a film insert. The show was performed as often as four times a day.[10]: 353 Native Son (1941) Main article: Native Son (play) The Mercury Theatre had moved to Hollywood late in 1939, after Welles signed a film contract which would eventually result in his debut, Citizen Kane, in 1941. In the intervening period, the troupe focused on their radio show, which had begun in 1938 and continued until March 1940. Their last full play after moving to Hollywood was a stage adaptation of Richard Wright's anti-racism novel Native Son. It opened at the St. James's Theatre, New York, on March 24, 1941 (just a month before Citizen Kane premiered), and received excellent reviews, running to 114 performances. This was the final Mercury production which Welles and Houseman collaborated upon.[10]: 362 "The Mercury Theatre was killed by lack of funds and our subsequent move to Hollywood," Welles told friend and mentor Roger Hill in a conversation June 20, 1983. "All of the money I had made on radio was spent on the Mercury, but I didn't make enough money to finance the entire operation. Hollywood was really the only choice. … I think all acting companies have a lifespan. My partnership with John Houseman came to an end with the move to California. He became my employee, expensive and not particularly pleasant or productive. Our mutual discomfort led to his decamping California and returning to New York."[23]: 88 The Mercury Wonder Show (1943) Main article: The Mercury Wonder Show Although the Mercury troupe technically dissolved either in 1941 (when Welles and Houseman parted) or 1942 (when the entire Mercury unit was sacked by RKO - see below), Welles produced and directed this morale-boosting variety show for US troops in 1943, featuring a number of Mercury actors including Joseph Cotten and Agnes Moorehead. The show was based in a 2,000-seater tent on Cahuenga Boulevard, Hollywood, where it ran for a month from August 3, 1943, before touring nationwide.[10]: 177–180, 377–378 Gallery Brutus (Orson Welles) in Caesar Standing over the murdered body of Caesar, Brutus (Orson Welles) is confronted by Marc Antony (George Coulouris) and Cassius (Martin Gabel) in Caesar Portia (Alice Frost) and Brutus (Orson Welles) in Caesar Marc Blitzstein, Howard da Silva and Olive Stanton in The Cradle Will Rock Cast of the Mercury Theatre presentation of The Cradle Will Rock Hiram Sherman in The Shoemaker's Holiday Cast and set of The Shoemaker's Holiday Move to Hollywood Orson Welles's notoriety following "The War of the Worlds" broadcast earned him Hollywood's interest, and RKO studio head George J. Schaefer's unusual contract. Welles made a deal with Schaefer on July 21, 1939, to produce, direct, write, and act in three feature films. (The number of films was later changed - see below.) The studio had to approve the story and the budget if it exceeded $500,000. Welles was allowed to develop the story without interference, cast his own actors and crew members, and have the privilege of final cut, unheard of at the time for a first-time director. (Welles later claimed that nobody in Hollywood had enjoyed this level of artistic freedom since Erich von Stroheim in the early 1920s.)[25] Additionally, as part of his contract, he set up a "Mercury Unit" at RKO; containing most of the actors from the Mercury's theatre and radio productions, as well as numerous technicians, (such as composer Bernard Herrmann), who were brought in from New York. Few of them had any film experience. Welles spent the first five months of his RKO contract learning the basics of making films, and trying to get several projects going with no success. The Hollywood Reporter said, "They are laying bets over on the RKO lot that the Orson Welles deal will end up without Orson ever doing a picture there." First, Welles tried to adapt Heart of Darkness, but there was concern over the idea to depict it entirely with point of view shots, as Welles was unable to come up with an acceptable budget. Welles then considered adapting Cecil Day-Lewis' novel The Smiler With The Knife, but realized that this relatively straightforward pulp thriller was unlikely to make much impact for his film debut. He concluded that to challenge himself with a new medium, he had to write an original story. Citizen Kane (1941) Main article: Citizen Kane As Welles decided on an original screenplay for his first film, he settled on a treatment he wrote, entitled American. In its first draft, it was only partially based on William Randolph Hearst, and also incorporated aspects of other tycoons such as Howard Hughes. However, American was heavily overlength, and Welles soon realised he would need an experienced co-writer to help redraft it—preferably one with experience of working with tycoons. In 1940, screenwriter Herman J. Mankiewicz was a former Hearst journalist recuperating from a car accident, and was in between jobs. He had originally been hired by Welles to work on The Campbell Playhouse radio program and was available to work on the screenplay for Welles's film. The writer had only received two screenplay credits between 1935 and his work on Citizen Kane and needed the job, his reputation having plummeted after he descended into alcoholism in the late 1930s. In the 1970s and 1980s, there was a dispute amongst historians regarding whose idea it was to use William Randolph Hearst as the basis for Charles Foster Kane. For some time, Mankiewicz had wanted to write a screenplay about a public figure, perhaps a gangster, whose story would be told by the people that knew him. Welles claimed it was his idea to write about Hearst, while film critic Pauline Kael (in her widely publicised 1971 essay "Raising Kane") and Welles's former business partner John Houseman claim that it was Mankiewicz's idea. Kael further claimed that Welles had written nothing of the original script, and did not deserve a co-writer credit. However, in 1985, film historian Robert Carringer showed that Kael had only reached her conclusion by comparing the first and last drafts of the Citizen Kane script, whereas Carringer examined every intermediate draft by Mankiewicz and Welles, and concluded that a co-writer credit was justified, with each man writing between 40% and 60% of the script. He additionally concluded that Houseman's claims to have contributed to the script were largely unfounded.[26] Mankiewicz had already written an unperformed play entitled, The Tree Will Grow about John Dillinger. Welles liked the idea of multiple viewpoints but was not interested in playing Dillinger. Mankiewicz and Welles talked about picking someone else to use a model. They hit on the idea of using Hearst as their central character. Mankiewicz had frequented Hearst's parties until his alcoholism got him barred. The writer resented this and became obsessed with Hearst and Marion Davies. Hearst had great influence and the power to retaliate within Hollywood so Welles had Mankiewicz work on the script outside of the city. Because of the writer's drinking problem, Houseman went along to provide assistance and make sure that he stayed focused. Welles also sought inspiration from Howard Hughes and Samuel Insull (who built an opera house for his girlfriend). Although Mankiewicz and Houseman got on well with Welles, they incorporated some of his traits into Kane, such as his temper. During production, Citizen Kane was referred to as "RKO 281". Filming took place between June 29, 1940, and October 23, 1940, in what is now Stage 19 on the Paramount Pictures lot in Hollywood, and came in under schedule. Welles prevented studio executives of RKO from visiting the set. He understood their desire to control projects and he knew they were expecting him to do an exciting film that would correspond to his "The War of the Worlds" radio broadcast. Welles's RKO contract had given him complete control over the production of the film when he signed on with the studio, something that he never again was allowed to exercise when making motion pictures. According to an RKO cost sheet from May 1942, the film cost $839,727 compared to an estimated budget of $723,800. When the film was released, pressure from William Randolph Hearst led to many cinemas refusing to screen it, and it was screened in so few places that RKO made a substantial loss on the film on its original release. As a consequence of this, Welles's RKO contract was renegotiated, and he lost the right to control a film's final cut—something which would have major consequences for his next film, The Magnificent Ambersons. The Magnificent Ambersons (1942) Main article: The Magnificent Ambersons (film) Welles's follow-up to Citizen Kane was an adaptation of Booth Tarkington's novel The Magnificent Ambersons, a childhood favorite of his which he had already adapted for the radio. It portrayed the decline and fall of a proud Midwestern American family of the 19th century, as the motor car in the 20th century makes them obsolete. Welles's relations with RKO grew strained during the making of this film. His stock had fallen considerably after Kane had commercially flopped. Whereas studio head George Schaefer had given Welles carte blanche over Kane, he closely supervised Ambersons, sensing that his own position was in danger (which indeed it was - Schaefer was fired as head of RKO shortly after Ambersons was completed, and a commonly-attributed reason was for his having hired Welles with such a generous contract). RKO itself was in serious financial trouble, running a deficit. Welles himself considered his original cut of The Magnificent Ambersons to have been one of his finest films - "it was a much better picture than Kane". However, RKO panicked over a lukewarm preview screening in Pomona, California, when the film ran second in a double-bill with a romantic comedy. Around 55% of the audience strongly disliked the film (although the surviving audience feedback cards show that the remaining minority gave fulsome praise, using words such as "masterpiece" and "cinematic art"). Welles was in Brazil filming It's All True (see below), so the studio decided to trim over 40 minutes of the film's two-hour running time. The first half of the film, portraying the happy times of the Ambersons in the 19th century, was largely unaffected. However, the vast majority of the second half of the film, portraying the Ambersons' fall from grace, was largely discarded as too depressing. Actors were drafted in for reshoots by other directors, who shot new scenes, including an upbeat, optimistic ending out of key with the rest of the film. The discarded 40 minutes of scenes by Welles were burned, and detailed, telegraphed instructions from him suggesting further compromises to save the film were thrown away, unread. This truncated version of The Magnificent Ambersons had a limited released in two Los Angeles cinemas in July 1942, where it did indifferently, and like Citizen Kane, the film lost RKO hundreds of thousands of dollars. Later in 1942, George Schaefer was dismissed as studio head. One of the first changes initiated by his successor, Charles Koerner, was to fire Welles from RKO, and his entire Mercury unit was removed from the studio and closed down. Journey into Fear (1943) and It's All True (1942-1993) Welles's RKO contract was renegotiated after the commercial failure of Citizen Kane. Instead of delivering three major "A-pictures" for the studio, Welles would instead deliver two, and would compensate for the high costs of Citizen Kane by delivering two further films with lower budgets. One of these was the straightforward espionage thriller Journey into Fear, based on a novel by Eric Ambler. Welles wrote and produced the film, but opted not to be the main director, not least as the film was on a tight schedule, filming back-to-back with The Magnificent Ambersons. The project appealed to RKO, especially as it seemed to be a low-risk, low-budget film. The other project was first suggested by David Rockefeller, and since Welles was qualified as medically unfit for war service, it was suggested he could render service to the war effort by making a film to encourage Pan-American sentiment, since the US State Department was worried about fascist sympathies in some Latin American countries. The film's concept was loosely defined as an anthology of stories about different Americans being united against fascism, and it was hoped that a Pan-American song-and-dance number could be recorded. In February 1942, Brazil's carnival season was rapidly approaching, so it was decided to quickly send Welles over with technicolour cameras to film the carnival, and he could decide how to use the film later. Studio director Norman Foster was heavily involved in both projects. Officially, he was the sole director of Journey into Fear. However, studio documentation and photographs show Welles directing that film (often in costume for his supporting role as "Colonel Haki"), and fuelled by amphetamines, he was directing Ambersons in the day and Journey at night. He finished his Journey scenes in the small hours of the morning he left for Brazil, and Foster directed the rest of the film to Welles's specific instructions. RKO found Journey into Fear too eccentric in its original form, and kept the film for a year before releasing it in 1943, by which time they had cut over twenty minutes. As with Ambersons, the excised footage was burned. While Welles was in Brazil, he sent Foster to Mexico to direct one of the sequences of It's All True (based on the short story "My Friend Bonito", about a boy and his donkey), while he began to develop the rest of the film. As well as working his carnival footage into a sequence on the history of Samba, he filmed a sequence called "Four raftmen", about an epic sea voyage undertaken by Jangedeiros fishermen to seek justice from Brazil's president. RKO rapidly turned against Welles and the It's All True project. Film historian Catherine Benamou has argued, based on extensive work in the RKO archives, that racism was a major underlying factor, and that RKO was alarmed that Welles was choosing to make non-white Americans the heroes of his story.[27] As well as ignoring his instructions while the studio recut Ambersons and Journey, they began issuing press releases attacking him for profligacy with studio funds, and accusing him of wasting his time in Brazil by attending lavish parties and drinking into the small hours (which he did - but fortified by amphetamines, he would also be the first to report for filming at 6am).[28] When a filming accident resulted in one actor drowning, RKO cited this as an example of Welles's irresponsibility. Finally, they ordered him to abandon the film. Not wishing to leave, Welles remained in Brazil with a skeleton crew which he funded himself, but eventually had to return when he ran out of film and RKO refused to send him any more. After Welles was sacked in 1942, RKO had no plans for the It's All True footage. Some of it was dumped in the Pacific Ocean. Welles tried to buy back the negative, convinced he could fashion It's All True into a commercially successful film about samba, and he wrote the studio an "IOU" note for it, but when he could not afford the first installment on payments, the footage reverted to the studio. The footage was long presumed lost (though some of it was found again in 1985 and incorporated into a partial restoration in 1993), and Welles was unable to find a directing job for over three years, and even then, only for a formulaic low-budget thriller. In the meantime, the Mercury Theatre had disbanded for good. Later cinema The Mercury Theatre production team of John Houseman and Orson Welles separated during the making of Citizen Kane, but as the RKO Mercury unit retained its name until its removal from the studio in 1942. Since the Mercury Theatre name was not trademarked, Welles continued to use it for some of his subsequent projects. As well as the 1943 variety act The Mercury Wonder Show and the 1946 radio series The Mercury Summer Theatre. Mercury Theatre actors in Welles's films Welles cast a number of regular Mercury Theatre actors in his later films. Unless otherwise noted, information in this table is taken from Orson Welles at Work (2008) by Jean-Pierre Berthomé and Francois Thomas.[29] More information Actor, Theatre ... Actor Theatre Radio (1938–40) Cinema William Alland Caesar, The Shoemaker's Holiday, Danton's Death, Five Kings, The Green Goddess 34 broadcasts Citizen Kane, The Lady From Shanghai, Macbeth, F for Fake Edgar Barrier Too Much Johnson, Danton's Death, Five Kings 32 broadcasts Journey into Fear, Macbeth Ray Collins Native Son 60 broadcasts Citizen Kane, The Magnificent Ambersons, Touch of Evil Joseph Cotten Caesar, The Shoemaker's Holiday, Too Much Johnson, Danton's Death, The Mercury Wonder Show 11 broadcasts Citizen Kane, The Magnificent Ambersons, Journey into Fear, Othello, Touch of Evil, F for Fake George Coulouris Caesar, The Shoemaker's Holiday, Heartbreak House 22 broadcasts Citizen Kane Agnes Moorehead The Mercury Wonder Show 21 broadcasts Citizen Kane, The Magnificent Ambersons, Journey into Fear Frank Readick None 28 broadcasts Journey into Fear Erskine Sanford Heartbreak House, Too Much Johnson, Danton's Death, Five Kings, Native Son 4 broadcasts Citizen Kane, The Magnificent Ambersons, The Stranger, The Lady From Shanghai, Macbeth Stefan Schnabel Caesar, The Shoemaker's Holiday 4 broadcasts Journey into Fear Everett Sloane Native Son 40 broadcasts Citizen Kane, Journey into Fear, The Lady From Shanghai Paul Stewart Native Son, The Mercury Wonder Show[6]: 377[30]: 171 10 broadcasts Citizen Kane, F for Fake, The Other Side of the Wind Richard Wilson The Shoemaker's Holiday, Too Much Johnson, Danton's Death, Five Kings 31 broadcasts Citizen Kane, The Lady From Shanghai, F for Fake, The Other Side of the Wind Eustace Wyatt Heartbreak House, Too Much Johnson, Danton's Death, Five Kings 21 broadcasts Journey into Fear Close
7501	dbpedia	3	0	https://en.wikipedia.org/wiki/Citizen_Kane	en	Citizen Kane	https://upload.wikimedia…nrestored%29.jpg	https://upload.wikimedia…nrestored%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/1...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-08-31T17:53:47+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Citizen_Kane	1941 drama film by Orson Welles For the hip hop duo, see Citizen Kane (band). Citizen KaneDirected byOrson WellesScreenplay by Herman J. Mankiewicz Orson Welles Produced byOrson WellesStarringCinematographyGregg TolandEdited byRobert WiseMusic byBernard Herrmann Production companies Distributed byRKO Radio Pictures Release dates Running time 119 minutes[1]CountryUnited StatesLanguageEnglishBudget$839,727[2]Box office$1.8 million (re-release)[3][4] Citizen Kane is a 1941 American drama film directed by, produced by, and starring Orson Welles. Welles and Herman J. Mankiewicz wrote the screenplay. The picture was Welles's first feature film. Citizen Kane is frequently cited as the greatest film ever made.[5] For 40 years (5 decennial polls: 1962, 1972, 1982, 1992, 2002), it stood at number 1 in the British Film Institute's Sight & Sound decennial poll of critics,[6] and it topped the American Film Institute's 100 Years ... 100 Movies list in 1998, as well as its 2007 update. The film was nominated for Academy Awards in nine categories and it won for Best Writing (Original Screenplay) by Mankiewicz and Welles. Citizen Kane is praised for Gregg Toland's cinematography, Robert Wise's editing, Bernard Herrmann's music, and its narrative structure, all of which have been considered innovative and precedent-setting. The quasi-biographical film examines the life and legacy of Charles Foster Kane, played by Welles, a composite character based on American media barons William Randolph Hearst and Joseph Pulitzer, Chicago tycoons Samuel Insull and Harold McCormick, as well as aspects of the screenwriters' own lives. Upon its release, Hearst prohibited any mention of the film in his newspapers.[7] After the Broadway success of Welles's Mercury Theatre and the controversial 1938 radio broadcast "The War of the Worlds" on The Mercury Theatre on the Air, Welles was courted by Hollywood. He signed a contract with RKO Pictures in 1939. Although it was unusual for an untried director, he was given freedom to develop his own story, to use his own cast and crew, and to have final cut privilege. Following two abortive attempts to get a project off the ground, he wrote the screenplay for Citizen Kane, collaborating with Herman J. Mankiewicz. Principal photography took place in 1940, the same year its innovative trailer was shown, and the film was released in 1941. Although it was a critical success, Citizen Kane failed to recoup its costs at the box office. The film faded from view after its release, but it returned to public attention when it was praised by French critics such as André Bazin and re-released in 1956. In 1958, the film was voted number 9 on the prestigious Brussels 12 list at the 1958 World Expo. Citizen Kane was selected by the Library of Congress as an inductee of the 1989 inaugural group of 25 films for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".[8][9][10] Roger Ebert wrote of it: "Its surface is as much fun as any movie ever made. Its depths surpass understanding. I have analyzed it a shot at a time with more than 30 groups, and together we have seen, I believe, pretty much everything that is there on the screen. The more clearly I can see its physical manifestation, the more I am stirred by its mystery."[11] Plot [edit] In a mansion called Xanadu, part of a vast palatial estate in Florida, the elderly Charles Foster Kane is on his deathbed. Holding a snow globe, he utters his last word, "Rosebud", and dies. A newsreel obituary tells the life story of Kane, an enormously wealthy newspaper publisher and industry magnate. Kane's death becomes sensational news around the world, and the newsreel's producer tasks reporter Jerry Thompson with discovering the meaning of "Rosebud". Thompson sets out to interview Kane's friends and associates. He tries to approach Kane's second wife, Susan Alexander Kane, now an alcoholic who runs her own nightclub, but she refuses to talk to him. Thompson goes to the private archive of the late banker Walter Parks Thatcher. Through Thatcher's written memoirs, Thompson learns about Kane's rise from a Colorado boarding house and the decline of his fortune. In 1871, gold was discovered through a mining deed belonging to Kane's mother, Mary Kane. She hired Thatcher to establish a trust that would provide for Kane's education and assume guardianship of him. While the parents and Thatcher discussed arrangements inside the boarding house, the young Kane played happily with a sled in the snow outside. When Kane's parents introduced him to Thatcher, the boy struck Thatcher with his sled and attempted to run away. By the time Kane gained control of his trust at the age of 25, the mine's productivity and Thatcher's prudent investing had made Kane one of the richest men in the world. Kane took control of the New York Inquirer newspaper and embarked on a career of yellow journalism, publishing scandalous articles that attacked Thatcher's (and his own) business interests. Kane sold his newspaper empire to Thatcher after the 1929 stock market crash left him short of cash. Thompson interviews Kane's personal business manager, Mr. Bernstein. Bernstein recalls that Kane hired the best journalists available to build the Inquirer's circulation. Kane rose to power by successfully manipulating public opinion regarding the Spanish–American War and marrying Emily Norton, the niece of the President of the United States. Thompson interviews Kane's estranged best friend, Jedediah Leland, in a retirement home. Leland says that Kane's marriage to Emily disintegrated over the years, and he began an affair with amateur singer Susan Alexander while running for Governor of New York. Both his wife and his political opponent discovered the affair, and the public scandal ended his political career. Kane married Susan and forced her into a humiliating career as an opera singer (for which she had neither the talent nor the ambition). Kane arranged for a large opera house to be built in Chicago for Susan to perform in. After Leland began to write a negative review of Susan's disastrous opera debut, Kane fired him but finished the negative review and printed it. Susan protested that she never wanted the opera career anyway, but Kane forced her to continue the season. Susan consents to an interview with Thompson and describes the aftermath of her opera career. She attempted suicide, and Kane finally allowed her to abandon singing. After many unhappy years living at Xanadu with Kane, the two had an argument that culminated in Kane slapping Susan. Susan decided to leave Kane. Kane's butler Raymond recounts that, after Susan moved out of Xanadu, Kane began violently destroying the contents of her former bedroom. When Kane discovered a snow globe, he calmed down and tearfully said "Rosebud". Thompson concludes that he cannot solve the mystery and that the meaning of Kane's last word will remain unknown. At Xanadu, Kane's belongings are cataloged or discarded by the mansion's staff. They find a sled, the one on which eight-year-old Kane was playing on the day that he was taken from his home in Colorado, and throw it into a furnace with other items. Unknown to the staff, the sled's trade name, printed on top, becomes visible through the flames: "Rosebud". Cast [edit] The beginning of the film's ending credits states that "Most of the principal actors in Citizen Kane are new to motion pictures. The Mercury Theatre is proud to introduce them."[12] The cast is then listed in the following order, with Orson Welles' credit for playing Charles Foster Kane appearing last:[12] Joseph Cotten as Jedediah Leland, Kane's best friend and a reporter for The Inquirer. Cotten also appears (hidden in darkness) in the News on the March screening room.[13] Dorothy Comingore as Susan Alexander Kane, Kane's mistress and second wife.[13] Agnes Moorehead as Mary Kane, Kane's mother.[13] Ruth Warrick as Emily Monroe Norton Kane, Kane's first wife.[13] Ray Collins as Jim W. Gettys, Kane's political rival for the post of Governor of New York.[13] Erskine Sanford as Herbert Carter, editor of The Inquirer. Sanford also appears (hidden in darkness) in the News on the March screening room.[13] Everett Sloane as Mr. Bernstein, Kane's friend and employee at The Inquirer.[13] William Alland as Jerry Thompson, a reporter for News on the March. Alland also voices the narrator of the News on the March newsreel.[13] Paul Stewart as Raymond, Kane's butler.[13] George Coulouris as Walter Parks Thatcher, a banker who becomes Kane's legal guardian.[13] Fortunio Bonanova as Signor Matiste, vocal coach of Susan Alexander Kane.[13] Gus Schilling as John, headwaiter at the El Rancho nightclub. Schilling also appears (hidden in darkness) in the News on the March screening room.[13] Philip Van Zandt as Mr. Rawlston, News on the March open at the producer.[13] Georgia Backus as Bertha Anderson, attendant at the library of Walter Parks Thatcher.[13] Harry Shannon as Jim Kane, Kane's father.[13] Sonny Bupp as Charles Foster Kane III, Kane's son.[13] Buddy Swan as Charles Foster Kane, age eight.[13] Orson Welles as Charles Foster Kane, a wealthy newspaper publisher.[13] Additionally, Charles Bennett appears as the entertainer at the head of the chorus line in the Inquirer party sequence,[14]: 40–41 and cinematographer Gregg Toland makes a cameo appearance as an interviewer depicted in part of the News on the March newsreel.[15][16] Actor Alan Ladd, still unknown at that time, makes a small appearance as a reporter smoking a pipe at the end of the film.[17] Production [edit] Development [edit] Hollywood had shown interest in Welles as early as 1936.[18]: 40 He turned down three scripts sent to him by Warner Bros. In 1937, he declined offers from David O. Selznick, who asked him to head his film company's story department, and William Wyler, who wanted him for a supporting role in Wuthering Heights. "Although the possibility of making huge amounts of money in Hollywood greatly attracted him," wrote biographer Frank Brady, "he was still totally, hopelessly, insanely in love with the theater, and it is there that he had every intention of remaining to make his mark."[19]: 118–119, 130 Following the 1938 "The War of the Worlds" broadcast of his CBS radio series The Mercury Theatre on the Air, Welles was lured to Hollywood with a remarkable contract.[20]: 1–2, 153 RKO Pictures studio head George J. Schaefer wanted to work with Welles after the notorious broadcast, believing that Welles had a gift for attracting mass attention.[21]: 170 RKO was also uncharacteristically profitable and was entering into a series of independent production contracts that would add more artistically prestigious films to its roster.[20]: 1–2, 153 Throughout the spring and early summer of 1939, Schaefer constantly tried to lure the reluctant Welles to Hollywood.[21]: 170 Welles was in financial trouble after failure of his plays Five Kings and The Green Goddess. At first he simply wanted to spend three months in Hollywood and earn enough money to pay his debts and fund his next theatrical season.[21]: 170 Welles first arrived on July 20, 1939,[21]: 168 and on his first tour, he called the movie studio "the greatest electric train set a boy ever had".[21]: 174 Welles signed his contract with RKO on August 21, which stipulated that Welles would act in, direct, produce and write two films. Mercury would get $100,000 for the first film by January 1, 1940, plus 20% of profits after RKO recouped $500,000, and $125,000 for a second film by January 1, 1941, plus 20% of profits after RKO recouped $500,000. The most controversial aspect of the contract was granting Welles complete artistic control of the two films so long as RKO approved both projects' stories[21]: 169 and so long as the budget did not exceed $500,000.[20]: 1–2, 153 RKO executives would not be allowed to see any footage until Welles chose to show it to them, and no cuts could be made to either film without Welles's approval.[21]: 169 Welles was allowed to develop the story without interference, select his own cast and crew, and have the right of final cut. Granting the final cut privilege was unprecedented for a studio because it placed artistic considerations over financial investment. The contract was deeply resented in the film industry, and the Hollywood press took every opportunity to mock RKO and Welles. Schaefer remained a great supporter[20]: 1–2, 153 and saw the unprecedented contract as good publicity.[21]: 170 Film scholar Robert L. Carringer wrote: "The simple fact seems to be that Schaefer believed Welles was going to pull off something really big almost as much as Welles did himself."[20]: 1–2, 153 Welles spent the first five months of his RKO contract trying to get his first project going, without success. "They are laying bets over on the RKO lot that the Orson Welles deal will end up without Orson ever doing a picture there," wrote The Hollywood Reporter.[20]: 15 It was agreed that Welles would film Heart of Darkness, previously adapted for The Mercury Theatre on the Air, which would be presented entirely through a first-person camera. After elaborate pre-production and a day of test shooting with a hand-held camera—unheard of at the time—the project never reached production because Welles was unable to trim $50,000 from its budget.[a][b][22]: 30–31 Schaefer told Welles that the $500,000 budget could not be exceeded; as war loomed, revenue was declining sharply in Europe by the fall of 1939.[19]: 215–216 He then started work on the idea that became Citizen Kane. Knowing the script would take time to prepare, Welles suggested to RKO that while that was being done—"so the year wouldn't be lost"—he make a humorous political thriller. Welles proposed The Smiler with a Knife, from a novel by Cecil Day-Lewis.[22]: 33–34 When that project stalled in December 1939, Welles began brainstorming other story ideas with screenwriter Herman J. Mankiewicz, who had been writing Mercury radio scripts. "Arguing, inventing, discarding, these two powerful, headstrong, dazzlingly articulate personalities thrashed toward Kane", wrote biographer Richard Meryman.[23]: 245–246 Screenplay [edit] Main article: Screenplay for Citizen Kane One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay.[23]: 237 Welles conceived the project with screenwriter Herman J. Mankiewicz, who was writing radio plays for Welles's CBS Radio series, The Campbell Playhouse.[20]: 16 Mankiewicz based the original outline on the life of William Randolph Hearst, whom he knew socially and came to hate after being exiled from Hearst's circle.[23]: 231 In February 1940 Welles supplied Mankiewicz with 300 pages of notes and put him under contract to write the first draft screenplay under the supervision of John Houseman, Welles's former partner in the Mercury Theatre. Welles later explained, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine."[22]: 54 Taking these drafts, Welles drastically condensed and rearranged them, then added scenes of his own. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own."[22]: 54 The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor.[24]: 487 Before he signed the contract Mankiewicz was particularly advised by his agents that all credit for his work belonged to Welles and the Mercury Theatre, the "author and creator".[19]: 236–237 As the film neared release, however, Mankiewicz began wanting a writing credit for the film and even threatened to take out full-page advertisements in trade papers and to get his friend Ben Hecht to write an exposé for The Saturday Evening Post.[25] Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself.[21]: 204 After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The question was resolved in January 1941 when the studio, RKO Pictures, awarded Mankiewicz credit. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. The official credit reads, "Screenplay by Herman J. Mankiewicz and Orson Welles".[23]: 264–265 Mankiewicz's rancor toward Welles grew over the remaining twelve years of his life.[26]: 498 Questions over the authorship of the Citizen Kane screenplay were revived in 1971 by influential film critic Pauline Kael, whose controversial 50,000-word essay "Raising Kane" was commissioned as an introduction to the shooting script in The Citizen Kane Book,[22]: 494 published in October 1971.[27] The book-length essay first appeared in February 1971, in two consecutive issues of The New Yorker magazine.[22]: 494 [28] In the ensuing controversy, Welles was defended by colleagues, critics, biographers and scholars, but his reputation was damaged by its charges.[26]: 394 The essay's thesis was later questioned and some of Kael's findings were also contested in later years.[29][30][31] Questions of authorship continued to come into sharper focus with Carringer's 1978 thoroughly researched essay, "The Scripts of Citizen Kane".[32][c] Carringer studied the collection of script records—"almost a day-to-day record of the history of the scripting"—that was then still intact at RKO. He reviewed all seven drafts and concluded that "the full evidence reveals that Welles's contribution to the Citizen Kane script was not only substantial but definitive."[32]: 80 Casting [edit] Citizen Kane was a rare film in that its principal roles were played by actors new to motion pictures. Ten were billed as Mercury Actors, members of the skilled repertory company assembled by Welles for the stage and radio performances of the Mercury Theatre, an independent theater company he founded with Houseman in 1937.[19]: 119–120 [34] "He loved to use the Mercury players," wrote biographer Charles Higham, "and consequently he launched several of them on movie careers."[35]: 155 The film represents the feature film debuts of William Alland, Ray Collins, Joseph Cotten, Agnes Moorehead, Erskine Sanford, Everett Sloane, Paul Stewart, and Welles himself.[13] Despite never having appeared in feature films, some of the cast members were already well known to the public. Cotten had recently become a Broadway star in the hit play The Philadelphia Story with Katharine Hepburn[21]: 187 and Sloane was well known for his role on the radio show The Goldbergs.[21]: 187 [d] Mercury actor George Coulouris was a star of the stage in New York and London.[34] Not all of the cast came from the Mercury Players. Welles cast Dorothy Comingore, an actress who played supporting parts in films since 1934 using the name "Linda Winters",[36] as Susan Alexander Kane. A discovery of Charlie Chaplin, Comingore was recommended to Welles by Chaplin,[37]: 170 who then met Comingore at a party in Los Angeles and immediately cast her.[38]: 44 Welles had met stage actress Ruth Warrick while visiting New York on a break from Hollywood and remembered her as a good fit for Emily Norton Kane,[21]: 188 later saying that she looked the part.[37]: 169 Warrick told Carringer that she was struck by the extraordinary resemblance between herself and Welles's mother when she saw a photograph of Beatrice Ives Welles. She characterized her own personal relationship with Welles as motherly.[39]: 14 "He trained us for films at the same time that he was training himself," recalled Agnes Moorehead. "Orson believed in good acting, and he realized that rehearsals were needed to get the most from his actors. That was something new in Hollywood: nobody seemed interested in bringing in a group to rehearse before scenes were shot. But Orson knew it was necessary, and we rehearsed every sequence before it was shot."[40]: 9 When The March of Time narrator Westbrook Van Voorhis asked for $25,000 to narrate the News on the March sequence, Alland demonstrated his ability to imitate Van Voorhis and Welles cast him.[41] Welles later said that casting character actor Gino Corrado in the small part of the waiter at the El Rancho broke his heart. Corrado had appeared in many Hollywood films, often as a waiter, and Welles wanted all of the actors to be new to films.[37]: 171 Other uncredited roles went to Thomas A. Curran as Teddy Roosevelt in the faux newsreel; Richard Baer as Hillman, a man at Madison Square Garden, and a man in the News on the March screening room; and Alan Ladd, Arthur O'Connell and Louise Currie as reporters at Xanadu.[13] Ruth Warrick (died 2005) was the last surviving member of the principal cast. Sonny Bupp (died 2007), who played Kane's young son, was the last surviving credited cast member.[42] Kathryn Trosper Popper (died March 6, 2016) was reported to have been the last surviving actor to have appeared in Citizen Kane.[43] Jean Forward (died September 2016), a soprano who dubbed the singing voice of Susan Alexander, was the last surviving performer from the film.[44] Filming [edit] Production advisor Miriam Geiger quickly compiled a handmade film textbook for Welles, a practical reference book of film techniques that he studied carefully. He then taught himself filmmaking by matching its visual vocabulary to The Cabinet of Dr. Caligari, which he ordered from the Museum of Modern Art,[21]: 173 and films by Frank Capra, René Clair, Fritz Lang, King Vidor[45]: 1172 : 1171 and Jean Renoir.[19]: 209 The one film he genuinely studied was John Ford's Stagecoach,[22]: 29 which he watched 40 times.[46] "As it turned out, the first day I ever walked onto a set was my first day as a director," Welles said. "I'd learned whatever I knew in the projection room—from Ford. After dinner every night for about a month, I'd run Stagecoach, often with some different technician or department head from the studio, and ask questions. 'How was this done?' 'Why was this done?' It was like going to school."[22]: 29 Welles's cinematographer for the film was Gregg Toland, described by Welles as "just then, the number-one cameraman in the world." To Welles's astonishment, Toland visited him at his office and said, "I want you to use me on your picture." He had seen some of the Mercury stage productions (including Caesar[26]: 66 ) and said he wanted to work with someone who had never made a movie.[22]: 59 RKO hired Toland on loan from Samuel Goldwyn Productions[47]: 10 in the first week of June 1940.[20]: 40 "And he never tried to impress us that he was doing any miracles," Welles recalled. "I was calling for things only a beginner would have been ignorant enough to think anybody could ever do, and there he was, doing them."[22]: 60 Toland later explained that he wanted to work with Welles because he anticipated the first-time director's inexperience and reputation for audacious experimentation in the theater would allow the cinematographer to try new and innovative camera techniques that typical Hollywood films would never have allowed him to do.[21]: 186 Unaware of filmmaking protocol, Welles adjusted the lights on set as he was accustomed to doing in the theater; Toland quietly re-balanced them, and was angry when one of the crew informed Welles that he was infringing on Toland's responsibilities.[48]: 5:33–6:06 During the first few weeks of June, Welles had lengthy discussions about the film with Toland and art director Perry Ferguson in the morning, and in the afternoon and evening he worked with actors and revised the script.[20]: 69 On June 29, 1940—a Saturday morning when few inquisitive studio executives would be around—Welles began filming Citizen Kane.[20]: 69 [26]: 107 After the disappointment of having Heart of Darkness canceled,[22]: 30–31 Welles followed Ferguson's suggestion[e][22]: 57 and deceived RKO into believing that he was simply shooting camera tests. "But we were shooting the picture," Welles said, "because we wanted to get started and be already into it before anybody knew about it."[22]: 57 At the time RKO executives were pressuring him to agree to direct a film called The Men from Mars, to capitalize on "The War of the Worlds" radio broadcast. Welles said that he would consider making the project but wanted to make a different film first. At this time he did not inform them that he had already begun filming Citizen Kane.[21]: 186 The early footage was called "Orson Welles Tests" on all paperwork.[20]: 69 The first "test" shot was the News on the March projection room scene, economically filmed in a real studio projection room in darkness that masked many actors who appeared in other roles later in the film.[20]: 69 [22]: 77–78 [f] "At $809 Orson did run substantially beyond the test budget of $528—to create one of the most famous scenes in movie history," wrote Barton Whaley.[26]: 107 The next scenes were the El Rancho nightclub scenes and the scene in which Susan attempts suicide.[g][20]: 69 Welles later said that the nightclub set was available after another film had wrapped and that filming took 10 to 12 days to complete. For these scenes Welles had Comingore's throat sprayed with chemicals to give her voice a harsh, raspy tone.[37]: 170–171 Other scenes shot in secret included those in which Thompson interviews Leland and Bernstein, which were also shot on sets built for other films.[41] During production, the film was referred to as RKO 281. Most of the filming took place in what is now Stage 19 on the Paramount Pictures lot in Hollywood.[51] There was some location filming at Balboa Park in San Diego and the San Diego Zoo.[52] Photographs of German-Jewish investment banker Otto Hermann Kahn's real-life estate Oheka Castle were used to portray the fictional Xanadu.[53][54] In the end of July, RKO approved the film and Welles was allowed to officially begin shooting, despite having already been filming "tests" for several weeks. Welles leaked stories to newspaper reporters that the "tests" had been so good that there was no need to re-shoot them. The first "official" scene to be shot was the breakfast montage sequence between Kane and his first wife Emily. To strategically save money and appease the RKO executives who opposed him, Welles rehearsed scenes extensively before actually shooting and filmed very few takes of each shot set-up.[21]: 193 Welles never shot master shots for any scene after Toland told him that Ford never shot them.[37]: 169 To appease the increasingly curious press, Welles threw a cocktail party for selected reporters, promising that they could watch a scene being filmed. When the journalists arrived Welles told them they had "just finished" shooting for the day but still had the party.[21]: 193 Welles told the press that he was ahead of schedule (without factoring in the month of "test shooting"), thus discrediting claims that after a year in Hollywood without making a film he was a failure in the film industry.[21]: 194 Welles usually worked 16 to 18 hours a day on the film. He often began work at 4 a.m. since the special effects make-up used to age him for certain scenes took up to four hours to apply. Welles used this time to discuss the day's shooting with Toland and other crew members. The special contact lenses used to make Welles look elderly proved very painful, and a doctor was employed to place them into Welles's eyes. Welles had difficulty seeing clearly while wearing them, which caused him to badly cut his wrist when shooting the scene in which Kane breaks up the furniture in Susan's bedroom. While shooting the scene in which Kane shouts at Gettys on the stairs of Susan Alexander's apartment building, Welles fell ten feet; an X-ray revealed two bone chips in his ankle.[21]: 194 The injury required him to direct the film from a wheelchair for two weeks.[55][21]: 194–195 He eventually wore a steel brace to resume performing on camera; it is visible in the low-angle scene between Kane and Leland after Kane loses the election.[h][22]: 61 For the final scene, a stage at the Selznick studio was equipped with a working furnace, and multiple takes were required to show the sled being put into the fire and the word "Rosebud" consumed. Paul Stewart recalled that on the ninth take the Culver City Fire Department arrived in full gear because the furnace had grown so hot the flue caught fire. "Orson was delighted with the commotion", he said.[40]: 8–9 [56] When "Rosebud" was burned, Welles choreographed[clarification needed] the scene while he had composer Bernard Herrmann's cue playing on the set.[57] Unlike Schaefer, many members of RKO's board of governors did not like Welles or the control that his contract gave him.[21]: 186 However such board members as Nelson Rockefeller and NBC chief David Sarnoff[45]: 1170 were sympathetic to Welles.[58] Throughout production Welles had problems with these executives not respecting his contract's stipulation of non-interference and several spies arrived on set to report what they saw to the executives. When the executives would sometimes arrive on set unannounced the entire cast and crew would suddenly start playing softball until they left. Before official shooting began the executives intercepted all copies of the script and delayed their delivery to Welles. They had one copy sent to their office in New York, resulting in it being leaked to press.[21]: 195 Principal shooting wrapped October 24. Welles then took several weeks away from the film for a lecture tour, during which he also scouted additional locations with Toland and Ferguson. Filming resumed November 15[20]: 87 with some re-shoots. Toland had to leave due to a commitment to shoot Howard Hughes' The Outlaw, but Toland's camera crew continued working on the film and Toland was replaced by RKO cinematographer Harry J. Wild. The final day of shooting on November 30 was Kane's death scene.[20]: 85 Welles boasted that he only went 21 days over his official shooting schedule, without factoring in the month of "camera tests".[21]: 195 According to RKO records, the film cost $839,727. Its estimated budget had been $723,800.[13] Post-production [edit] Citizen Kane was edited by Robert Wise and assistant editor Mark Robson.[47]: 85 Both would become successful film directors. Wise was hired after Welles finished shooting the "camera tests" and began officially making the film. Wise said that Welles "had an older editor assigned to him for those tests and evidently he was not too happy and asked to have somebody else. I was roughly Orson's age and had several good credits." Wise and Robson began editing the film while it was still shooting and said that they "could tell certainly that we were getting something very special. It was outstanding film day in and day out."[45]: 1210 Welles gave Wise detailed instructions and was usually not present during the film's editing.[20]: 109 The film was very well planned out and intentionally shot for such post-production techniques as slow dissolves.[41] The lack of coverage made editing easy since Welles and Toland edited the film "in camera" by leaving few options of how it could be put together.[20]: 110 Wise said the breakfast table sequence took weeks to edit and get the correct "timing" and "rhythm" for the whip pans and overlapping dialogue.[41] The News on the March sequence was edited by RKO's newsreel division to give it authenticity.[20]: 110 They used stock footage from Pathé News and the General Film Library.[13] During post-production Welles and special effects artist Linwood G. Dunn experimented with an optical printer to improve certain scenes that Welles found unsatisfactory from the footage.[41] Whereas Welles was often immediately pleased with Wise's work, he would require Dunn and post-production audio engineer James G. Stewart to re-do their work several times until he was satisfied.[20]: 109 Welles hired Bernard Herrmann to compose the film's score. Where most Hollywood film scores were written quickly, in as few as two or three weeks after filming was completed, Herrmann was given 12 weeks to write the music. He had sufficient time to do his own orchestrations and conducting, and worked on the film reel by reel as it was shot and cut. He wrote complete musical pieces for some of the montages, and Welles edited many of the scenes to match their length.[59] Style [edit] Film scholars and historians view Citizen Kane as Welles's attempt to create a new style of filmmaking by studying various forms of it and combining them into one. However, Welles stated that his love for cinema began only when he started working on the film. When asked where he got the confidence as a first-time director to direct a film so radically different from contemporary cinema, he responded, "Ignorance, ignorance, sheer ignorance—you know there's no confidence to equal it. It's only when you know something about a profession, I think, that you're timid or careful."[60]: 80 David Bordwell wrote that "The best way to understand Citizen Kane is to stop worshipping it as a triumph of technique." Bordwell argues that the film did not invent any of its famous techniques such as deep focus cinematography, shots of the ceilings, chiaroscuro lighting and temporal jump-cuts, and that many of these stylistics had been used in German Expressionist films of the 1920s, such as The Cabinet of Dr. Caligari. But Bordwell asserts that the film did put them all together for the first time and perfected the medium in one single film.[45]: 1171 In a 1948 interview, D. W. Griffith said, "I loved Citizen Kane and particularly loved the ideas he took from me."[61] Arguments against the film's cinematic innovations were made as early as 1946 when French historian Georges Sadoul wrote, "The film is an encyclopedia of old techniques." He pointed out such examples as compositions that used both the foreground and the background in the films of Auguste and Louis Lumière, special effects used in the films of Georges Méliès, shots of the ceiling in Erich von Stroheim's Greed and newsreel montages in the films of Dziga Vertov.[62] French film critic André Bazin defended the film, writing: "In this respect, the accusation of plagiarism could very well be extended to the film's use of panchromatic film or its exploitation of the properties of gelatinous silver halide." Bazin disagreed with Sadoul's comparison to Lumière's cinematography since Citizen Kane used more sophisticated lenses,[63]: 232 but acknowledged that it had similarities to such previous works as The 49th Parallel and The Power and the Glory. Bazin stated that "even if Welles did not invent the cinematic devices employed in Citizen Kane, one should nevertheless credit him with the invention of their meaning."[63]: 233 Bazin championed the techniques in the film for its depiction of heightened reality, but Bordwell believed that the film's use of special effects contradicted some of Bazin's theories.[64]: 75 Storytelling techniques [edit] Citizen Kane rejects the traditional linear, chronological narrative and tells Kane's story entirely in flashbacks using different points of view, many of them from Kane's aged and forgetful associates, the cinematic equivalent of the unreliable narrator in literature.[65]: 83 Welles also dispenses with the idea of a single storyteller and uses multiple narrators to recount Kane's life, a technique not used previously in Hollywood films.[65]: 81 Each narrator recounts a different part of Kane's life, with each story overlapping another.[66] The film depicts Kane as an enigma, a complicated man who leaves viewers with more questions than answers as to his character, such as the newsreel footage where he is attacked for being both a communist and a fascist.[65]: 82–84 The technique of flashbacks had been used in earlier films, notably The Power and the Glory (1933),[67] but no film was as immersed in it as Citizen Kane. Thompson the reporter acts as a surrogate for the audience, questioning Kane's associates and piecing together his life.[66] Films typically had an "omniscient perspective" at the time, which Marilyn Fabe says give the audience the "illusion that we are looking with impunity into a world which is unaware of our gaze". Citizen Kane also begins in that fashion until the News on the March sequence, after which we the audience see the film through the perspectives of others.[65]: 81 The News on the March sequence gives an overview of Kane's entire life (and the film's entire story) at the beginning of the film, leaving the audience without the typical suspense of wondering how it will end. Instead, the film's repetitions of events compels the audience to analyze and wonder why Kane's life happened the way that it did, under the pretext of finding out what "Rosebud" means. The film then returns to the omniscient perspective in the final scene, when only the audience discovers what "Rosebud" is.[65]: 82–83 Cinematography [edit] The most innovative technical aspect of Citizen Kane is the extended use of deep focus,[68] where the foreground, background, and everything in between are all in sharp focus. Cinematographer Toland did this through his experimentation with lenses and lighting. Toland described the achievement in an article for Theatre Arts magazine, made possible by the sensitivity of modern speed film: New developments in the science of motion picture photography are not abundant at this advanced stage of the game but periodically one is perfected to make this a greater art. Of these I am in an excellent position to discuss what is termed "Pan-focus", as I have been active for two years in its development and used it for the first time in Citizen Kane. Through its use, it is possible to photograph action from a range of eighteen inches from the camera lens to over two hundred feet away, with extreme foreground and background figures and action both recorded in sharp relief. Hitherto, the camera had to be focused either for a close or a distant shot, all efforts to encompass both at the same time resulting in one or the other being out of focus. This handicap necessitated the breaking up of a scene into long and short angles, with much consequent loss of realism. With pan-focus, the camera, like the human eye, sees an entire panorama at once, with everything clear and lifelike.[69] Another unorthodox method used in the film was the low-angle shots facing upwards, thus allowing ceilings to be shown in the background of several scenes. Every set was built with a ceiling[69] which broke with studio convention, and many were constructed of fabric that concealed microphones.[70] Welles felt that the camera should show what the eye sees, and that it was a bad theatrical convention to pretend that there was no ceiling—"a big lie in order to get all those terrible lights up there," he said. He became fascinated with the look of low angles, which made even dull interiors look interesting. One extremely low angle is used to photograph the encounter between Kane and Leland after Kane loses the election. A hole was dug for the camera, which required drilling into the concrete floor.[22]: 61–62 Welles credited Toland on the same title card as himself. "It's impossible to say how much I owe to Gregg," he said. "He was superb."[22]: 59 [71] He called Toland "the best director of photography that ever existed."[72] Sound [edit] Citizen Kane's sound was recorded by Bailey Fesler and re-recorded in post-production by audio engineer James G. Stewart,[47]: 85 both of whom had worked in radio.[20]: 102 Stewart said that Hollywood films never deviated from a basic pattern of how sound could be recorded or used, but with Welles "deviation from the pattern was possible because he demanded it."[41] Although the film is known for its complex soundtrack, much of the audio is heard as it was recorded by Fesler and without manipulation.[20]: 102 Welles used techniques from radio like overlapping dialogue. The scene in which characters sing "Oh, Mr. Kane" was especially complicated and required mixing several soundtracks together.[20]: 104 He also used different "sound perspectives" to create the illusion of distances,[20]: 101 such as in scenes at Xanadu where characters speak to each other at far distances.[41] Welles experimented with sound in post-production, creating audio montages,[73]: 94 and chose to create all of the sound effects for the film instead of using RKO's library of sound effects.[20]: 100 Welles used an aural technique from radio called the "lightning-mix". Welles used this technique to link complex montage sequences via a series of related sounds or phrases. For example, Kane grows from a child into a young man in just two shots. As Thatcher hands eight-year-old Kane a sled and wishes him a Merry Christmas, the sequence suddenly jumps to a shot of Thatcher fifteen years later, completing the sentence he began in both the previous shot and the chronological past. Other radio techniques include using a number of voices, each saying a sentence or sometimes merely a fragment of a sentence, and splicing the dialogue together in quick succession, such as the projection room scene.[74]: 413–412 The film's sound cost $16,996, but was originally budgeted at $7,288.[20]: 105 Film critic and director François Truffaut wrote that "Before Kane, nobody in Hollywood knew how to set music properly in movies. Kane was the first, in fact the only, great film that uses radio techniques. ... A lot of filmmakers know enough to follow Auguste Renoir's advice to fill the eyes with images at all costs, but only Orson Welles understood that the sound track had to be filled in the same way."[75] Cedric Belfrage of The Clipper wrote "of all of the delectable flavours that linger on the palate after seeing Kane, the use of sound is the strongest."[45]: 1171 Make-up [edit] The make-up for Citizen Kane was created and applied by Maurice Seiderman (1907–1989), a junior member of the RKO make-up department.[76]: 19 He had not been accepted into the union, which recognized him as only an apprentice, but RKO nevertheless used him to make up principal actors.[76]: 19 "Apprentices were not supposed to make up any principals, only extras, and an apprentice could not be on a set without a journeyman present," wrote make-up artist Dick Smith, who became friends with Seiderman in 1979. "During his years at RKO I suspect these rules were probably overlooked often."[76]: 19 "Seiderman had gained a reputation as one of the most inventive and creatively precise up-and-coming makeup men in Hollywood," wrote biographer Frank Brady.[19]: 253 On an early tour of RKO, Welles met Seiderman in the small make-up lab that he created for himself in an unused dressing room.[76]: 19 "Welles fastened on to him at once," wrote biographer Charles Higham, as Seiderman had developed his own makeup methods "that ensured complete naturalness of expression—a naturalness unrivaled in Hollywood."[35]: 157 Seiderman developed a thorough plan for aging the principal characters, first making a plaster cast of the face of each of the actors who aged. He made a plaster mold of Welles's body down to the hips.[77]: 46 "My sculptural techniques for the characters' aging were handled by adding pieces of white modeling clay, which matched the plaster, onto the surface of each bust," Seiderman told Norman Gambill. When Seiderman achieved the desired effect, he cast the clay pieces in a soft plastic material[77]: 46 that he formulated himself.[76]: 20 These appliances were then placed onto the plaster bust and a four-piece mold was made for each phase of aging. The castings were then fully painted and paired with the appropriate wig for evaluation.[77]: 46–47 Before the actors went before the cameras each day, the pliable pieces were applied directly to their faces to recreate Seiderman's sculptural image. The facial surface was underpainted in a flexible red plastic compound;[77]: 43 The red ground resulted in a warmth of tone that was picked up by the panchromatic film. Over that was applied liquid grease paint, and finally a colorless translucent talcum.[77]: 42–43 Seiderman created the effect of skin pores on Kane's face by stippling the surface with a negative cast made from an orange peel.[77]: 42, 47 Welles often arrived on the set at 2:30 am,[22]: 69 as application of the sculptural make-up took 3½ hours for the oldest incarnation of Kane. The make-up included appliances to age Welles's shoulders, breast, and stomach.[76]: 19–20 "In the film and production photographs, you can see that Kane had a belly that overhung," Seiderman said. "That was not a costume, it was the rubber sculpture that created the image. You could see how Kane's silk shirt clung wetly to the character's body. It could not have been done any other way."[77]: 46 Seiderman worked with Charles Wright on the wigs. These went over a flexible skull cover that Seiderman created and sewed into place with elastic thread. When he found the wigs too full, he untied one hair at a time to alter their shape. Kane's mustache was inserted into the makeup surface a few hairs at a time, to realistically vary the color and texture.[77]: 43, 47 He also made scleral lenses for Welles, Dorothy Comingore, George Coulouris, and Everett Sloane to dull the brightness of their young eyes. The lenses took a long time to fit properly, and Seiderman began work on them before devising any of the other makeup. "I painted them to age in phases, ending with the blood vessels and the arcus senilis of old age."[77]: 47 Seiderman's tour de force was the breakfast montage, shot all in one day. "Twelve years, two years shot at each scene," he said.[77]: 47 The major studios gave screen credit for make-up only to the department head. When RKO make-up department head Mel Berns refused to share credit with Seiderman, who was only an apprentice, Welles told Berns that there would be no make-up credit. Welles signed a large advertisement in the Los Angeles newspaper:[76]: 22 [77]: 48 THANKS TO EVERYBODY WHO GETS SCREEN CREDIT FOR "CITIZEN KANE" AND THANKS TO THOSE WHO DON'T TO ALL THE ACTORS, THE CREW, THE OFFICE, THE MUSICIANS, EVERYBODY AND PARTICULARLY TO MAURICE SEIDERMAN, THE BEST MAKE-UP MAN IN THE WORLD[76]: 20 Sets [edit] Although credited as an assistant, the film's art direction was done by Perry Ferguson.[47]: 85 Welles and Ferguson got along during their collaboration.[20]: 37 In the weeks before production began Welles, Toland and Ferguson met regularly to discuss the film and plan every shot, set design and prop. Ferguson would take notes during these discussions and create rough designs of the sets and story boards for individual shots. After Welles approved the rough sketches, Ferguson made miniature models for Welles and Toland to experiment on with a periscope in order to rehearse and perfect each shot. Ferguson then had detailed drawings made for the set design, including the film's lighting design. The set design was an integral part of the film's overall look and Toland's cinematography.[20]: 42 In the original script the Great Hall at Xanadu was modeled after the Great Hall in Hearst Castle and its design included a mixture of Renaissance and Gothic styles.[20]: 50–51 "The Hearstian element is brought out in the almost perverse juxtaposition of incongruous architectural styles and motifs," wrote Carringer.[20]: 54 Before RKO cut the film's budget, Ferguson's designs were more elaborate and resembled the production designs of early Cecil B. DeMille films and Intolerance.[20]: 55 The budget cuts reduced Ferguson's budget by 33 percent and his work cost $58,775 total,[20]: 65 which was below average at that time.[73]: 93 To save costs Ferguson and Welles re-wrote scenes in Xanadu's living room and transported them to the Great Hall. A large staircase from another film was found and used at no additional cost.[20]: 56–57 When asked about the limited budget, Ferguson said "Very often—as in that much-discussed 'Xanadu' set in Citizen Kane—we can make a foreground piece, a background piece, and imaginative lighting suggests a great deal more on the screen than actually exists on the stage."[20]: 65–66 According to the film's official budget there were 81 sets built, but Ferguson said there were between 106 and 116.[20]: 64 Still photographs of Oheka Castle in Huntington, New York, were used in the opening montage, representing Kane's Xanadu estate.[78][79] Ferguson also designed statues from Kane's collection with styles ranging from Greek to German Gothic.[20]: 61 The sets were also built to accommodate Toland's camera movements. Walls were built to fold and furniture could quickly be moved. The film's famous ceilings were made out of muslin fabric and camera boxes were built into the floors for low angle shots.[20]: 64–65 Welles later said that he was proud that the film production value looked much more expensive than the film's budget. Although neither worked with Welles again, Toland and Ferguson collaborated in several films in the 1940s.[20]: 65 Special effects [edit] The film's special effects were supervised by RKO department head Vernon L. Walker.[47]: 85 Welles pioneered several visual effects to cheaply shoot things like crowd scenes and large interior spaces. For example, the scene in which the camera in the opera house rises dramatically to the rafters, to show the workmen showing a lack of appreciation for Susan Alexander Kane's performance, was shot by a camera craning upwards over the performance scene, then a curtain wipe to a miniature of the upper regions of the house, and then another curtain wipe matching it again with the scene of the workmen. Other scenes effectively employed miniatures to make the film look much more expensive than it truly was, such as various shots of Xanadu.[80] Some shots included rear screen projection in the background, such as Thompson's interview of Leland and some of the ocean backgrounds at Xanadu.[20]: 88 Bordwell claims that the scene where Thatcher agrees to be Kane's guardian used rear screen projection to depict young Kane in the background, despite this scene being cited as a prime example of Toland's deep focus cinematography.[64]: 74 A special effects camera crew from Walker's department was required for the extreme close-up shots such as Kane's lips when he says "Rosebud" and the shot of the typewriter typing Susan's bad review.[20]: 88 Optical effects artist Dunn claimed that "up to 80 percent of some reels was optically printed." These shots were traditionally attributed to Toland for years.[81]: 110 The optical printer improved some of the deep focus shots.[20]: 92 One problem with the optical printer was that it sometimes created excessive graininess, such as the optical zoom out of the snow globe. Welles decided to superimpose snow falling to mask the graininess in these shots.[20]: 94 Toland said that he disliked the results of the optical printer,[20]: 92 but acknowledged that "RKO special effects expert Vernon Walker, ASC, and his staff handled their part of the production—a by no means inconsiderable assignment—with ability and fine understanding."[64]: 74–75 Any time deep focus was impossible—as in the scene in which Kane finishes a negative review of Susan's opera while at the same time firing the person who began writing the review—an optical printer was used to make the whole screen appear in focus, visually layering one piece of film onto another.[20]: 92 However, some apparently deep-focus shots were the result of in-camera effects, as in the famous scene in which Kane breaks into Susan's room after her suicide attempt. In the background, Kane and another man break into the room, while simultaneously the medicine bottle and a glass with a spoon in it are in closeup in the foreground. The shot was an in-camera matte shot. The foreground was shot first, with the background dark. Then the background was lit, the foreground darkened, the film rewound, and the scene re-shot with the background action.[20]: 82 Music [edit] The film's music was composed by Bernard Herrmann.[82]: 72 Herrmann had composed for Welles for his Mercury Theatre radio broadcasts.[82]: 63 Because it was Herrmann's first motion picture score, RKO wanted to pay him only a small fee, but Welles insisted he be paid at the same rate as Max Steiner.[82]: 72 The score established Herrmann as an important new composer of film soundtracks[83] and eschewed the typical Hollywood practice of scoring a film with virtually non-stop music. Instead Herrmann used what he later described as "radio scoring", musical cues typically 5–15 seconds in length that bridge the action or suggest a different emotional response.[82]: 77–78 The breakfast montage sequence begins with a graceful waltz theme and gets darker with each variation on that theme as the passage of time leads to the hardening of Kane's personality and the breakdown of his first marriage.[84][85] Herrmann realized that musicians slated to play his music were hired for individual unique sessions; there was no need to write for existing ensembles. This meant that he was free to score for unusual combinations of instruments, even instruments that are not commonly heard. In the opening sequence, for example, the tour of Kane's estate Xanadu, Herrmann introduces a recurring leitmotif played by low woodwinds, including a quartet of alto flutes.[86] For Susan Alexander Kane's operatic sequence, Welles suggested that Herrmann compose a witty parody of a Mary Garden vehicle, an aria from Salammbô.[22]: 57 "Our problem was to create something that would give the audience the feeling of the quicksand into which this simple little girl, having a charming but small voice, is suddenly thrown," Herrmann said.[82]: 79 Writing in the style of a 19th-century French Oriental opera,[59] Herrmann put the aria in a key that would force the singer to strain to reach the high notes, culminating in a high D, well outside the range of Susan Alexander.[82]: 79–80 Soprano Jean Forward dubbed the vocal part for Comingore.[83] Houseman claimed to have written the libretto, based on Jean Racine's Athalie and Phedre,[87]: 460–461 although some confusion remains since Lucille Fletcher remembered preparing the lyrics.[82]: 80 Fletcher, then Herrmann's wife, wrote the libretto for his opera Wuthering Heights.[82]: 11 Music enthusiasts consider the scene in which Susan Alexander Kane attempts to sing the famous cavatina "Una voce poco fa" from Il barbiere di Siviglia by Gioachino Rossini with vocal coach Signor Matiste as especially memorable for depicting the horrors of learning music through mistakes.[88] In 1972, Herrmann said, "I was fortunate to start my career with a film like Citizen Kane, it's been a downhill run ever since!" Welles loved Herrmann's score and told director Henry Jaglom that it was 50 percent responsible for the film's artistic success.[82]: 84 Some incidental music came from other sources. Welles heard the tune used for the publisher's theme, "Oh, Mr. Kane", in Mexico.[22]: 57 Called "A Poco No", the song was written by Pepe Guízar and special lyrics were written by Herman Ruby.[89] "In a Mizz", a 1939 jazz song by Charlie Barnet and Haven Johnson, bookends Thompson's second interview of Susan Alexander Kane.[20]: 108 [89] "I kind of based the whole scene around that song," Welles said. "The music is by Nat Cole—it's his trio."[22]: 56 Later—beginning with the lyrics, "It can't be love"—"In a Mizz" is performed at the Everglades picnic, framing the fight in the tent between Susan and Kane.[20]: 108 Musicians including bandleader Cee Pee Johnson (drums), Alton Redd (vocals), Raymond Tate (trumpet), Buddy Collette (alto sax) and Buddy Banks (tenor sax) are featured.[90] All of the music used in the newsreel came from the RKO music library, edited at Welles's request by the newsreel department to achieve what Herrmann called "their own crazy way of cutting". The News on the March theme that accompanies the newsreel titles is "Belgian March" by Anthony Collins, from the film Nurse Edith Cavell. Other examples are an excerpt from Alfred Newman's score for Gunga Din (the exploration of Xanadu), Roy Webb's theme for the film Reno (the growth of Kane's empire), and bits of Webb's score for Five Came Back (introducing Walter Parks Thatcher).[82]: 79 [89] Editing [edit] One of the editing techniques used in Citizen Kane was the use of montage to collapse time and space, using an episodic sequence on the same set while the characters changed costume and make-up between cuts so that the scene following each cut would look as if it took place in the same location, but at a time long after the previous cut. In the breakfast montage, Welles chronicles the breakdown of Kane's first marriage in five vignettes that condense 16 years of story time into two minutes of screen time.[91] Welles said that the idea for the breakfast scene "was stolen from The Long Christmas Dinner by Thornton Wilder ... a one-act play, which is a long Christmas dinner that takes you through something like 60 years of a family's life."[22]: 51 The film often uses long dissolves to signify the passage of time and its psychological effect of the characters, such as the scene in which the abandoned sled is covered with snow after the young Kane is sent away with Thatcher.[65]: 90–91 Welles was influenced by the editing theories of Sergei Eisenstein by using jarring cuts that caused "sudden graphic or associative contrasts", such as the cut from Kane's deathbed to the beginning of the News on the March sequence and a sudden shot of a shrieking cockatoo at the beginning of Raymond's flashback.[65]: 88–89 Although the film typically favors mise-en-scène over montage, the scene in which Kane goes to Susan Alexander's apartment after first meeting her is the only one that is primarily cut as close-ups with shots and counter shots between Kane and Susan.[47]: 68 Fabe says that "by using a standard Hollywood technique sparingly, [Welles] revitalizes its psychological expressiveness."[65]: 88 Sources [edit] Main article: Sources for Citizen Kane Welles never confirmed a principal source for the character of Charles Foster Kane. Houseman wrote that Kane is a synthesis of different personalities, with Hearst's life used as the main source. Some events and details were invented,[87]: 444 and Houseman wrote that he and Mankiewicz also "grafted anecdotes from other giants of journalism, including Pulitzer, Northcliffe and Mank's first boss, Herbert Bayard Swope."[87]: 444 Welles said, "Mr. Hearst was quite a bit like Kane, although Kane isn't really founded on Hearst in particular. Many people sat for it, so to speak".[60]: 78 He specifically acknowledged that aspects of Kane were drawn from the lives of two business tycoons familiar from his youth in Chicago—Samuel Insull and Harold Fowler McCormick.[i][22]: 49 The character of Jedediah Leland was based on drama critic Ashton Stevens, George Stevens's uncle and Welles's close boyhood friend.[22]: 66 Some detail came from Mankiewicz's own experience as a drama critic in New York.[23]: 77–78 Many assumed that the character of Susan Alexander Kane was based on Marion Davies, Hearst's mistress whose career he managed and whom Hearst promoted as a motion picture actress. This assumption was a major reason Hearst tried to destroy Citizen Kane.[92][j] Welles denied that the character was based on Davies,[94] whom he called "an extraordinary woman—nothing like the character Dorothy Comingore played in the movie."[22]: 49 He cited Insull's building of the Chicago Opera House, and McCormick's lavish promotion of the opera career of his second wife, Ganna Walska, as direct influences on the screenplay.[22]: 49 The character of political boss Jim W. Gettys is based on Charles F. Murphy, a leader in New York City's infamous Tammany Hall political machine.[28]: 61 Welles credited "Rosebud" to Mankiewicz.[22]: 53 Biographer Richard Meryman wrote that the symbol of Mankiewicz's own damaged childhood was a treasured bicycle, stolen while he visited the public library and not replaced by his family as punishment. He regarded it as the prototype of Charles Foster Kane's sled.[23]: 300 In his 2015 Welles biography, Patrick McGilligan reported that Mankiewicz himself stated that the word "Rosebud" was taken from the name of a famous racehorse, Old Rosebud. Mankiewicz had a bet on the horse in the 1914 Kentucky Derby, which he won, and McGilligan wrote that "Old Rosebud symbolized his lost youth, and the break with his family". In testimony for a copyright infringement suit brought by Hearst biographer Ferdinand Lundberg, Mankiewicz said, "I had undergone psycho-analysis, and Rosebud, under circumstances slightly resembling the circumstances in [Citizen Kane], played a prominent part."[95] Gore Vidal has argued in the New York Review of Books that "Rosebud was what Hearst called his friend Marion Davies's clitoris".[96] The News on the March sequence that begins the film satirizes the journalistic style of The March of Time, the news documentary and dramatization series presented in movie theaters by Time Inc.[97][98] From 1935 to 1938[99]: 47 Welles was a member of the uncredited company of actors that presented the original radio version.[100]: 77 Houseman claimed that banker Walter P. Thatcher was loosely based on J. P. Morgan.[47]: 55 Bernstein was named for Dr. Maurice Bernstein, appointed Welles's guardian;[22]: 65–66 Sloane's portrayal was said to be based on Bernard Herrmann.[83] Herbert Carter, editor of The Inquirer, was named for actor Jack Carter.[35]: 155 Political themes [edit] Laura Mulvey explored the anti-fascist themes of Citizen Kane in her 1992 monograph for the British Film Institute. The News on the March newsreel presents Kane keeping company with Hitler and other dictators while he smugly assures the public that there will be no war.[101]: 44 She wrote that the film reflects "the battle between intervention and isolationism" then being waged in the United States; the film was released six months before the attack on Pearl Harbor, while President Franklin D. Roosevelt was laboring to win public opinion for entering World War II. "In the rhetoric of Citizen Kane," Mulvey writes, "the destiny of isolationism is realised in metaphor: in Kane's own fate, dying wealthy and lonely, surrounded by the detritus of European culture and history."[47]: 15 Journalist Ignacio Ramonet has cited the film as an early example of mass media manipulation of public opinion and the power that media conglomerates have on influencing the democratic process. He believes that this early example of a media mogul influencing politics is outdated and that today "there are media groups with the power of a thousand Citizen Kanes."[102][103] Media mogul Rupert Murdoch is sometimes labeled as a latter-day Citizen Kane.[104][105] Comparisons have also been made between the career and character of Donald Trump and Charles Foster Kane.[106][107][108] Citizen Kane is reported to be one of Trump's favorite films, and his biographer Tim O'Brien has said that Trump is fascinated by and identifies with Kane.[109] In an interview with filmmaker Errol Morris, Trump explained his own interpretation of the film's themes, saying "You learn in 'Kane' maybe wealth isn't everything, because he had the wealth but he didn't have the happiness. In real life I believe that wealth does in fact isolate you from other people. It's a protective mechanism — you have your guard up much more so [than] if you didn't have wealth...Perhaps I can understand that."[110] Pre-release controversy [edit] To ensure that Hearst's life's influence on Citizen Kane was a secret, Welles limited access to dailies and managed the film's publicity. A December 1940 feature story in Stage magazine compared the film's narrative to Faust and made no mention of Hearst.[20]: 111 The film was scheduled to premiere at RKO's flagship theater Radio City Music Hall on February 14, but in early January 1941 Welles was not finished with post-production work and told RKO that it still needed its musical score.[21]: 205 Writers for national magazines had early deadlines and so a rough cut was previewed for a select few on January 3, 1941[20]: 111 for such magazines as Life, Look and Redbook. Gossip columnist Hedda Hopper (an arch-rival of Louella Parsons, the Hollywood correspondent for Hearst papers) showed up to the screening uninvited. Most of the critics at the preview said that they liked the film and gave it good advanced reviews. Hopper wrote negatively about it, calling the film a "vicious and irresponsible attack on a great man" and criticizing its corny writing and old fashioned photography.[21]: 205 Friday magazine ran an article drawing point-by-point comparisons between Kane and Hearst and documented how Welles had led on Parsons.[20]: 111 Up until this Welles had been friendly with Parsons. The magazine quoted Welles as saying that he could not understand why she was so nice to him and that she should "wait until the woman finds out that the picture's about her boss." Welles immediately denied making the statement and the editor of Friday admitted that it might be false. Welles apologized to Parsons and assured her that he had never made that remark.[21]: 205 Shortly after Friday's article, Hearst sent Parsons an angry letter complaining that he had learned about Citizen Kane from Hopper and not her. The incident made a fool of Parsons and compelled her to start attacking Welles and the film. Parsons demanded a private screening of the film and personally threatened Schaefer on Hearst's behalf, first with a lawsuit and then with a vague threat of consequences for everyone in Hollywood. On January 10 Parsons and two lawyers working for Hearst were given a private screening of the film.[21]: 206 James G. Stewart was present at the screening and said that she walked out of the film.[40]: 11 Soon after, Parsons called Schaefer and threatened RKO with a lawsuit if they released Kane.[20]: 111 She also contacted the management of Radio City Music Hall and demanded that they should not screen it.[21]: 206 The next day, the front page headline in Daily Variety read, "HEARST BANS RKO FROM PAPERS."[111] Hearst began this ban by suppressing promotion of RKO's Kitty Foyle,[73]: 94 but in two weeks the ban was lifted for everything except Kane.[20]: 111 When Schaefer did not submit to Parsons she called other studio heads and made more threats on behalf of Hearst to expose the private lives of people throughout the entire film industry.[21]: 206 Welles was then threatened with an exposé about his romance with the married actress Dolores del Río, who wanted the affair kept secret until her divorce was finalized.[21]: 207 In a statement to journalists Welles denied that the film was about Hearst. Hearst began preparing an injunction against the film for libel and invasion of privacy, but Welles's lawyer told him that he doubted Hearst would proceed due to the negative publicity and required testimony that an injunction would bring.[21]: 209 The Hollywood Reporter ran a front-page story on January 13 that Hearst papers were about to run a series of editorials attacking Hollywood's practice of hiring refugees and immigrants for jobs that could be done by Americans. The goal was to put pressure on the other studios to force RKO to shelve Kane.[20]: 111 Many of those immigrants had fled Europe after the rise of fascism and feared losing the haven of the United States.[21]: 209 Soon afterwards, Schaefer was approached by Nicholas Schenck, head of Metro-Goldwyn-Mayer's parent company, with an offer on the behalf of Louis B. Mayer and other Hollywood executives to RKO Pictures of $805,000 to destroy all prints of the film and burn the negative.[20]: 111–112 [112] Once RKO's legal team reassured Schaefer, the studio announced on January 21 that Kane would be released as scheduled, and with one of the largest promotional campaigns in the studio's history. Schaefer brought Welles to New York City for a private screening of the film with the New York corporate heads of the studios and their lawyers.[20]: 112 There was no objection to its release provided that certain changes, including the removal or softening of specific references that might offend Hearst, were made.[20]: 112–113 Welles agreed and cut the running time from 122 minutes to 119 minutes. The cuts satisfied the corporate lawyers.[20]: 113 Trailer [edit] Main article: Citizen Kane trailer Now that the film was completed, RKO had to sell it to moviegoers. The usual method was for a studio film editor to compile a montage of highlights for a coming-attractions trailer, which would be shown to audiences shortly before the film came to their local theater. The trailer for Citizen Kane was something special, and like the feature itself was radically different from the general run. It was really a pioneer of what is now known as a teaser trailer, which piqued viewers' curiosity about the film without actually revealing any of the content. Written and directed by Welles at Toland's suggestion, the Citizen Kane trailer does not feature a single second of footage of the actual film itself, but acts as a wholly original, tongue-in-cheek, pseudo-documentary piece on the film's production.[37]: 230 Filmed at the same time as Citizen Kane itself, it offers the only existing behind-the-scenes footage of the film. The trailer, shot by staff cameraman Harry Wild instead of Toland, follows an unseen Welles as he provides narration for a tour around the film set, introductions to the film's core cast members, and a brief overview of Kane's character.[22]: 360 The trailer also contains a number of trick shots, including one of Everett Sloane appearing at first to be running into the camera, which turns out to be the reflection of the camera in a mirror.[113] At the time, it was almost unprecedented for a film trailer to not actually feature anything of the film itself; and while Citizen Kane is frequently cited as a groundbreaking, influential film, Simon Callow argues its trailer was no less original in its approach. Callow writes that it has "great playful charm ... it is a miniature documentary, almost an introduction to the cinema ... Teasing, charming, completely original, it is a sort of conjuring trick: Without his face appearing once on the screen, Welles entirely dominates its five [sic] minutes' duration."[24]: 558–9 Release [edit] Radio City Music Hall's management refused to screen Citizen Kane for its premiere. A possible factor was Parsons's threat that The American Weekly would run a defamatory story on the grandfather of major RKO stockholder Nelson Rockefeller.[20]: 115 Other exhibitors feared being sued for libel by Hearst and refused to show the film.[21]: 216 In March Welles threatened the RKO board of governors with a lawsuit if they did not release the film. Schaefer stood by Welles and opposed the board of governors.[21]: 210 When RKO still delayed the film's release Welles offered to buy the film for $1 million and the studio finally agreed to release the film on May 1.[21]: 215 Schaefer managed to book a few theaters willing to show the film. Hearst papers refused to accept advertising.[20]: 115 RKO's publicity advertisements for the film erroneously promoted it as a love story.[21]: 217 Kane opened at the RKO Palace Theatre on Broadway in New York on May 1, 1941,[13] in Chicago on May 6, and in Los Angeles on May 8.[20]: 115 Welles said that at the Chicago premiere that he attended the theater was almost empty.[21]: 216 Response at the time of release [edit] Critical reviews fell into three types: great, mixed, and negative. Most were in the first category. The day following the premiere of Citizen Kane, The New York Times critic Bosley Crowther wrote that "it comes close to being the most sensational film ever made in Hollywood... Count on Mr. Welles: he doesn't do things by halves. ... Upon the screen he discovered an area large enough for his expansive whims to have free play. And the consequence is that he has made a picture of tremendous and overpowering scope, not in physical extent so much as in its rapid and graphic rotation of thoughts. Mr. Welles has put upon the screen a motion picture that really moves".[114] The Washington Post called it "one of the most important films in the history" of filmmaking.[115] The Washington Evening Star said Welles was a genius who created "a superbly dramatic biography of another genius" and "a picture that is revolutionary".[116] New York Daily News critic Kate Cameron called it "one of the most interesting and technically superior films that has ever come out of a Hollywood studio".[117] New York World-Telegram critic William Boehnel said that the film was "staggering and belongs at once among the greatest screen achievements".[118] Time magazine wrote that "it has found important new techniques in picture-making and story-telling."[21]: 211 Life magazine's review said that "few movies have ever come from Hollywood with such powerful narrative, such original technique, such exciting photography."[21]: 211 John C. Mosher of The New Yorker called the film's style "like fresh air" and raved "Something new has come to the movie world at last."[119]: 68 Anthony Bower of The Nation called it "brilliant" and praised the cinematography and performances by Welles, Comingore and Cotten.[120] John O'Hara's Newsweek review called it the best picture he'd ever seen and said Welles was "the best actor in the history of acting."[21]: 211 Welles called O'Hara's review "the greatest review that anybody ever had."[37]: 100 In the UK C. A. Lejeune of The Observer called it "The most exciting film that has come out of Hollywood in twenty-five years"[121] and Dilys Powell of The Sunday Times said the film's style was made "with the ease and boldness and resource of one who controls and is not controlled by his medium."[122]: 63 Edward Tangye Lean of Horizon praised the film's technical style, calling it "perhaps a decade ahead of its contemporaries."[123][k] Other reviews were mixed. Edwin Schallert of the Los Angeles Times said it was brilliant and skillful at times, but had an ending that "rather fizzled".[125] The Chicago Tribune called the film interesting and different but "its sacrifice of simplicity to eccentricity robs it of distinction and general entertainment value".[126] Otis Ferguson of The New Republic said it was "the boldest free-hand stroke in major screen production since Griffith and Bitzer were running wild to unshackle the camera", but also criticized its style, calling it a "retrogression in film technique" and stating that "it holds no great place" in film history.[127] Ferguson reacted to some of the film's celebrated visual techniques by calling them "just willful dabbling" and "the old shell game." In a rare film review, filmmaker Erich von Stroheim criticized the film's story and non-linear structure, but praised the technical style and performances, and wrote "Whatever the truth may be about it, Citizen Kane is a great picture and will go down in screen history. More power to Welles!"[128] Some prominent critics wrote negative reviews. None of them dismissed the film as being altogether bad, noting the film's undeniable technical effects, but they did find fault with the narrative. Eileen Creelman of The New York Sun called it "a cold picture, unemotional, a puzzle rather than a drama".[35]: 178 In his 1941 review for Sur, Jorge Luis Borges famously called the film "a labyrinth with no center" and predicted that its legacy would be a film "whose historical value is undeniable but which no one cares to see again."[129] The Argus Weekend Magazine critic Erle Cox called the film "amazing" but thought that Welles's break with Hollywood traditions was "overdone".[130] Tatler's James Agate called it "the well-intentioned, muddled, amateurish thing one expects from high-brows";[131] he admitted that it was "a quite good film" but insisted that it "tries to run the psychological essay in harness with your detective thriller, and doesn't quite succeed."[132] Other people who disliked the film were W. H. Auden[37]: 98 and James Agee.[37]: 99 After watching the film on January 29, 1942, future British star Kenneth Williams, then aged 15, curtly described the film in his first diary as "boshey rot".[133] Reception from the public [edit] The film did well in cities and larger towns, but it fared poorly in more remote areas. RKO still had problems getting exhibitors to show the film. For example, one chain controlling more than 500 theaters got Welles's film as part of a package but refused to play it, reportedly out of fear of Hearst.[20]: 117 Hearst's disruption of the film's release damaged its box office performance and, as a result, it lost $160,000 during its initial run.[134]: 164 [135] The film earned $23,878 during its first week in New York. By the ninth week it only made $7,279. Overall it lost money in New York, Boston, Chicago, Los Angeles, San Francisco and Washington, D.C., but made a profit in Seattle.[21]: 216 Moviegoers who saw the picture generally spread negative word of mouth among their neighbors, and exhibitors in the United States and Canada weren't shy about voicing their reactions, as published in Motion Picture Herald. A few theater owners were discerning, recognizing the startling new techniques but conceding bad box office: "Is likely to make your auditorium resound from vacuousness like the giant stone walls in Kane's incredible castle. Box office or no box office, this unusual film is without doubt a step toward elevating the artistic plane of the motion picture in general."[136] A college-town exhibitor reported, "I thought it was fine, as did the majority of people who attended the performances. However, there were some who either did not like it or did not get it. Business was just average."[137] "Don't try to tell me Orson Welles isn't a genius; herein he has produced a mighty fine picture, and herewith he has established for me the lowest gross that I have ever, ever experienced. I would have sworn that such ridiculous receipts were utterly impossible. If you cater to film connoisseurs, this picture is made for you. But me, I hurt all over."[138] Others were more blunt: "Nobody liked this and said so. We took in just enough to pay for it so considered ourselves very lucky."[139] "One day after showing this we still feel hesitant about walking abroad without an escort. Half of the few dozen that paid to see this masterpiece walked out, and the other half remained only to think up new dirty cracks to cast in our direction on the way out."[140] "High priced picture. But I made a little money on my help. They took off three days because they were afraid of being all alone in the theatre."[141] "You can stand in front of a mirror and call yourself 'sucker' when you play this one. It does not have one redeeming feature. It will not draw; those that do come will not know what it is all about."[142] A Minnesota exhibitor summed up the situation for rural areas: "My patrons still don't know what it was all about. Too long and too deep. No box office value to small towns."[143] Hearst's response [edit] Hearing about Citizen Kane enraged Hearst so much that he banned any advertising, reviewing, or mentioning of it in his papers, and had his journalists libel Welles.[112] Welles used Hearst's opposition as a pretext for previewing the film in several opinion-making screenings in Los Angeles, lobbying for its artistic worth against the hostile campaign that Hearst was waging.[112] A special press screening took place in early March. Henry Luce was in attendance and reportedly wanted to buy the film from RKO for $1 million to distribute it himself. The reviews for this screening were positive. A Hollywood Review headline read, "Mr. Genius Comes Through; 'Kane' Astonishing Picture". The Motion Picture Herald reported about the screening and Hearst's intention to sue RKO. Time magazine wrote that "The objection of Mr. Hearst, who founded a publishing empire on sensationalism, is ironic. For to most of the several hundred people who have seen the film at private screenings, Citizen Kane is the most sensational product of the U.S. movie industry." A second press screening occurred in April.[73]: 94 When Schaefer rejected Hearst's offer to suppress the film, Hearst banned every newspaper and station in his media conglomerate from reviewing—or even mentioning—the film. He also had many movie theaters ban it, and many did not show it through fear of being socially exposed by his massive newspaper empire.[144] The Oscar-nominated documentary The Battle Over Citizen Kane lays the blame for the film's relative failure squarely at the feet of Hearst. The film did decent business at the box office; it went on to be the sixth highest grossing film in its year of release, a modest success its backers found acceptable. Nevertheless, the film's commercial performance fell short of its creators' expectations.[92] Hearst's biographer David Nasaw points out that Hearst's actions were not the only reason Kane failed, however: the innovations Welles made with narrative, as well as the dark message at the heart of the film (that the pursuit of success is ultimately futile) meant that a popular audience could not appreciate its merits.[145]: 572–573 Hearst's attacks against Welles went beyond attempting to suppress the film. Welles said that while he was on his post-filming lecture tour a police detective approached him at a restaurant and advised him not to go back to his hotel. A 14-year-old girl had reportedly been hidden in the closet of his room, and two photographers were waiting for him to walk in. Knowing he would be jailed after the resulting publicity, Welles did not return to the hotel but waited until the train left town the following morning. "But that wasn't Hearst," Welles said, "that was a hatchet man from the local Hearst paper who thought he would advance himself by doing it."[22]: 85–86 In March 1941, Welles directed a Broadway version of Richard Wright's Native Son (and, for luck, used a "Rosebud" sled as a prop). Native Son received positive reviews, but Hearst-owned papers used the opportunity to attack Welles as a communist.[21]: 213 The Hearst papers vociferously attacked Welles after his April 1941 radio play, "His Honor, the Mayor",[146] produced for The Free Company radio series on CBS.[100]: 113 [147] Welles described his chance encounter with Hearst in an elevator at the Fairmont Hotel on the night Citizen Kane opened in San Francisco. Hearst and Welles's father were acquaintances, so Welles introduced himself and asked Hearst if he would like to come to the opening. Hearst did not respond. "As he was getting off at his floor, I said, 'Charles Foster Kane would have accepted.' No reply", recalled Welles. "And Kane would have, you know. That was his style—just as he finished Jed Leland's bad review of Susan as an opera singer."[22]: 49–50 [148] In 1945, Hearst journalist Robert Shaw wrote that the film got "a full tide of insensate fury" from Hearst papers, "then it ebbed suddenly. With one brain cell working, the chief realized that such hysterical barking by the trained seals would attract too much attention to the picture. But to this day the name of Orson Welles is on the official son-of-a-bitch list of every Hearst newspaper".[119]: 102 Despite Hearst's attempts to destroy the film, since 1941 references to his life and career have usually included a reference to Citizen Kane, such as the headline 'Son of Citizen Kane Dies' for the obituary of Hearst's son.[149] In 2012, the Hearst estate agreed to screen the film at Hearst Castle in San Simeon, breaking Hearst's ban on the film.[148] Contemporary response [edit] Modern critics have given Citizen Kane an even more positive response. Review aggregation website Rotten Tomatoes reports that 99% of 125 critics gave the film a positive review, with an average rating of 9.70/10. The site's critical consensus reads: "Orson Welles's epic tale of a publishing tycoon's rise and fall is entertaining, poignant, and inventive in its storytelling, earning its reputation as a landmark achievement in film."[150] In April 2021, it was noted that the addition of an 80-year-old negative review from the Chicago Tribune reduced the film's rating from 100% to 99% on the site; Citizen Kane held its 100% rating until early 2021.[151] On Metacritic, however, the film still has a rare weighted average score of 100 out of 100 based on 19 critics, indicating "universal acclaim".[152] Accolades [edit] Award Category Nominee(s) Result Academy Awards[153] Outstanding Motion Picture Mercury Nominated Best Director Orson Welles Nominated Best Actor Nominated Best Original Screenplay Herman J. Mankiewicz and Orson Welles Won Best Art Direction–Interior Decoration – Black-and-White Perry Ferguson, Van Nest Polglase, Al Fields and Darrell Silvera Nominated Best Cinematography – Black-and-White Gregg Toland Nominated Best Film Editing Robert Wise Nominated Best Scoring of a Dramatic Picture Bernard Herrmann Nominated Best Sound Recording John Aalberg Nominated DVD Exclusive Awards Best Audio Commentary Roger Ebert Won National Board of Review Awards[154][155] Best Film Won Top Ten Films Won Best Acting George Coulouris Won Orson Welles Won National Film Preservation Board National Film Registry Inducted New York Film Critics Circle Awards[156] Best Film Won Best Director Orson Welles Nominated Best Actor Nominated Online Film & Television Association Awards Hall of Fame – Motion Picture Won Online Film Critics Society Awards Best Overall DVD Nominated Satellite Awards Best Classic DVD Citizen Kane: Ultimate Collector's Edition Nominated Saturn Awards Best DVD/Blu-Ray Special Edition Release Citizen Kane: 70th Anniversary Ultimate Collector's Edition Nominated Village Voice Film Poll Best Film of the Century Won It was widely believed the film would win most of its Academy Award nominations, but it received only the award for Best Original Screenplay. Variety reported that block voting by screen extras deprived Citizen Kane of Best Picture and Best Actor, and similar prejudices were likely to have been responsible for the film receiving no technical awards.[20]: 117 [157] Legacy [edit] Main article: Legacy of Citizen Kane Citizen Kane was the only film made under Welles's original contract with RKO Pictures, which gave him complete creative control.[21]: 223 Welles's new business manager and attorney permitted the contract to lapse. In July 1941,[158][159] Welles reluctantly signed a new and less favorable deal with RKO[21]: 223 under which he produced and directed The Magnificent Ambersons (1942), produced Journey into Fear (1943), and began It's All True, a film he agreed to do without payment. In the new contract Welles was an employee of the studio[160] and lost the right to final cut, which later allowed RKO to modify and re-cut The Magnificent Ambersons over his objections.[21]: 223 In June 1942, Schaefer resigned the presidency of RKO Pictures and Welles's contract was terminated by his successor.[58] The European release of Kane was delayed until after World War II, premiering in Paris in 1946. Initial reception by French critics was influenced by negative views from Jean-Paul Sartre and Georges Sadoul, who criticized Hollywood's cultural sophistication and the film's nostalgic use of flashbacks. However, critic André Bazin delivered a transformative speech in 1946 that shifted public opinion. Bazin praised the film for its innovative use of mise-en-scène and deep focus cinematography, advocating for a filmic realism that allows audiences to engage more actively with the narrative. Bazin's essays, especially "The Technique of Citizen Kane," played a crucial role in enhancing the film's reputation, arguing it revolutionized film language and aesthetics. His defense of "Citizen Kane" as a work of art influenced other critics and contributed to a broader re-evaluation of the film in Europe and the United States.[161]: 37 In the U.S., the film was initially neglected until it began appearing on television in the 1950s and was re-released in theaters. American film critic Andrew Sarris was significant in reviving its reputation, describing it as a profoundly influential American film. Over the decades, "Citizen Kane" has been consistently ranked highly in critical surveys and polls, often cited as the greatest film ever made.[5] The film's narrative structure, cinematography, and themes have influenced countless filmmakers and films worldwide, asserting its place as a cornerstone in the history of cinema. Notable film directors and critics have acknowledged its impact on their work and the broader film landscape, underscoring its enduring legacy in both theory and practice.[162] Rights and home media [edit] The composited camera negative of Citizen Kane is believed to be lost forever. The most commonly-reported explanation is that it was destroyed in a New Jersey film laboratory fire in the 1970s. However, in 2021, Nicolas Falacci revealed that he had been told "the real story" by a colleague, when he was one of two employees in the film restoration lab which assembled the 1991 "restoration" from the best available elements. Falacci noted that throughout the process he had daily visits in 1990-91 from an unnamed "older RKO executive showing up every day – nervous and sweating". According to Falacci's colleague, this elderly man was keen to cover up a clerical error he had made decades earlier when in charge of the studio's inventory, which had resulted in the original camera negatives being sent to a silver reclamation plant, destroying the nitrate film to extract its valuable silver content. Falacci's account is impossible to verify, but it would have been fully in keeping with industry standard practice for many decades, which was to destroy prints and negatives of countless older films deemed non-commercially viable, to extract the silver.[163] Subsequent prints were derived from a master positive (a fine-grain preservation element) made in the 1940s and originally intended for use in overseas distribution.[164] Modern techniques were used to produce a pristine print for a 50th Anniversary theatrical reissue in 1991 which Paramount Pictures released for then-owner Turner Broadcasting System,[165] which earned $1.6 million in North America[166] and $1.8 million worldwide.[3] In 1955, RKO sold the American television rights to its film library, including Citizen Kane, to C&C Television Corp.[167] In 1960, television rights to the pre-1959 RKO's live-action library were acquired by United Artists. RKO kept the non-broadcast television rights to its library.[168] In 1976, when home video was in its infancy, entrepreneur Snuff Garrett bought cassette rights to the RKO library for what United Press International termed "a pittance". In 1978 The Nostalgia Merchant released the film through Media Home Entertainment. By 1980 the 800-title library of The Nostalgia Merchant was earning $2.3 million a year. "Nobody wanted cassettes four years ago," Garrett told UPI. "It wasn't the first time people called me crazy. It was a hobby with me which became big business."[169] RKO Home Video released the film on VHS and Betamax in 1985.[170] On December 3, 1984, The Criterion Collection released the film as its first LaserDisc.[171] It was made from a fine grain master positive provided by the UCLA Film and Television Archive.[172] When told about the then-new concept of having an audio commentary on the disc, Welles was skeptical but said "theoretically, that's good for teaching movies, so long as they don't talk nonsense."[37]: 283 In 1992 Criterion released a new 50th Anniversary Edition LaserDisc. This version had an improved transfer and additional special features, including the documentary The Legacy of Citizen Kane and Welles's early short The Hearts of Age.[173] Turner Broadcasting System acquired broadcast television rights to the RKO library in 1986[174] and the full worldwide rights to the library in 1987.[175] The RKO Home Video unit was reorganized into Turner Home Entertainment that year.[176] In 1991 Turner released a 50th Anniversary Edition on VHS and as a collector's edition that includes the film, the documentary Reflections On Citizen Kane, Harlan Lebo's 50th anniversary album, a poster and a copy of the original script.[177] In 1996, Time Warner acquired Turner and Warner Home Video absorbed Turner Home Entertainment.[178] In 2011, Time Warner's Warner Bros. unit had distribution rights for the film.[179] In 2001, Warner Home Video released a 60th Anniversary Collectors Edition DVD. The two-disc DVD included feature-length commentaries by Roger Ebert and Peter Bogdanovich, as well as a second DVD with the feature length documentary The Battle Over Citizen Kane (1999). It was simultaneously released on VHS.[180][181] The DVD was criticized for being "too bright, too clean; the dirt and grime had been cleared away, but so had a good deal of the texture, the depth, and the sense of film grain."[182] In 2003, Welles's daughter Beatrice Welles sued Turner Entertainment, claiming the Welles estate is the legal copyright holder of the film. She claimed that Welles's deal to terminate his contracts with RKO meant that Turner's copyright of the film was null and void. She also claimed that the estate of Orson Welles was owed 20% of the film's profits if her copyright claim was not upheld. In 2007 she was allowed to proceed with the lawsuit, overturning the 2004 decision in favor of Turner Entertainment on the issue of video rights.[183] In 2011, it was released on Blu-ray and DVD in a 70th Anniversary Edition.[184] The San Francisco Chronicle called it "the Blu-ray release of the year."[185] Supplements included everything available on the 2001 Warner Home Video release, including The Battle Over Citizen Kane DVD. A 70th Anniversary Ultimate Collector's Edition added a third DVD with RKO 281 (1999), an award winning TV movie about the making of the film. Its packaging extras included a hardcover book and a folio containing mini reproductions of the original souvenir program, lobby cards, and production memos and correspondence.[186] The transfer for the US releases were scanned as 4K resolution from three different 35mm prints and rectified the quality issues of the 2001 DVD.[182] The rest of the world continued to receive home video releases based on the older transfer. This was partially rectified in 2016 with the release of the 75th Anniversary Edition in both the UK and US, which was a straight repackaging of the main disc from the 70th Anniversary Edition.[187][188] On August 11, 2021 Criterion announced their first 4K Ultra HD releases, a six-film slate, would include Citizen Kane. Criterion indicated each title was to be available in a combo pack including a 4K UHD disc of the feature film as well as the film and special features on the companion Blu-rays.[189] Citizen Kane was released on November 23, 2021 by the collection as a 4K and 3 Blu-ray disc package. However, the release was recalled because at the half-hour mark on the regular blu-ray, the contrast fell sharply, which resulted in a much darker image compared to what was supposed to occur.[190] However this issue does not apply to the 4K version itself. Colorization controversy [edit] In the 1980s, Citizen Kane became a catalyst in the controversy over the colorization of black-and-white films. One proponent of film colorization was Ted Turner,[191] whose Turner Entertainment Company owned the RKO library.[192] A Turner Entertainment spokesperson initially stated that Citizen Kane would not be colorized,[193] but in July 1988 Turner said, "Citizen Kane? I'm thinking of colorizing it."[194] In early 1989 it was reported that two companies were producing color tests for Turner Entertainment. Criticism increased when filmmaker Henry Jaglom stated that shortly before his death Welles had implored him "don't let Ted Turner deface my movie with his crayons."[195] In February 1989, Turner Entertainment President Roger Mayer announced that work to colorize the film had been stopped due to provisions in Welles's 1939 contract with RKO that "could be read to prohibit colorization without permission of the Welles estate."[196] Mayer added that Welles's contract was "quite unusual" and "other contracts we have checked out are not like this at all."[197] Turner had only colorized the final reel of the film before abandoning the project. In 1991 one minute of the colorized test footage was included in the BBC Arena documentary The Complete Citizen Kane.[l][198] The colorization controversy was a factor in the passage of the National Film Preservation Act in 1988 which created the National Film Registry the following year. ABC News anchor Peter Jennings reported that "one major reason for doing this is to require people like the broadcaster Ted Turner, who's been adding color to some movies and re-editing others for television, to put notices on those versions saying that the movies have been altered".[199] Bibliography [edit] Notes [edit] References [edit] Database [edit] Official website Citizen Kane at AllMovie Citizen Kane at the AFI Catalog of Feature Films Citizen Kane at IMDb Citizen Kane at Metacritic Citizen Kane at Rotten Tomatoes Citizen Kane at the TCM Movie Database Citizen Kane at Cinema Belgica Other [edit]
7501	dbpedia	3	75	https://harpers.org/archive/2018/12/orson-welles-the-other-side-of-the-wind-theyll-love-me-when-im-dead/	en	A Sequel to Citizen Kane, by J. Hoberman	https://harpers.org/wp-c…8_78-1-thumb.jpg	https://harpers.org/wp-c…8_78-1-thumb.jpg	[ "https://www.facebook.com/tr?id=465430731571519&ev=PageView&noscript=1", "https://harpers.org/wp-content/themes/timber/assets/img/logo.svg", "https://harpers.org/wp-content/uploads/2018/12/078__HA1218_78-1.png", "https://harpers.org/wp-content/uploads/2019/11/9-Harpers-FINAL-480x350-c-default.jpg", "https:/...	[]	[]	[ "" ]	null	[ "J. Hoberman", "Sam Kestenbaum", "William T. Vollmann", "Ellyn Gaydos" ]	2018-12-01T05:01:53+00:00	Orson Welles sets the record straight	en	/favicon.png	Harper's Magazine	null	Discussed in this essay: The Other Side of the Wind, directed by Orson Welles. Netflix, 2018. 122 minutes. Theyâll Love Me When Iâm Dead, directed by Morgan Neville. Netflix, 2018. 98 minutes.Â The one thing everyone knows about Orson Welles is that he began his Hollywood career at twenty-five with cinemaâs biggest big bangâa one-off considered by some to be the greatest film the Dream Factory ever produced. Now, seventy-seven years after Citizen Kane and more than two decades after his death, Welles, who was born in 1915 and died in 1985, ends his movie career with another one-off, The Other Side of the Wind.Â Kane, a movie over which the director enjoyed near-total control, unprecedented within the studio system, introduced new subject matter while providing a new visual vocabulary and narrative structure for American film. None were more impressed than other filmmakers. Just as Vincent van Gogh or Jackson Pollock dramatized the act of painting, Welles dramatized the act of filmmaking. In that sense, The Other Side of the Windâa movie about the failure to make a movie called The Other Side of the Windâcan be understood as Kaneâs sequel. Posthumously assembledâor perhaps salvagedâfrom Wellesâs forty-five minute rough cut, as well as his notes, and drawing on thousands of feet of unedited footage, The Other Side of the Wind is scarcely less remarkable than Citizen Kane, if hardly as great. Wellesâs last testament can seem messy and maddening. And though complex in its conception and convoluted in its making, it is a summarizing work that, in its themes and methods, illuminates the entirety of Wellesâs oeuvre, and in so doing will burnish his reputation as one of the great American artists of the twentieth century. After Kane, Welles is probably best remembered for the period of tragic, spectacular corpulence near the end of his lifeâa time when, Gore Vidal wrote, the director âwore bifurcated tents to which, rather idly, lapels, pocket flaps, buttons were attached in order to suggest a conventional suit.â We have forgotten the space the young Welles carved out and occupied in Americaâs consciousness as the creator of the Mercury Theatre. In fact, more than a filmmaker, Welles was a showman-performer. He worked, both as director and actor, on the air and on the stage: avant-garde popularizations of Shakespeare, the so-called voodoo Macbeth of 1936 and antifascist Julius Caesar of 1937, were celebrated for drawing on film and radio techniques. In a still-legendary stunt, he panicked America on Halloween night 1938 by dramatizing H.Â G.Â Wellsâs War of the Worlds as a news report. In 1941, less than six weeks before Kane opened, Welles returned to Broadway with an adaptation of Richard Wrightâs Native Son. The New York Times theater critic Brooks Atkinson called it âoverwhelmingâ and âthe biggest American drama of the season.â Two years later, Welles married Hollywoodâs glamorous âlove goddess,â Rita Hayworth. Welles was politically active, too. For a time in the mid-1940s, he wrote a regular column for the then-liberal New York Post. As a Hollywood activist, he was the precursor to John Wayne, Jane Fonda, and Ronald Reagan. He toyed with running for the California Senate and, by his own account, was encouraged by Franklin Roosevelt to run for the US Senate in his native state, Wisconsin. Such was Wellesâs authority that when FDR died, in 1945, CBS radio drafted him to record an immediate response. Lawrence Alloway, the British art critic who coined the term Pop Art, saw it as a tendency essentially concerned with movies, broadcasting, and publicity. Already a celebrity when he made Citizen Kane, Welles was a protoâÂPop Artist. An Andy Warhol avant la lettre, he understood that the media might be his medium. After World War II, Welles briefly cast himself as a creator of film statementsâThe Stranger (1946), his lone commercial hit, was the first Hollywood feature to incorporate newsreel clips of the Nazi death campsâbut Charles Chaplin notwithstanding, the big-time director as social critic was a role that did not yet exist in the American motion-picture industry. Moreover, like Chaplin, Welles had powerful political enemiesâstarting with the media mogul William Randolph Hearstâwho regarded him as a Communist fellow traveler or worse. (Wellesâs substantial FBI file pays particular attention to Native Son.) Leaving the âunreleasableâ Lady from Shanghai (his mordant goodbye to Hayworth and Hollywood, the movieâs two femmes fatales) as his legacy, Welles departed America for Europe in advance of the 1947 House Un-American Activities Committee hearings. Rather than as a political exile, however, Welles was ironized as a second Erich von Stroheim, a martyred genius crushed by crass Hollywood. Where American reviewers found The Lady from Shanghai barely coherent, French critics saw an intoxicating form of pure cinemaâa preview of experimental features like Last Year at Marienbad. Once he was in Europe, Wellesâs movies became a series of existential adventures, started, halted, sometimes abandoned, made scene by scene over a period of years. Given his faith in grandiose, seemingly unrealizable projects, it seems inevitable that he would try to make a movie of Don Quixote. The fascination of these projectsâthe failures not leastâis Wellesâs unflagging imagination and perseverance. Othello was the paradigmâa textbook of inventive editing in which Welles seamlessly spliced together footage shot years apart on separate continents. (No movie has ever more impressively demonstrated the power of what Soviet montage theorists called âcreative geographyââthe capacity to create the illusion of a continuous space.) Mr. Arkadin, a Âshaggy-dog portrait of a sinister man of mystery, played naturally by Welles (who also wound up dubbing the voices of most of the other male characters himself), was an investigative thriller that, in its sheer nuttiness, might be Citizen Kane as reflected in the funhouse mirror of The Lady from Shanghai. Welles had put his never-completed Quixote on hiatus when, in the winter of 1956, he was offered the role of the villain in a Universal thriller about a crooked cop. But the movieâs star, Charlton Heston, thought that Welles would be directing the picture. From the acorn of that misunderstanding emerged a splendid oak: Touch of Evil. Hopeful that his Hollywood career was back on track, Welles stuck around, playing a defense lawyer modeled on Clarence Darrow in Richard Fleischerâs fictionalization of the Leopold and Loeb case, Compulsion. More comically, he deranged Martin Rittâs mostly Actors Studio production of the faux Tennessee Williams comic melodrama The Long, Hot Summer with his bombastic interpretation of the movieâs Big Daddyâhis blatant overacting making the naturalistic restraint of Paul Newman, Joanne Woodward, Lee Remick, and Anthony Franciosa seem all the more stylized. Failing to land another directing job, Welles returned to the theater and to Europe, where he made his adaptation of Kafkaâs novel The Trial (1962), with Anthony Perkins improbably cast in the role of Josef K.; Chimes at Midnight; and a 1968 French telefilm, The Immortal Story, his first completed color movie. In 1970, Welles again returned to Hollywoodânow the ânewâ Hollywood of taboo busters like the X-rated Midnight Cowboy and drug-saturated Easy Rider. He appeared in Mike Nicholsâs misbegotten adaptation of Catch-22, spun his anecdotes on TV talk shows, and tried to get his projects off the ground. The new Hollywood saw the birth of the movie brats and the twilight of the movie gods. Howard Hawks and John Ford were finished. So were the most talented of Wellesâs generational cohort. The muckraking action-auteur Sam Fuller was unemployable. Nick Ray, director of Rebel Without a Cause and idol of the French New Wave, was reduced to making a movie with his Harpur College students. The now fifty-five-year-old boy genius of Citizen Kane discovered that while he was revered by young directors and film critics, most significantly Peter Bogdanovich, he was regarded with fearful contempt by the studio bosses and money men whom he hoped would fund him. Sometimes it was both at once. George Lucas declined to help Welles; so did Steven Spielberg, although he did pay over $60,000 for the prop Rosebud sled from Citizen Kane, which, after Spielbergâs publicized purchase, Welles would mischievously label a fake. Wellesâs attempted comeback is the subject of The Other Side of the Windâa movie about the failed comeback of a celebrated maverick director, J.Â J.Â âJakeâ Hannaford, played by the celebrated director John Huston, who was cast in the role some three years after Welles began shooting. Welles maintained that the idea for The Other Side of the Wind originated in his 1937 encounter with a rude and aggressive Ernest Hemingway, who objected to what he considered the younger manâs effete reading of the narration Hemingway wrote for the antifascist documentary The Spanish Earth. But more than a portrait of the artist as a pompous ass, The Other Side of the Wind is a response to the mix of idolization and avoidance Welles encountered in early 1970s Hollywood, as well as the new permissiveness of the movies. Ostensibly concerning the last day of Hannafordâs life, before he wrecked his sports car, James Deanâstyle, The Other Side of the Wind has two strandsâboth shot for Welles by the talented, fiercely loyal young cinematographer Gary Graver. The first strand is mainly Hannafordâs seventieth birthday party, apparently hosted by a retired screen legend (Lilli Palmer), at which Hannaford shows excerpts from his new, independently financed film, The Other Side of the Wind. The second strand consists of excerpts from the film itself. These mostly star Wellesâs young companion and muse, the Croatian artist Oja Kodar, a silent, statuesque figure, characterized throughout as a Native American and billed only as the Actress. Intentionally baffling, the Wind within the Wind is a beautifully composed, sometimes risible, occasionally brilliant parody of then-fashionable European art cinema. The specific object of Wellesâs satire is Michelangelo Antonioni, a filmmaker Welles evidently detested, not least for getting MGM to bankroll his American flop, a would-be evocation of youthful revolution, Zabriskie Point. (Wellesâs antipathy is additionally striking in that Antonioniâs 1975 thriller The Passenger is a descendant of Mr. Arkadin.) Here, The Actress is seen, often naked, as she impassively haunts a number of empty Western-movie locations, and several times ravishes a hapless hippie called John Dale. (Looking like a Warhol Factory hanger-on, the actor even has a sort of mock superstar name, Bob Random.) The framing film is also aggressively contemporary in the way it verges on softcore porn. An early shot is a close-up of topless models jiggling their breasts. Much of it is shot cinÃ©ma-vÃ©ritÃ©-style with a handheld 16-mm camera. Replete with frantic zooms and mega close-ups, this film, too, is transparently a film. Lights and cameras are visible, while the beleaguered maestro Hannaford is surrounded by a mob of acolytesâBogdanovich playing the most important, Brooks Otterlakeâas well as a documentary crew filming and otherwise recording the scene. Chaos reigns. The party, which was evidently shot off and on over a period of five years, alternates between color and black-and-white while maintaining a constant frenzy. Huston, who joined the party late, was only available for a limited time and consequently is often shown in reaction shots. Itâs fun to imagine the shoots in which the entourage besieged a nonexistent character. Often centrally framed, Bogdanovich, who stuck with the project for years, anchors much of the frantic activity, a sullen constant in a sea of bitchy chatter. The movieâs two strands merge after a fashion when, once some footage has been shown to an indifferent producer, Hannaford screens additional material from his work-in-progress at the party. This sequence is blatantly trippy, complete with psychedelic superimpositions and scored to hard rock. The Actress tours a disco, strolling past toilet stalls where people are having sex. Then, in the movieâs most celebrated scene, a seven-Âminute tour-de-force of camera placement, she undresses the catatonic John Dale and initiates tantric sex with him in the back seat of a car driving through a monsoon. That the scene can be read as a parody of Hollywood disposability is suggested by the abrupt manner in which Dale is ejected from the automobileâtossed out bare-assed in the rainâonce The Actress is through with him. The Other Side of the Wind is only one of the projects that Welles spent the last dozen years of his life juggling while making TV commercials to finance their completion. These include Don Quixote; a nearly finished thriller, The Deep; a one-man version of Moby Dick; The Dreamers, based, like The Immortal Story, on material by Isak Dinesen; and The Merchant of Venice. There were also two completed, highly self-reflexive documentaries, F for Fake (1973), a film about art forgery made with Oja Kodar, and Filming Othello (1978), in which Welles revisited his early-1950s Shakespeare adaptation. Publicity was part of Wellesâs DNA. If Norman Mailer hadnât thought of it first, Welles might have imagined the title Advertisements for Myself. The New York Times first reported on The Other Side of the Wind in 1976, quoting the filmmaker to the effect that, after six years, the principal photography had been completed but the project was stalled because the movieâs investors were withholding funding. Later the problem became world-historicalâWelles lost his Iranian backer when the shah was toppled by Ayatollah Khomeiniâand, after Wellesâs death, familial. His unofficial widow, Kodar, had possession of Wellesâs forty-minute work print, but, thanks to French inheritance law, his daughter Beatrice Welles controlled the thousand reels of camera negatives that the Iranians stored in a Paris warehouse. The cinematographer Gary Graver and others struggled to find money to finish the film without Welles. In the mid-1990s, Kodar allowed several scenes from the work print to be included in the documentary Orson Welles: The One-Man Band. Things stalled again; Graver, who knew the material better than anyone, died in 2006, leaving Kodar, Bogdanovich, and Bogdanovichâs onetime assistant, the now-prominent producer Frank Marshall, as the surviving witnesses. A decade later, the New York Times ran a front-page story announcing that Filip Jan Rymsza, a Polish-born producer in his mid-thirties, had brokered a dÃ©tente between Kodar, Beatrice Welles, and the Iranians, aiming for The Other Side of the Wind to be ready for the hundredth anniversary of Wellesâs birth. Five months after that, it was reported that the producers were planning a crowd-funding campaign to raise the moneyâabandoned two months later in favor of an unnamed investor, revealed in March 2017 to be Netflix, which has also released a making-of documentary, Theyâll Love Me When Iâm Dead. The completed film was spearheaded by Marshall and Bogdanovich, who told the New York Times that Welles âdid some very complicated editing before it was taken away from him. I donât even know if I can approximate that kind of cutting because it is very fragmented and idiosyncratic. All we can do is the best we can, using the script, his notes and what he has left.â Jorge Luis Borges described Citizen Kane as a labyrinth without a center; The Other Side of the Wind, as elusive as its title suggests, is more like the shattered hall of mirrors in The Lady from Shanghai, self-Âreflected in its narrative shards. Whether by Wellesâs design or someone elseâs, The Other Side of the Wind presents itself as a car wreck. The opening shot is an image of Hannafordâs totaled roadster. A voice-over from Bogdanovich explains that what follows is a film made of bits and pieces, an assemblage of Hannafordâs unfinished movieâit serves to introduce both Hannafordâs Other Side of the Wind and the other Other Side of the Wind, namely Wellesâs. Indeed, having reached its finished form forty-eight years after Welles began shooting, The Other Side of the Wind never stops talking about itself. Some of thisâlike the references to Hannaford shooting without a script and âmaking it up as he goes alongââseems a direct message from Welles. Other thingsâthe camera contemplating an empty drive-in movie screen as Hannaford muses that, in looking at things too hard, maybe you âshoot âem deadââcould serve as a confession by those tasked with tidying up Wellesâs mess. Who can say? The Other Side of the Wind is founded on substitutions and parodies. Lilli Palmer, playing the retired actress hosting Hannafordâs party, stands in for Wellesâs old pal Marlene Dietrich. Susan Strasberg replaced Jeanne Moreau as a character sometimes referred to as the Lady Critic and generally regarded as a version of Pauline Kael. (âRaising Kane,â Kaelâs infamous takedown of Citizen Kane, crediting the movieâs originality to its screenwriter, Herman J.Â Mankiewicz, was published in The New Yorker in early 1971.) Bogdanovich, well known for his impersonations, replaced the professional impressionist Rich Little. And according to Welles, John Huston replaced Welles. âI cast the best part I ever could have played myself with John Huston,â Welles told an interviewer. âHeâs better than I would have beenâand I would have been great!â Great or not, thereâs no doubt that The Other Side of the Wind is catnip for a certain breed of cinephile. Familiar faces and historical footnotes abound. Directors Paul Mazursky, Curtis Harrington, Dennis Hopper, and Claude Chabrol appear, usually fleetingly, as themselvesâalong with obscure actors, including the sword-and-sandal star Cameron Mitchell, seasoned character actor John Carroll, and Jewish vaudevillian Benny Rubin. Even Les Moonves is somewhere in the cocktail party crowd. Some of these folks carry specifically Wellesian baggage. Paul Stewart, a longtime member of the Mercury Theatre (and Kaneâs butler in Citizen Kane), as well as Mercedes ÂMcCambridge (another Mercury Theatre veteran whom Welles had once called âthe worldâs greatest living radio actressâ), appear as Hannaford henchmen. Hannafordâs unctuous factotum Billy Boyle (played by Wellesâs sometime factotum, the director Norman Foster) has the thankless task of screening rushes for an arrogant studio executive, Max David, recognized by at least one journalist as a stand-in for the former Paramount boss Robert Evans. In truth, The Other Side of the Wind is never windier than when tossing off inside jokes. âIâm Marvin P.Â Fassbinder,â one pompous Hannaford fan declares, referencing the then-obscure German filmmaker. (âOf course you are,â the great man graciously allows.) The nastiest jape may be the blond teenager in an Archie Bunker T-shirt (non-actress Cathy Lucas), who appears as Hannafordâs girlfriend. According to Theyâll Love Me When Iâm Dead, Welles was jealous of Bogdanovichâs success and intended her character to be a parody of Bogdanovichâs protÃ©gÃ© and leading lady Cybill Shepherd. The enigmatic introduction of several Goyaesque dwarfs scampering through the proceedings heralds the narrativeâs collapse. The party devolves into a disjointed insult fest. Hannaford and Otterlake attempt to top each other with Shakespearean bon mots. John Daleâs former EnÂglish teacher arrives only to be gay-baited by Hannaford, who, it may be surmised, is himself a closeted homosexual smitten by his leading man. (Hannaford slugs the uppity Lady Critic who has suggested as much.) Target practice! Fireworks! The party moves to another location (revealed in Theyâll Love Me When Iâm Dead as the house next door to the one in Arizona that Antonioni appeared to blow up at the end of Zabriskie Point) and then to a drive-in for more projected rushes. âSomeone must have given you the wrong reel,â someone says. Itâs all wrong but itâs all right. An enigma resolved by a small army of admirers (who perhaps should be known as the âRosebud brigadeâ), The Other Side of the Wind is arguably and paradoxically Wellesâs most personal work and, in that sense, too, a descendant of Citizen Kane. The most obvious example of Kaneâs influence on American directors is the ultra-aestheticizing Hollywood tendency known as film noir that developed in its wake. But Kane also inspired Maya Derenâs dreamlike Meshes of the Afternoon (1943), the short movie that invented the idea of an American avant-garde film artist, with the filmmaker placing herself on camera to work out her fantasies and unconscious desires. As Meshes of the Afternoon is Derenâs psychodrama, so The Other Side of the Wind is Wellesâs. Even though he never appears onscreen, itâs a movie in which he addresses his own conditionâhis ambivalent attitude toward celebrity, contempt for the movie industry, sense of thwarted virtuosity, desire for recognition, and general sense of desperationâwith startling frankness and clarity. Does it work? Does that matter? As another boy genius once sang, âThereâs no success like failure andÂ . . . failureâs no success at all.â Sure to be wildly overpraised and cursorily dismissed, The Other Side of the Wind is often awful and frequently great, occasionally at the same time. The main thing is that it gives Welles the last word. Once more, from beyond the grave, he has commandeered the spotlight, turning it on an epitaph of his own writing.
7501	dbpedia	1	83	https://vhistory.wordpress.com/2014/08/04/the-complete-citizen-kane-tape-1298/	en	The Complete Citizen Kane – tape 1298	https://vhistory.wordpre…ne-tape-1298.jpg	https://vhistory.wordpre…ne-tape-1298.jpg	[ "https://vhistory.wordpress.com/wp-content/uploads/2014/07/the-complete-citizen-kane-tape-1298.jpg?w=616", "https://vhistory.wordpress.com/wp-content/uploads/2014/07/heart-of-darkness.jpg?w=620", "https://vhistory.wordpress.com/wp-content/uploads/2014/07/william-alland.jpg?w=620", "https://vhistory.wordpress....	[ "https://www.youtube.com/embed/vmw68sw7AIE?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[]	2014-08-04T00:00:00	This tape opens with the end of a documentary presented by Jonathan Miller, about the history of the insane asylum. Then, The Complete Citizen Kane, a documentary about Orson Welles' masterpiece. Drawing heavily on an earlier Arena interview with Welles, this programme starts rather whimsically with the opening titles and narration of Orson Welles' Heart of Darkness…	en	https://s1.wp.com/i/favicon.ico	VHiStory	https://vhistory.wordpress.com/2014/08/04/the-complete-citizen-kane-tape-1298/	This tape opens with the end of a documentary presented by Jonathan Miller, about the history of the insane asylum. Then, The Complete Citizen Kane, a documentary about Orson Welles’ masterpiece. Drawing heavily on an earlier Arena interview with Welles, this programme starts rather whimsically with the opening titles and narration of Orson Welles’ Heart of Darkness – which was intended to be his first film, but was abandoned when the budget was deemed too high. The ‘News on the March’ narrator William Alland was drafted in to narrate the documentary in the same staccato style used in Kane. They talk about his broadcast of War of the Worlds, which, purely coincidentally, was on the last tape I looked at. When it comes to the ‘controversy’ over the true authorship of the movie, this documentary improves over the earlier Arena programme in that it actually talks to Pauline Kael, whose essay ‘Raising Kane’ placed much of the credit of authorship over Citizen Kane with the co-writer Herman J Mankiewicz, and seemed to seek to deny Welles any trace of authorship of the screenplay. I suspect her intentions were closer to wanting to restore credit to Mankiewicz, who she saw as not having had enough credit, with Orson being accused of wanting to take sole screenplay credit himself. There used to be a complete version of this available, that’s since been removed, so here’s the first of many clips from the programme. BBC Genome: BBC Two – 13th October 1991 – 21:10 Following the documentary, recording switches to an episode of Film 91, in which Barry Norman reviews: City Slickers Doc Hollywood Edward II Mortal Thoughts There’s a report on the BBC’s recent feature film production. Plus a brief tribute to Donal Houston, who had recently died. BBC Genome: BBC One – 15th October 1991 – 22:20 Following Film 91 there’s a trailer for an Inside Story documentary The Nightrider about the Ku Klux Klan and the racist murders of civil right leaders. Then, the very start of A Breed Apart starring Donald Pleasance, but this recording stops almost immediately. Underneath, it’s Citizen Kane, which had followed the documentary, still in progress. The tape stops before the film ends.
7501	dbpedia	0	20	https://www.thevintagenews.com/2022/02/18/great-box-office-flops/	en	10 Incredible Movies That Lost A LOT Of Money	https://www.thevintagene…-image-47112.png	https://www.thevintagene…-image-47112.png	[ "https://www.thevintagenews.com/wp-content/uploads/sites/65/2022/02/box-office-flops-fb-25007.png", "https://www.thevintagenews.com/wp-content/uploads/sites/65/2022/02/gettyimages-517443074-1-97501-640x466.jpg", "https://www.thevintagenews.com/wp-content/uploads/sites/65/2022/02/its-a-wonderful-life-88d931-5091...	[]	[]	[ "" ]	null	[ "Steve Palace", "Art Knews Magazine", "?originalSubdomain=uk" ]	2022-02-18T00:00:00	Just because a film has a great director and cast doesn't mean it'll perform at the box office. Here are 10 that majorly flopped upon release.	en	/wp-content/uploads/sites/65/fbrfg/apple-touch-icon.png	thevintagenews	https://www.thevintagenews.com/2022/02/18/great-box-office-flops/	Does it mean a movie isn’t good if it tanked at the box office? Of course not, but often the result is a great film undeservedly drops off everyone’s radar. Even some world-famous classics fail to impress cinema-goers at first, earning their reps in later years. Let’s take you through 10 surprisingly costly productions, from the awfully obscure to foot-stomping favorites. Citizen Kane (1941) It’s routinely described as the all-time greatest film, yet Orson Welles’ Citizen Kane was a flop when it came out. Being viewed as an attack on all-powerful media mogul William Randolph Hearst didn’t help its chances! Flop Factor: Citizen Kane cost $839,727 and (eventually) made $1.6 million. Why It’s Great: Kane’s game-changing photography and dark subject matter were unusual back then. They stand up well today, but the memorable characters and Welles’ screen presence are what truly make this a classic. The director also endured controversy over his follow-up film The Magnificent Ambersons (1942), which was another box office failure. It’s A Wonderful Life (1946) James Stewart lights up the town of Bedford Falls as George Bailey in a downbeat but ultimately uplifting festive feast, directed by Frank Capra. That being said, audiences at the time weren’t full of the Christmas spirit. Flop Factor: The elaborate set was one reason the production cost $3.18 million. Capra’s classic was successful in later years thanks to TV, but only earned $3.3 million at the box office. Why It’s Great: It’s A Wonderful Life is a tradition in many households. If you haven’t seen it yet, then you’re missing out. The Rocky Horror Picture Show (1975) Rocky Horror is one of the biggest musical phenomenons of the 20th century. Fans dress as their favorite characters for screenings, an activity that’s occurred since the beginning. To start with, however, Frank-N-Furter and co. took a while to warm up. Flop Factor: It went on to make its modest $1.4 million budget back hundreds of times over, although it had a long haul initially. Even students didn’t seem keen – only producer perseverance kept the show from going off the road. Why It’s Great: What’s not to love about Rocky Horror? Richard O’Brien’s story may not be to everyone’s taste, but it remains a bona fide laugh riot. New York, New York (1977) Robert De Niro and Liza Minnelli made a movie together? And it was directed by Martin Scorsese? A lack of box office interest led to this old school musical fading into history. Flop Factor: Costing $14 million, the production needed more than the $16.4 million it made to be worth the risk. Why It’s Great: A classic movie fantasy on the outside and a dark drama about a relationship on the inside, New York, New York features two great lead performances and a lush aesthetic reminiscent of Hollywood’s Golden Age. One From the Heart (1981) If Scorsese struggled to recapture the era of musicals at the box office, then Francis Ford Coppola totally missed the mark with One From the Heart. Away from the gritty worlds of The Godfather (1972) and Apocalypse Now (1979), Coppola failed to make an impact on moviegoers. Flop Factor: The movie made just $636, 796 back from its $26 million outlay. Why It’s Great: One From the Heart is well-regarded now, particularly for its cinematography. Like New York, New York, however, the complex end product arguably attempted too much and audiences didn’t appreciate the effort. The King of Comedy (1982) Martin Scorsese also fell short financially with this biting satire about celebrities and their fans. Despite showcasing the casting combo of Robert De Niro and Jerry Lewis, it didn’t deliver a killer punchline. Flop Factor: The King of Comedy made just $2.5 million back against its budget of $19 million. Why It’s Great: De Niro’s obsessive character Rupert Pupkin and his pursuit of talk show host Jerry Langford is a treat. In some ways, the commentary on fame was ahead of its time. De Niro’s former co-star Liza Minnelli also appears, albeit in cardboard form! The Adventures of Buckaroo Banzai Across the 8th Dimension (1984) One of the ultimate cult movies, Buckaroo Banzai brought offbeat sci-fi thrills to mainstream audiences. Peter Weller, John Lithgow, Jeff Goldblum and Christopher Lloyd featured among the powerhouse cast. Sadly, the result failed to blast off. Flop Factor: It cost $17 million and made just a fraction of that – $6.3 million. Why It’s Great: This genuine original was a cool calling card for the talents of director W.D. Richter and writer Earl Mac Rauch. Buckaroo Banzai‘s franchise potential was such that Kevin Smith tried to revive it a few years ago. What did W.D. Richter do next? Funny you should ask that… Big Trouble In Little China (1986) …He later co-wrote the screenplay for John Carpenter’s East meets West monster mash, starring Kurt Russell and Kim Cattrall. Big Trouble in Little China is great fun and very quotable. However, audiences didn’t take to it on the initial release. Flop Factor: The movie cost anything up to $25 million and earned $11.1 million at the box office. Why It’s Great: Another film that was ahead of the game. Big Trouble blended American action movie conventions with martial arts way before the likes of The Matrix and Shang-Chi and the Legend of the Ten Rings. Dwayne Johnson has been wanting to make a sequel for a while. The Adventures of Baron Munchausen (1988) You may know Terry Gilliam for Monty Python and movies, such as 12 Monkeys (1995). The Adventures of Baron Munchausen on the other hand? Probably not! Flop Factor: This big screen spectacular, based on the classic tales, needed $46.63 million to reach the screen. Gilliam promptly plummeted to Earth with a box office tally of $8.1 million. Why It’s Great: Gilliam’s Brazil (1985) may be considered his underrated masterpiece. However, Munchausen is a lot more entertaining and boasts hilarious performances from Robin Williams and Oliver Reed. Those are just the supporting players – Eric Idle, Uma Thurman and Jonathan Pryce all feature prominently. Heathers (1989) Heathers, a dark high school comedy, impressed critics and built a fanbase following its release. Unfortunately, that success was artistic rather than financial. The TV version also died a death in 2018, although the musical is still going great guns. Flop Factor: Heathers made $1.1 million back from a $3 million budget. Why It’s Great: Winona Ryder and Christian Slater make the perfect couple in Daniel Waters’ twisted tale of teenage angst and murder. Waters went on to write Batman Returns (1992) and Demolition Man (1993). Director Michael Lehmann later helmed one of the all-time critical disasters – Hudson Hawk (1991), starring Bruce Willis. That certainly made money and has its admirers, but the film is regarded as a high concept flop in the US. Steve Palace Steve Palace is a writer, journalist and comedian from the UK. Sites he contributes to include The Vintage News, Art Knews Magazine and The Hollywood News. His short fiction has been published as part of the Iris Wildthyme range from Obverse Books linkedin.com/in/steve-palace-91399144/?originalSubdomain=uk
7501	dbpedia	3	22	https://www.encyclopedia.com/literature-and-arts/performing-arts/film-and-television/citizen-kane	en	Encyclopedia.com			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about Citizen Kane", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about Citizen Kane", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	CITIZEN KANEUSA, 1941 Director: Orson Welles [1]Production: RKO Radio Pictures Corp.; black and white, 35mm, running time: 120 minutes. Released 1 May 1941, New York [2].	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/literature-and-arts/performing-arts/film-and-television/citizen-kane	CITIZEN KANE USA, 1941 Director: Orson Welles Production: RKO Radio Pictures Corp.; black and white, 35mm, running time: 120 minutes. Released 1 May 1941, New York. Filmed 30 July through 23 October 1940 in RKO studios; cost: $686,033. Producer: Orson Welles; original screenplay: Herman J. Mankiewicz and Orson Welles; photography: Gregg Toland; editors: Robert Wise and Mark Robson; sound recordists: Bailey Fesler and James G. Stewart; art director: Van Nest Polglase; music: Bernard Herrmann; special effects: Vernon L. Walker; costume designer: Edward Stevenson. Cast : Orson Welles (Charles Foster Kane); Buddy Swan (Kane, Aged 8); Sonny Bupp (Kane 3rd); Harry Shannon (Kane's Father); Joseph Cotten (Jedediah Leland); Dorothy Comingore (Susan Alexander); Everett Sloane (Mr. Bernstein); Ray Collins (James W. Gettys); George Coulouris (Walter Parks Thatcher); Agnes Moorehead (Kane's Mother); Paul Stewart (Raymond); Ruth Warrick (Emily Norton); Erskine Sanford (Herbert Carter); William Alland (Thompson); Georgia Backus (Miss Anderson); Philip van Zandt (Mr. Rawlston); Gus Schilling (Head Waiter); Fortunio Bonanova (Signor Matiste). Awards: Oscar for Best Original Screenplay, 1941; New York Film Critics Award, Best Picture, 1941. Publications Script: Mankiewicz, Herman J., and Orson Welles, "The Shooting Script," in The Citizen Kane Book, by Pauline Kael, Boston, 1971. Citizen Kane Script Book, New York, 1991. Books: Bazin, André, Orson Welles, Paris, 1950. Noble, Peter, The Fabulous Orson Welles, London, 1956. Bogdanovich, Peter, The Cinema of Orson Welles, New York, 1961. Bessy, Maurice, Orson Welles, Paris, 1963. Cowie, Peter, The Citizen Kane Book, Boston, 1971. Higham, Charles, The Films of Orson Welles, Berkeley, 1971. Bogdanovich, Peter, and Orson Welles, This Is Orson Welles, New York, 1972. McBride, Joseph, Orson Welles, London, 1972; New York, 1977. Cowie, Peter, A Ribbon of Dreams: The Cinema of Orson Welles, New York, 1973. Gottesman, Ronald, editor, Focus on Orson Welles, Englewood Cliffs, New Jersey, 1976. Naremore, James, The Magic World of Orson Welles, New York, 1978. Kawin, Bruce, Mindscreen: Bergman, Godard, and First-PersonFilm, Princeton, New Jersey, 1978. Valentinetti, Claudio M., Orson Welles, Florence, 1981. Bergala, Alain, and Jean Narboni, editors, Orson Welles, Paris, 1982. Wollen, Peter, Readings and Writings: Semiotic Counter-Strategies, London, 1982. Andrew, Dudley, Film in the Aura of Art, Princeton, 1984. Carringer, Robert L., The Making of Citizen Kane, Berkeley, 1985; revised, 1996. Higham, Charles, Orson Welles: The Rise and Fall of an AmericanGenius, New York, 1985. Leaming, Barbara, Orson Welles: A Biography, New York, 1985. Parra, Daniele, and Jacques Zimmer, Orson Welles, Paris, 1985. Weis, Elisabeth, and John Belton, editors, Film Sound: Theory andPractice, New York, 1985. Taylor, John Russell, Orson Welles: A Celebration, London, 1986. Jarvie, Ian, Philosophy of the Film: Epistemology, Ontology, Aesthetics, London, 1987. Joxe, Sandra, Citizen Kane, Orson Welles, Paris, 1990. Lebo, Harlan, Citizen Kane: The Fiftieth-Anniversary Album, New York, 1990. Berthome, Jean-Pierre, Citizen Kane, Paris, 1992. Mulvey, Laura, Citizen Kane, London, 1992. Cahill, Marie, Citizen Kane, New York, 1993. Gottesman, Ronald, editor, Perspectives on Citizen Kane, New York, 1996. Articles: Pritt, Emile, in New Masses (New York), 4 February 1941. Sage, M., in New Republic (New York), 24 February 1941. Tolan, Gregg, "Realism for Citizen Kane," in American Cinematographer (Los Angeles), February 1941. Life (New York), 17 March 1941. O'Hara, John, in Newsweek (New York), 17 March 1941. Time (New York), 17 March 1941. Crowther, Bosley, in New York Times, 2 May 1941. Herrmann, Bernard, in New York Times, 25 May 1941. Toland, Gregg, "How I Broke the Rules in Citizen Kane," in PopularPhotoplay Magazine (New York), June 1941. The Times (London), 13 October 1941. Leenhardt, Roger, in Ecran Francais (Paris), 3 July 1946. Doniol-Valcroze, Jacques, in Revue du Cinéma (Paris), Decem-ber 1946. Manuel, Jacques,"Essai sur le style d'Orson Welles," in Revue duCinéma (Paris), December 1946. Toland, Gregg, "L'Operateur de prises de vues," in Revue duCinéma (Paris), January 1947. Chartier, Jean-Pierre, in Revue du Cinéma (Paris), January 1947. Viazzi, Glauco, in Bianco e Nero (Rome), July 1948. Bazin, André, and Jean-Charles Tacchella, interview with Welles, in Bianco e Nero (Rome), 21 September 1948. Sarris, Andrew, "Citizen Kane: American Baroque," in Film Culture (New York), no. 2, 1956. Pariante, Roberto, "Orson Welles from Citizen Kane to Othello," in Bianco e Nero (Rome), March 1956. "L'Oeuvre d'Orson Welles," in Cahiers du Cinéma (Paris), Septem-ber 1958. Domarchi, Jean, "America," in Cahiers du Cinéma (Paris), July 1959. Coursodon, Jean-Pierre, in Cinéma (Paris), no. 43, 1960. Stanbrook, Alan, "The Heroes of Orson Welles," in Film (London), no. 28, 1961. "Welles Issue" of Image et Son (Paris), no. 139, 1961. "Citizen Kane Issue" of Avant-Scène du Cinéma (Paris), Janu-ary 1962. "Welles Issue" of Cineforum (Venice), no. 19, 1962. Capdena, Michel, "Citizen K," in Lettres Françaises (Paris), 27 December 1962. Cutts, John, in Films and Filming (London), December 1963. McBride, Joseph, in Film Heritage (Dayton, Ohio), Fall 1968. Sarris, Andrew, in Village Voice (New York), 15 April 1971, 27 May 1971, and 3 June 1971. Bordwell, David, in Film Comment (New York), Summer 1971. Henderson, Brian, "The Long Take," in Film Comment (New York), Summer 1971. Goldfarb, Phyllis, "Orson Welles' Use of Sound," in Take One (Montreal), July-August 1971. Comolli, Jean-Louis, "Technique et Idéologie: Caméra, perspective, profondeur de champ," in Cahiers du Cinéma (Paris), January-February 1972. Cohen, H., "The Heart of Darkness in Citizen Kane," in CinemaJournal (Evanston, Illinois), Fall 1972. "Citizen Kane Issue" of Chaplin (Stockholm), vol. 15, no. 2, 1973. Burch, Noël, "Propositions," in Afterimage (London), Spring 1974. Mass, R., "A Linking of Legends: The Great Gatsby and CitizenKane," in Literature/Film Quarterly (Salisbury, Maryland), Sum-mer 1974. Smith, J., "Orson Welles and the Great American Dummy," in Literature/Film Quarterly (Salisbury, Maryland), Summer 1974. Ciment, Michel, "Ouragans autour de Kane," in Positif (Paris), March 1975. Champlin, Charles, "More about Citizen Kane," in American Cinematographer (Los Angeles), April 1975. "Semiotics and Citizen Kane," in Film Reader (Evanston, Illinois), no. 1, 1975. Carringer, Robert, "Citizen Kane, The Great Gatsby, and Some Conventions of American Narrative," in Critical Inquiry (Chi-cago), Winter 1975. Pitiot, P., and H. Behar, in Image et Son (Paris), September 1976. Firestone, B. M., "A Rose Is a Rose Is a Columbine: Citizen Kane and William Styron's Nat Turner," in Literature/Film Quarterly (Salisbury, Maryland), Spring 1977. Gambill, N., "Making Up Kane," in Film Comment (New York), November-December 1978. Jaffe, I. S., "Film as Narration of Space: Citizen Kane," in Literature/Film Quarterly (Salisbury, Maryland), no. 2, 1979. Toeplitz, J., "Von einem, der Karriere macht: Orson Welles in Hollywood der dreissiger Jahre," in Film und Fernsehen (East Berlin), no. 2, 1979. Westerbeck Jr., C. L., in Commonweal (New York), 22 June 1979. Clipper, L. J., "Art and nature in Welles' Xanadu," in Film Criticism (Edinboro, Pennsylvania), Spring 1981. Haustrate, G., in Cinéma (Paris, July-August 1981. Houston, Beverle, "Power and Dis-Integration in the Films of Orson Welles," in Film Quarterly (Berkeley), Fall 1985. Left, L. J., "Reading Kane," in Film Quarterly (Berkeley), Fall 1985. Beja, M., "Orson Welles and the Attempt to Escape from Father," in Literature/Film Quarterly (Salisbury, Maryland), vol. 13, no. 1, 1985. Maxfield, J.F., "A Man Like Ourselves: Citizen Kane is Aristotelean Tragedy," in Literature/Film Quarterly (Salisbury, Maryland), vol. 14, no. 3, 1986. Jones, Elizabeth, "Locating Truth in Film, 1940–80," in Post Script (Jacksonville, Florida), Autumn, 1986. Tomasulo, Frank P., "Point-of-View and Narrative Voice in CitizenKane's Thatcher Sequence," in Wide Angle (Athens, Ohio), vol. 8, nos. 3–4, 1986. Tarnowski, J.-F., "Le Prologue," in Revue du Cinéma (Paris), May 1987. Rathgeb, Douglas L., "Fates in the Crowd: Illuminating Citizen Kane Through Woody Allen's Zelig," in Post Script (Jacksonville, Florida), Spring-Summer 1987. Rosenbaum, Jonathan, and others, "Dialogue: On Viewer Response to Citizen Kane," in Cinema Journal (Champaign, Illinois), Summer 1987. Bates, Robin, "Fiery Speech in a World of Shadows: Rosebud's Impact on Early Audiences," in Cinema Journal (Champaign, Illinois), Winter 1987. Morrison, J., "From Citizen Kane to Mr. Arkadin: The Evolution of Orson Welles's Aesthetics of Space," in New Orleans Review, no. 3, 1989. Nielsen, N. A., "Et allerhelvedes perspektiv," in Kosmorama (Co-penhagen), Fall 1989. Ropars-Wuilleumier, M.-C., "Narration and Signification: A Filmic Example," in Quarterly Review of Film and Video (New York), no. 4, 1990. Rosterman, R., "Citizen Kane: 50 Years of Controversy," in Hollywood: Then and Now (Studio City, California), no. 7, 1991. Vergne, F., "Citizen Kane e Confidential Report di Orson Welles: la retorica dei ricordo," in La Cosa Vista (Trieste), no. 16–17, 1991. Kyff, Robert S., "Even After 50 Years, Citizen Kane Resonates with a Clarity Both Technical and Allegorical," in Chicago Tribune, 1 May 1991. van der Burg, J., "Toevalstreffer van de eeuw," in Skoop (Amster-dam), July-August 1991. Toland, G., "Realism for Citizen Kane," in American Cinematographer (Hollywood), August 1991. Sarris, A., "For and Against Kane," in Sight and Sound (London), October 1991. Hogue, P., "The Friends of Kane," in Film Comment (New York), November-December 1991. Maland, C., "Memories and Things Past: History and Two Biographical Flashback Films," in East-West Film Journal (Honolulu), no. 1, 1992. La Polla, F., "Welles e la frequentazione delle tenebre." in Quadernidi Cinema (Florence), July-September 1992. Kovacs, A. B., "Minden idok. . . ," in Filmvilag (Budapest), no. 6, 1993. Pipolo, T., "Screen Memories in Citizen Kane," in P.O.V. (Brussels), no. 10, 1993. Altman, Rick, "Deep-Focus Sound: Citizen Kane and the Radio Aesthetic," in Quarterly Review of Film and Video (Reading), vol. 15, no. 3, December 1994. Welles, Orson, "Orson Welles par Orson Welles," in Positif (Paris), no. 418, December 1995. Kan, E., "Great Beginnings . . . and Endings," in P.O.V. (Brussels), no. 2, December 1996. Thomson, D., "Ten Films that Showed Hollywood How to Live," in Movieline (Escondido, California) vol. 8, July 1997. * * * "Everything that matters in cinema since 1940," François Truffaut has suggested, "has been influenced by Citizen Kane." It is not surprising, then, that Citizen Kane should be one of the most written about films in cinema history; nearly every major critic since André Bazin has felt compelled to discuss it, among them Andrew Sarris, Peter Cowie, David Bordwell, Joseph McBride, and Bruce Kawin. Of the various critical approaches taken to the film, the most trivial, though in some respects the most common, is to understand Citizen Kane as an only slightly disguised biography of William Randolph Hearst. Hearst certainly took it that way, and was largely responsible, through the influence of his newspaper syndicate (which refused to review RKO films for a time), for the film's box-office failure, despite the generally enthusiastic response of the critics. Pauline Kael did much to revive this line of thinking in her 1971 "Raising Kane" essay. Kael's point is essentially negative. Movies in general "are basically kitsch," though on occasion kitsch "redeemed." Citizen Kane is a case in point, especially given its reputation, and that of Orson Welles. Indeed, much of Kael's essay is devoted to showing that aspects of Kane normally attributed to Welles really represented or were indebted to the work of others—to Gregg Toland's cinematography, to the conventions of Hollywood newspaper comedy, and especially to Herman J. Mankiewicz, to whom Kael attributes the entire script. Her point even here, however, is that Mankiewicz largely retold the story of William Randolph Hearst ("What happened in Hearst's life was far more interesting" Kael argues at one point)—so that the process of making Citizen Kane is pictured largely as a process of disguise and oversimplification, begun by Mankiewicz and only finished by Welles. What Kael clearly fails to see is the irrelevance of her whole approach (not to mention its basic inaccuracy in regard to historical fact). As François Truffaut puts it: "It isn't San Simeon that interests me but Xanadu, not the reality but the work of art on film." To see the film as a denatured version of some past reality is simply not to see the film. In sharp contrast to Kael's variety of historicism is the approach taken by André Bazin in his work on Welles. Rather than read the "story" of Citizen Kane against the background provided by the life of Hearst, Bazin focuses on film style in Citizen Kane especially on the degree to which style "places the very nature of the story in question." And rather than describe film style in Citizen Kane as being consistent with that of Hollywood generally (as Kael does in part), Bazin suggests that Welles' reliance on the sequence shot (or long take) and deep focus represents an important break with classical cinematic practice and with the viewing habits derived from it. Classical editing, according to Bazin, "substituted mental and abstract time" for the "ambiguity of expression" implicit in reality; whereas "depth of focus reintroduced ambiguity into the structure of the image" by transferring "to the screen the continuum of reality," in regards both to time and space. "Obliged to exercise his liberty and his intelligence, the spectator perceives the ontological ambivalence of reality directly, in the structure of its appearances." There are problems with such an ontological approach to cinema (it focuses on sequences rather than on whole films, for instance); but Bazin's emphasis on the ambiguity of appearances in Welles is consistent with a third approach to Citizen Kane which sees the film as an early instance of the fragmented modernist narrative. In the words of Robert Carringer, the fact that Kane's story in the film is told from several perspectives, by several different characters, "reflects the Modernist period's general preoccupation with the relativism of points of view." Indeed, the film's "main symbolic event" is not the burning of Kane's "Rosebud" sled but rather the shattering of the little glass globe, which thus stands "for the loss of 'Kane-ness,' the unifying force behind the phenomenon of Kane." Accordingly, the effort undertaken by Thompson, the newsreel reporter, to uncover the secret of Kane's life by tracking down the meaning of "Rosebud" through interviewing Kane's friends and associates can be seen as a paradigm of the human desire to simplify the complex, though Thompson himself becomes increasingly cynical about the prospect of making sense of Charles Foster Kane. It is arguable, however, that Thompson's cynicism—summed up when he says "I don't think any word can sum up a man's life"—is itself suspect for assuming that complexity is antithetical in intelligibility. Central to such a view of Kane is the premise that multiple narratives serve to cast doubt. And in a film such as Kurosawa's Rashomon (to which Kane is often compared) such is certainly the case. But the narrative of Citizen Kane may well work differently, at different "levels" of narration. The reporter himself comprises the first "level" of narration—in the newsreel he watches, and in the interviews he conducts. The interviews, then, constitute a second level of narration, in that they are embedded in the first. It is arguable, however, that a third level of narration exists. It can be seen in the "framing" sequences, which take us up to and then away from the gates of Xanadu; it can also be seen in the fact that the narratives of all those interviewed contain material that the person telling the tale could not have known, even at second hand (as if each such narrative were being "re-narrated"). But the third level of narration is most clearly evident in a series of visual metaphors (the recurrent visual figure of the window or door frame, for example, which repeatedly serves to cut one character off from others) which remain constant throughout the film, both in the flashbacks and in the reporter's narrative, regardless of who is ostensibly narrating the sequence. Accordingly, we can say that the entire film constitutes a single narrative with other narratives embedded; that the narratives work at different levels disallows easy assumptions that they cancel each other out, no matter how partial or biased any one narrative might be. In terms of style and narrative, then, Citizen Kane is a film of remarkable complexity and depth; yet in thematic terms, Citizen Kane is also a hymn to failure. Kane's failure to put his remarkable energy to real use, Thompson's failure to find real meaning in Kane's life story. The shame, in Kane's case, is that his tremendous capacities and resources are wasted, used up; the closing shot of Xanadu, the smoke of Kane's burning possessions pouring from a chimney, recalls the factory smokestacks of the film's newsreel sequence, as the chainlink fence recalls the factory fences. The shame in Thompson's case is that he contributes to this waste by refusing to get to the point, refusing to see how thoroughly Kane was a product of his circumstances, as much victim as victimizer. But we need not follow Thompson's lead in this, however cinematically marvellous Citizen Kane might be. The sense is ours to make. —Leland Poague Citizen Kane Orson Welles' film Citizen Kane has been consistently ranked as one of the best films ever made. A masterpiece of technique and storytelling, the film helped to change Hollywood film-making and still exerts considerable influence today. However, at the time of its premiere in 1941, it was a commercial failure that spelled disaster for Welles' Hollywood career. Citizen Kane tells the story of millionaire press magnate Charles Foster Kane (played by Welles). The film opens with Kane on his death bed in his magnificent Florida castle, Xanadu, murmuring the word "Rosebud." A newsreel reporter (William Alland) searches for clues to the meaning of the word and to the meaning of Kane himself. Interviewing many people intimately connected with Kane, the reporter learns that the millionaire was not so much a public-minded statesman as he was a tyrannical, lonely man. The reporter never learns the secret of Kane's last word. In the film's final moments, we see many of Kane's possessions being thrown into a blazing furnace. Among them is his beloved childhood sled, the name "Rosebud" emblazoned across it. Citizen Kane encountered difficulties early on. Welles fought constantly with RKO over his budget and against limits on his control of the production. Furthermore, because the film was based in part on the life of publisher William Randolph Hearst, Hearst's papers actively campaigned against it, demanding that Citizen Kane be banned and then later refusing to mention or advertise it altogether. Although the scheme backfired, generating enormous publicity for the movie, a frightened RKO released the film only after Welles threatened the studio with a lawsuit. Critics reacted positively, but were also puzzled. They enthusiastically applauded Citizen Kane's many technical innovations. Throughout the film, Welles and his crew employed depth of field (a method in which action in both the foreground and background clearly are in focus, and used to great effect by cinematographer Gregg Toland), inventive editing, sets with ceilings, chiaroscuro lighting, and multilayered sound. Although sometimes used in foreign film, many of these techniques were new to Hollywood. They have since, however, become standard for the industry. Critics also were impressed by Citizen Kane's many virtuoso sequences: a "March of Time"-type newsreel recounting the bare facts of Kane's life; the breakfast table scene, where in a few minutes his first marriage deteriorates to the strains of a waltz and variations (by noted screen composer Bernard Herrmann, in his first film assignment); a tracking shot through the roof of a nightclub; and a faux Franco-Oriental opera. None of these sequences, however, are showstoppers; each propels the narrative forward. That narrative proved puzzling both to critics and to audiences at large. Written by Herman J. Mankiewicz and Welles (although there is considerable controversy over how much Welles contributed), the narrative employs a series of flashbacks that tell different pieces of Kane's life story and reveal the witnesses' various perceptions of him. By arranging these pieces out of order, the script opened the door for later screenwriters to avoid the demands of strict chronology. At the time, however, this innovation confused most audiences. While Citizen Kane did well in New York, the film did poor business in small-town America. The film was a commercial failure, allowing RKO's officials to eventually let go of Welles. Thereafter, he found it increasingly difficult to make movies in Hollywood. Shunned by the studio system, he was forced to spend much of his time simply trying to raise money for his various projects. For a while, Citizen Kane itself seemed to suffer a similar fate. Although the film was nominated for a host of Oscars, Academy members took RKO's side in the studio's battle with Welles, awarding the movie only one Oscar for best original screenplay. The film lost to How Green Was My Valley for best picture. Citizen Kane soon sank into obscurity, rarely discussed, except when described as the beginning of the end of Welles' film career. After World War II, RKO, seeking to recoup its losses, released Citizen Kane in European theaters hungry for American films and also made it available for American television. Exposed to a new generation of moviegoers, the film received new critical and popular acclaim. Riding the wave of Citizen Kane's new-found popularity, Welles was able to return to Hollywood, directing Touch of Evil in 1958. Consistently ranked number one on Sight and Sound's top ten films list since the mid-1950s, Citizen Kane continues to attract, inspire, and entertain new audiences. In 1998, it was voted the best American film of the twentieth century by the American Film Institute. —Scott W. Hoffman Further Reading: Carringer, Robert L. The Making of Citizen Kane. Berkeley, University of California Press, 1996. Higham, Charles. The Films of Orson Welles. Berkeley, University of California Press, 1970. Kael, Pauline. The Citizen Kane Book. Boston, Little, Brown and Company, 1971. McBride, Joseph. Orson Welles. New York, Viking Press, 1972. Naremore, James. The Magic World of Orson Welles. New York, Oxford University Press, 1978. Citizen Kane Citizen Kane (1941) is acclaimed as one of the greatest sound films in the history of the cinema. It was cowritten by Orson Welles (1915–1985) and Herman J. Mankiewicz (1897–1953). Welles also produced and directed the film for RKO Radio Pictures in Hollywood (see entry under 1930s—Film and Theater in volume 2). At the time he created Citizen Kane, Welles was a twenty-five-year-old theater and radio (see entry under 1920s— TV and Radio in volume 2) genius who had not yet made a feature-length film. His youth and inexperience is astounding considering the complexity and accomplishment of the visual and narrative (storytelling) techniques used in the movie. In an unusual move by any Hollywood-based film studio, Welles was given complete artistic control over this production. He was able to have the final decision in every area of production. Production elements included screenplay, camera, lighting, art direction, and music. The music in the film was composed and conducted by Bernard Herrmann (1911–1975). The story of Citizen Kane begins with the death of a wealthy, influential American newspaper publisher named Charles Foster Kane. In six creative narrative sequences—bookended by an introduction and an epilogue—the biography of Kane is related, beginning with a newsreel capsule of the man's life and continuing with glimpses of his childhood and adult years. Kane's controversial life unfolds through a clever manipulation of time by editing. Much of the film is constructed from flashbacks, which are sequences that have taken place in the past, before the present time of the motion picture. The details of Kane's life are told through journal entries and interviews with those he knew, as a reporter seeks to solve the mystery of the significance of the last word that Kane speaks, which is "Rosebud." As the details of Kane's biography are disclosed, the larger story of a man's quest for "the American dream" also is explored. The character of Kane, acted by Welles, is in many ways a thinly cloaked, fictional version of real-life multimillionaire newspaper publisher William Randolph Hearst (1863–1951). Hearst was outraged at the unauthorized and unflattering interpretation of his life story, and he tried to prevent the film from being released. When that attempt failed, Hearst used his many newspapers to prevent the film from becoming popular. He refused to print advertisements for the film and threatened to stop advertising and reviewing RKO films in the future. These actions were effective, and the film failed badly at the box office. At RKO, angry film executives got even with Welles. They removed his right to make final artistic decisions about future motion picture productions at the studio. As a result, Welles's next few films were badly tampered with by lesser talents. The rest of his film career was characterized by inadequate budgets and production schedules. Welles never again created a motion picture as renowned as his first feature film. Although Citizen Kane had a disappointing initial release, it was rediscovered by film critics and historians twenty years later. Since then, many articles and several books have praised its artistry and intelligence. In university classrooms, in art houses, and at film festivals worldwide, Citizen Kane is frequently screened. It is included on almost every significant listing of the world's greatest films. —Audrey Kupferberg For More Information Carringer, Robert L. The Making of Citizen Kane. Berkeley: University of California Press, 1996. Higham, Charles. The Films of Orson Welles. Berkeley: University of California Press, 1970. Kael, Pauline. The Citizen Kane Book. Boston: Little, Brown, 1971. Lennon, Thomas, producer. The Battle Over "Citizen Kane" (video). Boston: WGBH Boston Video, 1996, 2000.
7501	dbpedia	3	59	https://everything-everywhere.com/why-is-citizen-kane-considered-the-greatest-movie-ever/	en	Why is Citizen Kane Considered The Greatest Movie Ever?	https://photos.smugmug.c…zen%20Kane-L.png	https://photos.smugmug.c…zen%20Kane-L.png	[ "https://everything-everywhere.com/wp-content/uploads/2019/08/NewLogo200Trans.png", "https://everything-everywhere.com/wp-content/uploads/2019/08/NewLogo200Trans.png", "https://everything-everywhere.com/wp-content/uploads/2019/08/NewLogo200Trans.png", "https://everything-everywhere.com/wp-content/uploads/2019...	[ "about:blank", "https://embed.podcasts.apple.com/us/podcast/citizen-kane-the-greatest-film-ever-made/id1521870190?i=1000522329162" ]	[]	[ "" ]	null	[ "Gary Arndt", "www.facebook.com" ]	2021-05-19T09:13:40+00:00	Why is Citizen Kane Considered The Greatest Movie Ever?	en	https://everything-every…square-32x32.png	Everything Everywhere	https://everything-everywhere.com/why-is-citizen-kane-considered-the-greatest-movie-ever/	Subscribe Apple \| Spotify \| Amazon \| iHeart Radio \| Player.FM \| TuneIn Castbox \| Podurama \| Podcast Republic \| RSS \| Patreon Transcript In 1941, a young artistic prodigy released his first motion picture. It had enormous anticipation, received incredible reviews, and earned nine Academy Award nominations. However, the film was a financial failure because the vast majority of theaters refused to show it. In the 80 years since its release, it has been named the greatest film of all time on multiple lists by critics and directors. Learn more about Citizen Kane, and why it is considered the greatest movie ever, on this episode of Everything Everywhere Daily. Orson Wells was unquestionably a genius. In the 1930s when he was in his early 20s, he had a string of success on both the stage and radio. After a meteoric rise where he was making $2,000 a week acting n the middle of the depression, he founded his own acting company at the age of 22, named the Mercury Theater. The first performance by the Mercury Theater was a modern adaptation of Shakespeare’s Julius Caesar set in a generic 1930s fascist country. The performance was highly acclaimed and was considered the best adaptation of Shakespear in a generation. The last surviving member of the 1937 cast of Julius Caesar was Norman Lloyd who passed away just recently in May 2021 at the age of 106. He then created a national media storm with his radio adaptation of H.G. Wells War of the Worlds. It became famous for being so realistic that some people thought it was a real Martian invasion. At this point, he was only 23. With all this success and talent, studio executives in Hollywood were chomping at the big to sign Wells to a deal to make motion pictures. The winner of the bidding war was RKO Radio Pictures. Its president, George Schaefer, gave Wells what was probably the best contract ever given to a filmmaker, let alone someone who never made a film before. He was given a two-picture deal, complete creative control on any approved films, and most importantly, he was given the right to approve the final cut. A clause which was almost never given to any directors in Hollywood. After kicking around several ideas, Wells came up with an idea for his first film. It would be a fictional retelling of the story of William Randolph Hearst. Hearst was one of the richest men in the world, and one of the most powerful men in America. He was the first real media mogul and owned newspapers across the United States. In the 1930s, he reached over 20 million people a day via his newspaper empire. He was known for his extravagant spending and the creation of Hearst Castle in California. Wells had no clue what he was doing making a movie, yet he was going to write, direct, produce, and act in the leading role in the movie. He recruited many of the members of the Mercury Theater to make up the cast of the film. None of them had any experience acting on film either. He did have some experienced help. He recruited veteran screenwriter Herman J. Mankiewicz to help write the script, and he got Oscar-winning cinematographer Gregg Toland to do the camera work. Part of the secret to the success of Citizen Kane was Orson Wells’s ignorance of movie-making. He was quoted as saying, “I didn’t know what you couldn’t do. I didn’t deliberately set out to invent anything. It just seemed to me, why not? And there is a great gift that ignorance has to bring to anything. That was the gift I brought to Kane, ignorance.” The initial working title of the film was The American. There were many innovative things that Wells did in the production of the film. He had his cast rehearse, which almost never happened on films. He developed innovative camera techniques, including extremely low-angle shots which showed the ceiling, which was never done. He actually dug a hole in the studio floor to get the camera low enough. The story had a non-linear narrative, which while it wasn’t the first movie to do it, it was the first to use it that extensively. He used moody lightning, which had only previously been seen in German Expressionism film. He had characters talk over each other, which was also never done, yet is something that real people do all the time. His use of sound was innovative and came from his experience doing radio dramas. The final product was an incredibly groundbreaking film by someone who had never before made a motion picture. However, the film itself is only half the story. The other half is what happened to the film after it was made. William Randolph Hearst was an extremely powerful man. His power as a newspaper publisher could make or break films. He put all of his energy into destroying Citizen Kane. Hearst papers unsurprisingly never ran a review or an advertisement for Citizen Kane. The real damage was done by the pressure he placed on the other Hollywood studios. The other studios came together to try to buy the rights of the movie to bury it. At the time, the studios also owned most of the theaters. Hearst threatened every studio with a ban from his newspapers if they showed Citizen Kane at their theaters, so none of them did. Hearst papers slandered Wells and there were attempts to entrap him in uncompromising positions. Because so many theaters refused to show the film, it lost money. Hearst wasn’t angered at the portrayal of himself so much as he was at the portrayal of his mistress Marion Davies. Even though Hearst managed to suppress the film, he wasn’t able to prevent the critics from seeing it, and the critical reception was overwhelmingly positive. Life Magazine said, “few movies have ever come from Hollywood with such powerful narrative, such original technique, such exciting photography.” John O’Hara of Newsweek called it “the best picture he’d ever seen” and said Welles was “the best actor in the history of acting”. The New York Times critic Bosley Crowther wrote that “… it comes close to being the most sensational film ever made in Hollywood.” In fact, up until April 2021, Citizen Kane had a 100% rating on Rotten Tomatoes. 115 positive reviews, mostly taken from the period when the film was released and no negative reviews. However, they dug up an 80-year-old review from the Chicago Tribune with the title “Citizen Kane Fails to Impress Critic as Greatest Ever Filmed”. That review dropped Citizen Kane down to 99%. The New York Film Critics Circle named it the best film of the year. It was nominated for 9 Academy Awards, and it was expected that the film would sweep the Oscars. However, the industry’s backlash against the film due to the Hearest campaign resulted in the film only winning an Oscar for Best Screenplay. So, OK, Citizen Kane is a good film. But there are good films released every year. Where does this idea come from that Citizen Kane is the greatest film of all time? This began with the British magazine Sight & Sound. It is one of the most respected and longest-running magazines about the film industry in the world. In 1952 they came out with a poll of film critics and directors to ask them what they thought the greatest films of all time were. Everyone who was sent the poll could list 10 films in any order. The films were then ranked by the number of people who put that film on their list. They have conducted the poll every decade since 1952. In the first poll, conducted only 11 years after Citizen Kane was released, the top film was the Italian film The Bicycle Thieves. Citizen Kane was just outside of the Top 10. However the next five polls in the row, Citizen Kane was ranked number 1. This was in 1962, 1972, 1982, 1992, and in 2002. In the 2012 poll, Citizen Kane came in second to Alfred Hitchcock’s Vertigo. The American Film Institute came out with a list of the top 100 films in 1998 and an updated list in 2007. On both lists, Citizen Kane was listed number 1. In 2015, the BBC came out with a list of the top 100 American films, and Citizen Kane was number 1. Roger Ebert called Citizen Kane the greatest film ever made. There are a host of other lists where if Citizen Kane doesn’t rank number 1, it usually ranks in the top 5 or 10. If you haven’t seen Citizen Kane, you owe it to yourself to see it. However, if you haven’t seen it yet, I need to give you a word of warning. Many people going into the film might suffer from something I’ve called the Citizen Kane effect. Basically, if you know that it’s been named the greatest film ever, and you don’t think it’s the greatest film you’ve ever seen, you can be disappointed. You just need to recognize it for what it is: an innovative and great film. Citizen Kane is in my personal top 10 favorite films, but it isn’t number one. The reason why it’s rated number 1 isn’t that everyone thinks it’s number 1, but simply because so many people think it’s great. When Citizen Kane was released, Orson Wells was 26 years old. It was probably the peak of his career. He never got a movie deal this good again. He made many other films throughout his career, and most of them were quite good, even if they didn’t make a lot of money. In the 80s, he became best known as a pitchman for Paul Mason Wine, which is how most people now remember him. That is really a shame because he was unquestionably one of the greatest actors and directors of the 20th century. ————————- The associate producer of Everything Everywhere Daily is Thor Thomsen. Today’s five-star review comes from listener Majid Baba over at Podcast Republic. They write: You learn about things that you never thought you’d be interested in. I have used my newfound knowledge to impress friends and family. Gary’s voice and the sound quality make it an enjoyable listening experience. Thanks, Majid Baba. I can think of no greater compliment than to know I’m helping people look good in front of their friends. Next time I recommend making bets with them so you can take their money. Remember if you leave a 5-star review, you too can have your review read on the show.
7501	dbpedia	2	15	https://www.miradorarts.com/citizen-kane-1941-the-desolated-emperor/	en	Citizen Kane (1941): The Desolated Emperor, by Juan Bufill • Mirador de les arts,	https://www.miradorarts.…00-HOME-Kane.jpg	https://www.miradorarts.…00-HOME-Kane.jpg	[ "https://www.miradorarts.com/wp-content/uploads/2018/09/mirador-arts-logo-W.png", "https://www.miradorarts.com/wp-content/uploads/2018/10/Logo-Mirador-de-les-Arts.png", "https://www.miradorarts.com/wp-content/uploads/2021/03/01-Rodatge-Kane.jpg", "https://www.miradorarts.com/wp-content/uploads/2021/03/02-Kane...	[ "https://www.youtube.com/embed/-r0b_XeRkG4?feature=oembed" ]	[]	[ "" ]	null	[ "Ricard Mas" ]	2021-03-11T03:00:24+00:00	125 years of cinema: Over the next few months we will celebrate cinema's 125th anniversary by publishing a series of texts by Juan Bufill on some of the best films in the history.	en	https://www.miradorarts.…icon-1-32x32.png	Mirador de les arts,	https://www.miradorarts.com/citizen-kane-1941-the-desolated-emperor/	Cinema has just turned 125 years old. Over the next few months we will celebrate this anniversary by publishing a series of texts by Juan Bufill on some of the best films in the history of cinema. I’m dark as hell Orson Welles I reject everything that is negative Orson Welles On December 28, 1895, in Paris, the Lumière brothers presented the first film projection in history in a publicly opened hall, without suspecting that their invention would give rise to the main and most particular art of the 20th century, which together with music, is now the most popular. Compared to painting and sculpture, cinema is a relatively young art, but it has undergone extraordinarily rapid development and evolution. Cinema is one of the best inventions of mankind and it maintains its freshness. On the other hand, stories of the cinema seem to have aged and perhaps they should be reviewed, with broader criteria and a more modern vision. For several decades Citizen Kane (1941) has been considered the best film in history in successive polls promoted by the magazine Sight and Sound. Only recently has it been displaced in those votes by another masterpiece: Vertigo. However, since 1941 the cinema has produced many other splendid works. So the first key question must be this: To what does Citizen Kane owe its extraordinary and lasting prestige? I believe that the keys to that success are various and complementary. One of them is in the historical moment. Another, in the full freedom of creation enjoyed by the director and his collaborators. The third key was a concentration of extraordinary and complementary talents in the same work. And the fourth key is in the subject of the film, which is fundamental. Citizen Kane nailed it. It was a necessary work in its time and continues to be so in the 21st century. And it must be acknowledged that the last key is still “Rosebud”. The most surprising thing is that when Orson Welles began making his first narrative feature film, it could strictly be said that he “did not know how to make films.” This is what any experienced professional without confidence in the unknown would have said then. But by the age of 25, Welles had already shown that he had mastered the language of theater and radio fiction. His adaptation of The War of the Worlds simulated an informational program about an alien invasion and caused shock and admiration. And Welles knew cinema as an enthusiastic spectator and admirer of the works of Griffith, Eisenstein, Buster Keaton, Harold Lloyd and John Ford. To be a good writer you need to have been a good reader. And the same applies for cinema. The right moment Citizen Kane has been considered “the foundational work of modern cinema.” The claim is not as exaggerated as it may seem. It is a question of dates, but also of creative freedom. The moment was foundational: sound film had matured in 1940 masterpieces such as The Shop Around the Corner, The Philadelphia Story and The Grapes of Wrath directed by Ernst Lubitsch, George Cukor and John Ford, respectively. But the differentiating factor of Citizen Kane was its extraordinary and evident creative freedom. In 1941, Hollywood was a factory where producers, acting as masters of slaves, had the power to cut down in a humiliating way the dreams of screenwriters and directors: their employees. And they leaned towards vulgarizing and stereotyping their projects. Hence, the alcoholism of some brilliant and frustrated screenwriters, which is well portrayed in Fincher’s film, Mank (2020). But young Orson Welles was an exception: for mere lack of control, the film production company RKO gave him full freedom of creation and he took full advantage of it. Without abandoning a realistic, albeit fragmented narrative, Welles used cinema with the freedom typical of a baroque and expressionist artist or poet: attentive to deceptive appearances and endowing his work with an energy, a disorder, a tension, some contrasts of light and black, and unusual complexity, yet very much like our world. But the public of that time preferred serials like Gone with the Wind and Welles paid for his first commercial failure until the end of his days. Collective authorship I am perplexed to note that many historians, critics and essayists have been able to write long texts on Citizen Kane without highlighting the relevance of screenwriter Herman Jacob Mankiewicz and cinematographer Gregg Toland, without whose contributions it is evident that Orson Welles would not have known to give way to his talent. I believe that this repeated error is because a large part of film historians and critics uncritically accepted the notion of auteur cinema promoted many years ago by Cahiers du Cinéma: the director is the star. This notion tries to ignore that films -except for low-budget experimental and documentary cinema- are usually conceived and made working as a team. When Godard said that a movie can be made with a script and a cinematographer (and actors and sets, of course), and that you don’t need a director, many believed it was just a joke. The truth is that there are directors who are the main authors and that the final result depends on the director, but the first author is always the screenwriter or the author of the adapted literary story. And the directors of photography and (often those) responsible for editing are also frequently decisive. What would have become of Hitchcock without Alma Reville and Scorsese without Thelma Schoonmaker? And what would Citizen Kane be without Rosebud and all that it means? It is a fact that the script for Citizen Kane was mainly written by Herman Jacob Mankiewicz and that Welles’ authorship was more in the direction than in the script, in which he intervened before and after his colleague wrote it. Welles himself recognized in his conversations with Peter Bogdanovich the “enormous” importance of Mankiewicz’s contribution, and specified in an interview with Juan Cobos, Miguel Rubio and José Antonio Pruneda (Cahiers du Cinéma n. 165) that everything related to Rosebud was Mank’s doing. And what would Citizen Kane be without Rosebud and all that it means? … It would certainly be a less profound and memorable work. In any case, Orson Welles wanted to make a film that was an inquiry into a mysterious character, a fragmentary and contradictory portrait. Shortly before, he had tried to translate Joseph Conrad’s Heart of Darkness into film, and finally incorporated some ideas from this failed project into Citizen Kane. However, Welles recognized above all the importance of Gregg Toland as a co-author. A significant detail: in the credits of Citizen Kane Toland’s name appears next to the director, in the same shot and in letters of the same size. And in the previous shot, the name of Mankiewicz appears first as the author of the script. A year earlier, Toland had collaborated with John Ford on The Grapes of Wrath and The Long Voyage Home. The excellent photography of the first was partially inspired by Dorothea Lange, but the expressionism of the second clearly anticipated that of Citizen Kane. Working with John Ford, Toland was already extraordinary, but Welles forced him to be even better, asking him for “impossible” things and giving him the time and confidence to make them possible. This is how the depth of field characteristic of Citizen Kane became a reality, allowing Welles to escape from the routines of the shot / counter shot and give his film a rare fluidity. By the way, it is said that it was the screenwriter Mankiewicz who most insisted on the director to find cinematic solutions and not settle for merely theatrical ones. So the Welles-Mank-Toland trio was an ideal team, as each of them pushed and helped the other two to do their best, which they could not have achieved separately. This is how you work as a team. Like the John Coltrane Quartet. Also important were the artistic direction of Perry Ferguson (who planned the sequences together with the director), the editing by Robert Wise (later co-director of West Side Story, 1961), as well as the music of Bernard Hermann and the main actors: Welles and Joseph Cotten. Welles’ Kane was a more attractive character than his historical model, the newspaper mogul William Randolph Hearst. On the other hand, those who knew the real singer and protégée actress who in the movie goes out of tune, agree that she was charming. And so she appears in the movie, Mank. Welles, as Benjamin Button Welles was aware that his evolution from Citizen Kane was more of an involution: “I started at the top and went rolling downhill,” he admitted sarcastically. His paradoxical trajectory could be compared to that of The Curious Case of Benjamin Button (2008), and thus we could imagine his filmography in reverse: from a daring, immature and groundbreaking film such as F for Fake (1973) to the culminations and full cinematic dominance of the Ambersons and Kane. The Magnificent Ambersons (1942) is a splendid narration of a change of era and the decline of a lineage because of fatuous class vanity, and also a story of ill-fated love affairs, but today it seems an older work than Citizen Kane. Touch of Evil (1958) has a memorable start and brilliant moments, but the plot was series B. The Process (1962) is a fascinating, if somewhat unbalanced, adaptation of Kafka. Unlike Buñuel, who tried to film with the subsequent montage of the shots clear, Welles filmed gluttonously, but then he did not know what to do with the excess footage. Orson Welles’ non-existent, unfinished and ghostly filmography may seem as broad as the filmography he made as a director: from his first project of The Heart of Darkness in subjective vision -long before Apocalypse Now (1979)- to his unborn King Lear. On the other hand, the influence of Citizen Kane in The Third Man (1949), by Carol Reed and Graham Greene, is evident and positive. However, many are unaware that Welles is the author of the perverse plot of Monsieur Verdoux (1947), a project that the good-natured and yet thief Charles Chaplin appropriated, marginalizing Welles. The rich widow murderer named Verdoux joined many other heartless characters in Welles’s filmography, full of despots, tricksters and characters rotten by desire for power. Nihilistic and empty men as in The Hollow Men, the poem by T.S. Eliot. Or also faceless bullies, like the Kafkaesque and blaming state of The Trial. Anti-paradise The whole story of Citizen Kane moves towards the resolution of a mystery that the characters do not get to discover, but in the end the viewers do. Rosebud is the “famous last word” of the dying Kane, the possible key that would explain the meaning -or the lack of meaning- of Kane’s existence, the absent element that sets off a biographical inquiry story. The film offers many levels of interpretation: historical, political, social, personal. It develops a reflection on identity, on the difficulty of writing a biography and of drawing any true portrait. The truth is only perceived by fragments, through partial, diverse and sometimes contradictory testimonies. Topics such as the end of childhood and entry into the system appear: simple pleasures replaced by compulsory greed. Later, the journalistic and business power, with consequences in culture and international politics. Kane’s businesses are described as “an empire within an empire”. There are some memorable phrases in the film: “Well, it’s no trick to make a lot of money… if what you want to do is make a lot of money.” We discover that the same Kane who wants to be loved and admired is incapable of giving love. We are witnessing the triumph of greed and its reverse, waste. Always at the cost of love, friendship, justice. Kane indulges himself in the accumulation of power and material wealth, for lack of something better. It represents the apotheosis of “to get” and signifies the failure of true life and the defeat of being. The figure that the narrated events are drawing is that of a desolated emperor. And the social portrait is that of a society lacking vital wisdom, that of a system whose limitlessness is summed up in the image of the false kitsch paradise called Xanadu, with that palatial fireplace that is oversized, unnecessary. Citizen Kane is an antinihilist film, a critique of capitalist nihilism in its American version, in which Puritanism does not contradict itself with the deadly sin of greed. Most of the story has a prose tone, but the beginning and end of the film fully open up the meaning of the work, as in good poetry. The start is dark and follows the logic of image association. The camera penetrates Kane’s decaying palace: a wire fence, some bars, the capital letter K, made of iron, and cages with monkeys, gondola ruins, fog, a night palace, a flaring neo-Gothic window goes out, a light, the snow is just a glass ball with simulated snow, the ball falls, the glass breaks, a nurse, a death. And, in the end, the language of poetry returns again. The characters have not been able to discover the meaning of the last word Kane spoke. Then the camera moves away, rises and flies over a huge accumulation of boxes with objects of art, valuable, bought and not contemplated. The landscape looks like a great city of boxes, a landscape of unshared treasures, kept as private heritage and abandoned as garbage. We then see a children’s sled, the favorite toy of the eight-year-old boy who was forced to be the billionaire Citizen Kane. Now it is one more thing to be forgotten, junk thrown into the fire. And we finally discover what the characters of the film have not been able to discover: the name “Rosebud”, printed on the sled, falling apart in the fire. Black smoke, night outside, the wire, the “NO TRESPASSING” sign. Peeking inside is prohibited. The last image is that of a ruined palace, a dark Xanadu, a failed substitute for the earthly paradise: an anti-paradise. The opposite of Rosebud. Translated by Enrique E. Zepeda.
7501	dbpedia	3	18	https://www.civic-renaissance.com/p/citizen-kane-vs-william-randolph	en	Citizen Kane vs. William Randolph Hearst	https://substackcdn.com/…0_2048x1366.jpeg	https://substackcdn.com/…0_2048x1366.jpeg	[ "https://substackcdn.com/image/fetch/w_96,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2Fd10290bd-0453-44fa-b4b9-127369d4565e_289x289.png", "https://substackcdn.com/image/fetch/w_120,c_limit,f_auto,q_auto:good,fl_pr...	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Needless today, I’m grateful to be home—and grateful all the more to have been able to meet so many of you at the book events these past few months! Thanks to those of you who came out to the events and book talks to say hello! Hearst Castle In between the Los Angeles and Palo Alto book events, my husband and I drove through central California to visit at Hearst Castle, built by media mogul William Randolph Hearst, an architectural masterpiece and the third most visited home in the United States, after the White House in Washington, D.C. and Biltmore in North Carolina. Orson Welles’ Citizen Kane may be my all-time favorite movie, and ensured a long-time desire to visit Hearst Castle, often compared to Xanadu in Welles’ film. I love Welles films—and as the director, producer and star of Citizen Kane, this debut project puts Welles talent on full display. I adore the film’s powerful commentary on the American Dream, misplaced meaning, and the fruitless pursuit of fulfillment through power and acquisition. Although the movie is a work of fiction, some people connect Hearst and his castle through the prism of Welles’ powerful storytelling. Shortly after receiving the AFI’s Life Achievement Award in 1975, Orson Welles was asked to contribute a foreword to Marion Davies' oral history, The Times We Had. In his foreword, Welles reflects on what people assumed were Hearst-like elements in Citizen Kane and asserts that only one scene in the film "was purely Hearstian." Welles wrote, "Comparisons are not invariably odious, but they are often misleading." During my visit, I found it difficult not to view the Hearst and his estate through the Wellesian lens, but found the trip well worth the effort nonetheless. William Randolph Hearst, the Man Visiting Hearst Castle is akin to stepping into a realm of unparalleled opulence and historical significance, where every intricate detail mirrors the ambition and unique persona of its creator, the eminent media mogul William Randolph Hearst. Hearst was the original American media mogul, akin to Rupert Murdoch or Logan Roy from HBO’s award-winning dark comedy, Succession. Born in 1863, Hearst inherited silver mines from his parents, allowing him to acquire a media empire and emerge as a pioneering figure in the media industry. His media conglomerate came to encompass 26 newspapers in 19 cities, 13 magazines, 8 radio stations, and 2 motion picture production companies. Some of these publications, such as Cosmopolitan and Better Homes and Gardens, still exist today. His life and the creation of Hearst Castle epitomize themes of growth, ambition, and acquisitiveness, also central to Orson Welles’ Citizen Kane. Nestled on a hilltop in San Simeon, California, Hearst’s family had owned the land since the 1800s, using the property frequently for camping. As the story goes, Hearst entered the office of architect Julia Morgan, the first licensed female architect in California, saying, “I’d like to build a little something.” Just a bungalow, he said. Over 28 years, this modest plan evolved into a grand "Renaissance hilltop village," blending Spanish and Italian Renaissance styles to highlight Hearst's admiration for European art and architecture. His appreciation for art and beauty began early. In 1873, his mother, Phoebe, took ten-year-old William on a grand tour of Europe, visiting castles, museums, and cultural centers. This trip inspired his later endeavors in crafting Hearst Castle's interior design, architecture, and gardens. The main house, Casa Grande, spans an impressive 68,500 square feet, boasting 38 bedrooms and 42 bathrooms, along with three guest houses ranging from 2,400 to 5,350 square feet. The famous Neptune Pool, constructed three times, each iteration larger and more magnificent than the last, features a stunning Roman temple façade from the 1st, 4th, 17th, and 20th centuries—a composite. Hearst's relentless pursuit of grandeur led to continuous expansions and improvements, making the estate a significant financial undertaking. In 1958, the Hearst Corporation gifted the estate and its furnishings to the state of California in fulfillment of Hearst's wishes to establish a monument honoring his mother, who inspired his interests in history, art, and architecture. Hearst Castle was not only an architectural marvel but also a renowned social hub, hosting a diverse array of guests, including celebrities like Bob Hope and Cary Grant, politicians like Winston Churchill, and notable figures such as Walt Disney and George Bernard Shaw. The only requirement for an invitation was being interesting. Despite the opulent setting, Hearst maintained decorum, discouraging premarital sex and excessive drunkenness. The Castle was alive with cultural activities, from yodeling tournaments to private film screenings followed by discussions with directors and producers. Hearst Castle stands today as a significant cultural and historical landmark, embodying the spirit and legacy of William Randolph Hearst. The Legend: Citizen Kane Citizen Kane is Orson Welles’ masterpiece, considered one of the greatest films ever made. It has secured the top spot on the American Film Institute’s list of greatest films for years. The story—loosely based on the life of William Randolph Hearst, who prohibited the film from being mentioned in his newspapers and tried to prevent its release—follows the life of Charles Foster Kane. Kane’s life is defined by the pursuit of wealth, power, privilege, and acquisition. The film opens with Kane on his deathbed in his palatial home, called Xanadu. He utters the phrase “rosebud,” a mysterious motif referenced throughout the film, and dies. The rest of the film follows a young reporter, Jerry Thompson, as he tries to unravel the mystery of Kane’s life and the meaning of “rosebud.” Thompson discovers that Kane constantly sacrificed personal relationships in the pursuit of power and wealth. The film ends with Kane surrounded by rare artifacts and masterpieces of art, stacked floor to ceiling in his monstrous home. Despite all the things money and power bought him, he is alone, having driven away everyone who mattered to him. He chose things over virtue and relationships. After Kane's death, his staff clears out his home, and his childhood sled, thought to be junk, is thrown into a fire. The name on the sled is “rosebud.” In his final hours, Kane longed for his simpler childhood days when his sled was his most cherished possession and he was loved by his parents. This ending indicates that Kane felt his life choices—placing the acquisition of wealth and power over people and meaning—were misguided. It didn’t make him happy but left him miserable and alone. While visiting Hearst Castle and seeing firsthand the ever-expanding scope of the project—unfinished to this day—I couldn't help but feel that elements of Welles’ story ring true. Why Hearst Castle? Standing in Hearst Castle’s living room, with its grand fireplace, medieval choir chairs, and priceless antiquities, I wondered: why? What drove him to create a home of such unnecessary scale? Yes, he entertained interesting people and was renowned for his lavish parties, but as I write in my book, there’s a dark side to hospitality, where hosting can be more about titillating the vanity of the host than serving guests and promoting community. Although, as an aside, I will say that visiting Hearst Castle caused my husband and I to anticipate our transition back into our family home—destroyed by a flood last January, ravaged by toxic levels of mold, and now in the final phases of reconstruction—so that we can host and bring people together as Hearst did throughout his life. Perhaps Hearst was one among many American titans of industry who constructed grand, opulent homes and adorned them with exquisite art. Hearst and his contemporaries collected art with the grandeur and quality of European aristocracy. Their collections now grace museums worldwide. To speculate that Hearst, or his peers such as Vanderbilt, Morgan, Astor, or Carnegie, were particularly 'attached' to material objects is merely conjecture. The poet R.W. Emerson wrote, "Tell them, dear, that, if eyes were made for seeing, Then beauty is its own excuse for Being." When contemplating why someone would build an edifice like Hearst Castle, it’s wroth reflecting: why not create something beautiful to savor? This is certainly why we chose to own the home that we are restoring. it’s unnecessarily large and lavish, but we believe in nurturing our own little corner of history, and creating an oasis from our divided and lonely world through community, curiosity and conversation. Losing much of our personal affects in our own flood series of house crises reminded me of the importance of detachment to earthly, temporal things. Anything can be taken away in an instant. For those of you on social media, here is a video I created telling the story of our home—the home we bought, built, lost, and are building again. Watch here! What is it about the human condition that we become so attached to the material world? Across time and place, we have admired people who live with little, renouncing the pleasures—and often the related perils—of attachment to the world. There seems to be something in the human condition that draws us to the material world, even though we know that material things can never make us truly happy and often bring suffering and disappointment. Stories across history emphasize this message. The story of William Randolph Hearst, as told through a visit to Hearst Castle, and the story of Citizen Kane illuminate this truth. Stories from history and culture remind us that the things of this world ultimately aren’t enough to fulfill us. The Buddha shows us that only a life of poverty and service to others can make us happy. Christ’s life and teaching also remind us of the blessedness of poverty, as in the Gospel of Matthew: “For what does a man profit if he shall gain the whole world and lose his own soul?” This idea was echoed thousands of years later in Adam Smith’s The Theory of Moral Sentiments and in the famous Mexican fisherman parable. In the parable, a fisherman is dissatisfied with his life, wanting more boats to catch more fish to earn more money to retire peacefully by the sea. When asked what stops him from doing that now, he has no answer. The hedonic treadmill, which ensnared the protagonist of Citizen Kane, assures us that more "stuff" will make us happy. But it’s a treadmill because it’s never-ending: no amount of stuff will ever truly fulfill us. It’s a challenge for us today: how can we let these stories remind us to live our lives with the end and the eternal in mind? Reflecting on these seminal stories about the perils of materialism and attachment to worldly things is a powerful reminder of this truth. Questions for reflection: 1. Think about a time when you were persuaded that an acquisition or accomplishment would make you happy. Did it? How did you feel moments or days after achieving it? 2. What do you think it is about the human condition that is so persistently seduced by the promise of “stuff” to make us happy? Forgetfulness? Delusion? Other? 3. How can we better guard ourselves against the often willful self-delusion that the promise of material acquisition presents? (HINT: I think exploring stories like Citizen Kane can help!) P.S. I explore this theme of materialism in my TV series with The Great Courses—what I call Netflix for nerds! It’s called Storytelling and the Human Condition, and it explores what great stories across time and place tell us about what it means to be human, and what it means to lead a meaningful life. I’d love to give you a free one-month subscription to try the series. If you do try it, write to me and let me know what you think! Where to stay and eat while visiting Hearst Castle Highway 1 Road Trip graciously facilitated our trip by connecting us with some local establishments that showed us very gracious hospitality during our field trip to Hearst Castle. The night before our day of exploring the grandeur of Hearst Castle, we made our way to Cayucos, California. We stayed at On the Beach Bed and Breakfast in Cayucos, which was a short 30- min drive from Hearst Castle. It was the perfect oasis after a frenzied few days of traffic and book events in LA! When we arrived in Cayucos, we checked in, strolled along the pier, made a friend (photo below) and then enjoyed a gorgeous dinner a few steps down the beach at Schooners, owned by a local and beloved by locals. Schooners, nestled right on the beach, promised a delightful culinary experience. We started with the grilled oysters, which were a highlight, perfectly cooked and bursting with a smoky taste that complemented the ocean view. We then moved on to the wasabi-encrusted ahi tuna, which was a perfect blend of spice and freshness. Next, we indulged in the almond-crusted coho with fettuccini, a dish that was as rich as it was flavorful. We ended with a cheesecake and carrot cake. because, as the waiter noted, life is too short to choose! After dinner, tired from travel and time changes, we retired early. We had a lovely room overlooking the water, I left the screen door open by night, and loved falling asleep—and awaking!—to the ocean breeze and the sound of waves lapping on the shore. Highly recommend both if you make the visit! Book Tour Events: The Bay Area Book Launch Seeking Civility: Important Principles for Divided Times Wonderful to spend time with Acton Institute community tonight in Grand Rapids discussing why civility supports our freedom and our flourishing, and the role we each have in making our world a more gentle and warm place. Looking ahead: June 3- Advancing American Freedom book conversation, Washington D.C. June 3- Keynote speaker at American Enterprise Institute’s 2024 Summer Honors Program, Washington D.C. June 19 - book talk in Austin, TX. (Register here!) June 26 - Brookfield Academy’s Center for Mission & Academics, Milwaukee, Wisconsin. In the news: Wonderful conversation at Stanford University. Thanks so much to Francis Fukuyama for hosting the dialogue. Thanks so much to Utah public radio for hosting me for an hour-long, wide-ranging episode about the most important question of our day: how might we flourish across difference? If you listen in, let me know your thoughts! Click here to listen. Decency in Decline- discussing my book on The Open Mind! Acton Line Podcast- Seeking Civility: Important Principles for Divided Times Thank you for being part of the Civic Renaissance community!
7501	dbpedia	1	2	https://www.wellesnet.com/citizen-kane-resources/	en	Citizen Kane files • Wellesnet	https://www.wellesnet.co…citizen-kane.jpg	https://www.wellesnet.co…citizen-kane.jpg	[ "https://www.wellesnet.com/wp-content/uploads/2021/01/name-wellesnet-e1699160205931.png", "https://www.wellesnet.com/wp-content/themes/ctravel-adven-lite/skin/images/innerbanner.jpg", "https://www.wellesnet.com/wp-content/uploads/2013/02/citizen-kane-end-title-still.jpg" ]	[]	[]	[ "" ]	null	[ "wellesnet" ]	2021-05-28T19:47:52-04:00	Supplementary material provided by Harlan Lebo, author of "Citizen Kane: A Filmmaker's Journey," available from Angel City Press.	en	https://www.wellesnet.co…avicon-32x32.jpg	Wellesnet	https://www.wellesnet.com/citizen-kane-resources/	Supplementary material provided by Harlan Lebo, author of Citizen Kane: A Filmmaker’s Journey ♦ Budget: Estimated and actual These budget figures from RKO’s financial report dated March 8, 1941, compare the original budget estimates for Citizen Kane with the actual costs absorbed by the studio. Today, with film costs routinely topping $50 million, and often much more, it seems hard to appreciate RKO’s fussiness in 1940 over a budget that totaled little more than $600,000 in direct expenses — even requests for additional expenses as small as $10. Citizen Kane — budget ♦ Guide to RKO soundstages: RKO-Pathe and RKO Gower The RKO soundstages on Washington Boulevard in Culver City are now part of the Culver Studios. The main RKO lot at Melrose Avenue and Gower Street in Hollywood was purchased by Gulf & Western, at the time the parent company of Paramount Pictures. (RKO Projection Room 4, where Rawlston ordered Thompson to learn about Rosebud, is now an office on the Paramount lot.) Citizen Kane — RKO soundstages ♦ Third Revised Final Script with overlay The contributions to the screenplay made individually by Herman J. Mankiewicz and Orson Welles were expertly detailed by Robert L. Carringer in his 1978 study The Scripts of Citizen Kane. Mankiewicz and Welles conferred at considerable length before work began on the first of at least seven drafts that were penned. Further revisions by the pair were made on the screenplay before filming began in the summer of 1940 using the script referred to as Third Revised Final. Harlan Lebo has created an overlay using that Third Revised Final script and a new transcript of the finished film he fashioned. This overlay reveals hundreds of deletions and additions made by Welles to the screenplay during the production. Citizen-Kane-3rd-Revised-Final-Script-with-Overlay ♦ Scene-by-scene guide This scene-by-scene guide was timed using the 2011 digital transfer of Citizen Kane, which is included in the 70th anniversary release packages of the film (both single disc and “ultimate collector’s edition”). The official release length of Citizen Kane is 10,734 feet of film, or one hour, fifty-nine minutes, sixteen seconds. The total displayed length of the 2011 Blu-ray and in this scene-by-scene guide is seven seconds longer because of the addition of three seconds of black leader at the beginning of the film, two seconds of black at the end, plus two seconds that have crept into the length because of minuscule differences over the span of a two-hour film in the transfer between the analog film and the digital disk. Thus the total running time of the Blu-ray is one hour, fifty-nine minutes, twenty-three seconds. Citizen Kane — scene by scene guide ♦ Orson Welles on the meaning of Rosebud (1941) During the production of Citizen Kane the publicity department readied a statement attributed to Orson Welles on the meaning of Charles Foster Kane’s dying word, “Rosebud.” It is dated January 15, 1941, a month and a half after Welles shot his final scene for the film. Citizen Kane – Rosebud ♦ Full, newly-updated list of cast and crew We all know Orson Welles starred, directed, produced and co-wrote his first Hollywood feature, but who was the boom operator? Answer: Jimmy Thompson. Ruth Warrick and Dorothy Comingore played the wives of Charles Foster Kane, but whose hands were used when Susan Alexander Kane put together a jigsaw puzzle Why, it was Ivy Keene! From the stand-ins to the stars, find out who worked on the film, both credited and uncredited. Citizen Kane cast and crew Citizen Kane is available on 4K UHD and Blu-ray in the U.S. from the Criterion Collection. It is available in Europe through Warner Home Entertainment. “To me, Orson is so much like a destitute king. A destitute king — not because he was thrown away from the kingdom — but (because) on this earth, the way the world is, there is no kingdom good enough for Orson Welles.” — Jeanne Moreau * * *Wellesnet is dedicated to the memory of Orson Welles (May 6, 1915 – October 10, 1985). Best known for his stage productions of Voodoo Macbeth, Cradle Will Rock and Caesar; the radio play The War of the Worlds; and the films Citizen Kane, The Magnificent Ambersons, Touch of Evil, Chimes at Midnight and The Other Side of the Wind.
7501	dbpedia	1	3	https://catalog.afi.com/Catalog/moviedetails/27624	en	Catalog			[ "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/Icon/search.png", "https://catalog.afi.com/Content/Images/Icon/white_search.png", "https://catalog.af...	[]	[]	[ "Citizen Kane", "Orson Welles", "Edward Donahue", "Orson Welles", "Richard Baer", "William Alland", "Molly Herman", "Sid Rogell", "Herman J. Mankiewicz", "Orson Welles", "John Houseman", "Roger Denny", "Mollie Kent", "Joseph Cotten", "Dorothy Comingore", "Agnes Moorehead", "Ruth Warr...	null	[]	null	Seventy-year-old newspaper tycoon Charles Foster Kane dies in his palatial Florida home, Xanadu, after uttering the single word “Rosebud.” While watching a newsreel summarizing the years during which Kane built a dying newspaper into a major empire, married and divorced twice, ran unsuccessfully for governor and saw the collapse of his newspaper empire during the Depression, an editor decides they have not captured the essence of the controversial newspaperman and assigns reporter Jerry Thompson to discover the meaning of Kane's last word.<BR>        Thompson first approaches Kane's second wife, singer Susan Alexander, in the Atlantic City nightclub where she now performs. After the drunken Susan orders Thompson to leave, the accommodating bartender reports her claim that she had never heard of Rosebud. Next, Thompson reads the unpublished memoirs of Wall Street financier Walter Parks Thatcher, Kane's guardian and trustee of the mining fortune left	en	/favicon.ico		https://catalog.afi.com/Catalog/moviedetails/27624	This film's end credits begin with the statement, “Most of the principal actors in Citizen Kane are new to motion pictures. The Mercury Theatre is proud to introduce them.” Organized by Orson Welles and John Houseman in Nov 1937, The Mercury Theatre won critical acclaim for its productions, including Julius Caesar, The Shoemaker's Holiday, Heartbreak House and Danton's Death. However, it was The War of the Worlds, Welles's convincing radio portrayal of an invasion by Martians, broadcast on Halloween night, 1938, that brought him instant celebrity. According to a 1940 SEP series on Welles, Hollywood studios had offered the director a contract for $300 a week as early as 1936. Published accounts of Hollywood's interest did not appear until Jul 1939, when news items and RKO publicity announced that Welles, at age twenty-four and with no professional film experience, had signed a carte-blanche contract with RKO Radio Pictures, Inc. to produce, write, direct and act in one film per year. Welles was to be paid $150,000 per film in addition to a percentage of the gross, but more important to him was the stipulation that no one, not even RKO's president or board of directors, could interfere with him or see his work until it was completed. (Life reported that when RKO executives came on the set of Citizen Kane unannounced, Welles told his company to start a baseball game and walked off.) According to the SEP series, Welles once described the RKO studio as “the greatest railroad train a boy ever had.” In her LAEx column, Louella Parsons observed that Welles “rode into Hollyood [sic] with a contract that never has been equaled in the entire history of motion pictures” and noted that he signed with RKO after Warner Bros. and M-G-M “refused to give him all the privileges that he asked.” The Hollywood community greeted Welles with hostility. Gossip columnists repeatedly referred to him as “Little Orson Annie” and “Arson” Welles, and called attention to his beard, which he grew for stage roles and kept for his planned first film role. Welles brought with him to Hollywood a number of staff members from the Mercury Theatre and established Mercury Productions, Inc. in partnership with Jack Moss. Early in Aug 1939, according to HR, Welles began working with John Houseman and Herbert Drake on a script for his first film, an adaptation of the Joseph Conrad novel Heart of Darkness. Welles planned to play both of the major roles, Kurtz and Marlow, and to use a subjective camera. SEP reported that he was also to be the chief scenic artist and propman. Heart of Darkness was to feature many actors from the Mercury Theatre and Welles's radio company, the Mercury Theatre of the Air, including Everett Sloane, Ray Collins, Gus Schilling, Edgar Barrier and Erskine Sanford. Austrian actress Dita Parlo was wanted for the female lead. Production was set to begin on 1 Nov 1939, but according to DV, RKO pushed back the date to give the construction department more time to build the unusual sets. Fourteen actors were on salary in Nov 1939, but in Dec 1939, pre-production was halted. RKO announced that Welles would first make The Smiler with a Knife, variously called a comedy-mystery-drama and a thriller and based on a novel by Nicholas Blake, which the studio had recently purchased and for which Welles was writing the screenplay. The lead was to be a woman, and Welles was to play a supporting role. In a later interview, Welles stated that the studio would not let him cast Lucille Ball in the lead, so the project was shelved. According to RKO publicity, before Welles began work on Citizen Kane, he “indulged himself in the most concentrated course in movie making ever attempted, with the result that he has a working knowledge of every studio department.” The initial rough draft script of Citizen Kane is dated 16 Apr 1940 and entitled “American.” This draft, in which “Xanadu” was called the “Alhambra,” includes many scenes similar to incidents in the life of William Randolph Hearst, which were subsequently dropped. Modern sources dispute whether Welles or his co-writer, Herman J. Mankiewicz, should be given credit for the various drafts. Some sources claim that Welles tried to keep Mankiewicz's name off the screen credits, while others argue that while Mankiewicz's contract stipulated that he would not necessarily get an onscreen credit, Welles, in correspondence with his attorney, stated that he wanted Mankiewicz to get credit. In a deposition taken for a 1949 lawsuit, Welles stated that Mankiewicz wrote the dialogue for the first two drafts, and that he (Welles) worked on the third draft and “participated all along in conversations concerning the structure of the scenes.” RKO story files at UCLA Arts--Special Collections Library contain extensive notes dated 30 Apr 1940 by Welles concerning desired changes to the 16 Apr 1940 draft. Subsequently, a number of drafts and continuities were written, concluding with the third revised final script, dated 16 Jul 1940. According to modern sources, Mankiewicz claimed to the Screen Writers' Guild that he should be given sole writing credit. According to the RKO Billing Memorandum file for the film at UCLA, on 11 Jan 1941, Mankiewicz signed a statement giving his consent for advertising to omit a screenplay credit. On 18 Jan 1941, Dore Schary of the Screen Writers' Guild wrote to Mercury Productions stating that the proposed credit “screenplay by Herman J. Mankiewicz and Orson Welles” seemed to be in violation of a clause in the Producer-Screen Writers' Guild Agreement which stated that “No production executives will be entitled to share in the screen play authorship screen credit unless he does the screen play writing entirely without the collaboration of any other writer.” Subsequently, on 22 Jan 1941, Welles and Mankiewicz signed a joint statement that “having carefully considered their intentions relative to the contract dated 19 Jun 1940, and having carefully considered the contribution of each of them in the writing of the original screen story for Citizen Kane," they agreed to the screen credits as they appear on the film. On 27 Jan 1941, the Screen Writers' Guild met and decided that the Guild had no jurisdiction in the matter because of the particular contract Mankiewicz had signed. A memo in the RKO files, dated 5 Jun 1941, states that both Mankiewicz and Welles worked 111 days on the screenplay: 7 Dec--23 Dec 1939; 19 Feb--11 May 1940; and 18 Jun--27 Jul 1940. The memo also indicates that Houseman worked 87 days: 21 Feb--27 Apr 1940; and 29 Apr--1 Jun 1940. In an undated statement included in the RKO files at UCLA, Welles described his intent in making the film: “I wished to make a motion picture which was not a narrative of action so much as an examination of character. For this, I desired a man of many sides and many aspects. It was my idea to show that six or more people could have as many widely divergent opinions concerning the nature of a single personality.” After discussing how he came to choose a newspaper publisher as his main character, Welles continued, “There have been many motion pictures and novels rigorously obeying the formula of the 'success story.' I wished to do something quite different. I wished to make a picture which might be called a 'failure story.'“ Welles noted that his character “had never made what is known as 'transference' from his mother. Hence his failure with his wives.” Welles concluded, “The protagonist of my 'failure story' must retreat from a democracy which his money fails to buy and his power fails to control.--There are two retreats possible: death and the womb. The house was the womb.” In an article published in the New York publication Friday during the controversy that held up the film's release, Welles further explained his intent: “Kane, we are told, loved only his mother--only his newspaper--only his second wife--only himself. Maybe he loved all of these, or none. It is for the audience to judge....He is never judged with the objectivity of an author, and the point of the picture is not so much the solution of the problem as its presentation.” In an interview, Welles stated that Gregg Toland, who won the Academy Award in 1940 for his work on Wuthering Heights, asked to work with him. Toland, in a Popular Photography article, stated that with the backing of Welles, who had a reputation for experimentation in the theater, he “was able to test and prove several ideas generally accepted as being radical in Hollywood circles.” In an article in AmCin, Toland explained the rationale and technique of the “radical departures from conventional practice” that he and Welles devised for Citizen Kane. They felt “that if it was possible, the picture should be brought to the screen in such a way that the audience would feel it was looking at reality, rather than merely at a movie.” They rejected direct cuts, wherever possible, favoring instead “to plan action so that the camera could pan or dolly from one angle to another” or to pre-plan “our angles and compositions so that action which ordinarily would be shown in direct cuts would be shown in a single, longer scene--often one in which important action might take place simultaneously in widely separated points in extreme foreground and background.” Because of the film's huge, deep sets, twin-arc broadsides, which were developed for Technicolor film, were used for lighting. With increased illumination, use of the new super speed emulsion Super XX, as well as wide-angle lenses coated with the recently developed Vard “Opticoat” non-glare coating, and stopping down, became possible. Toland relates, “we photographed nearly all of our interior scenes at apertures not greater than f:8--and often smaller.” At that time, most Hollywood films were shot with apertures between f:2.3 and f:3.2. Use of the 24mm lens was virtually unheard of, according to a 1947 NYT article, because of “the cruelty with which it exposes facial flaws in actors and actresses. Orson Welles employed it extensively in his notable Citizen Kane in 1940, but since then it has been largely relegated to the documentary field.” Toland, through experimentation, was able to get sharp focus in even the larger sets, which extended the length of two stages at the RKO-Pathé studio, a distance of 200 feet. For purposes of realism, Welles and Toland ordered that ceilings be built for the majority of their sets and planned “unusually low camera-setups, so that we could shoot upward and take advantage of the more realistic effects of those ceilings.” Another advantage of the ceilings, which were made of acoustically pourous muslin, was that microphones could be placed above them to avoid problems with shadows. In a Theatre Arts article, Toland noted that they spent four days perfecting the scene in which Mrs. Kane signs Thatcher's papers while young Charles plays with his sled in the snow. Citizen Kane was the first film to be printed on a newly developed fine grain positive, which, according to HR, “improves the fidelity of both sound recording and re-recording through removal of fine particles of silver nitrate that formerly dotted all positive prints.” Toland insisted on using the new fine grain release positive, and according to RKO memos, RKO president George J. Schaefer agreed to change the lab for the film to Consolidated from De Luxe, which could not do the job because the new stock required about twenty times the normal intensity of printing lighting. In recognition of Toland's contributions to the picture, Welles signed a waiver with the Screen Directors' Guild in Feb 1941, authorizing his own credit card to include Toland's photography credit. Photographic makeup and wardrobe tests for the production, which was then called “Orson Welles #3,” began on 16 Apr 1940, with Russell Metty as cameraman. Metty also shot tests on 26 Apr and 1 May, showing Welles at varying ages. According to LAT, the film was announced in May at RKO's annual convention in New York and at that time was called John Citizen, U.S.A. This title is not included in an RKO list of working titles, however. Toland is first credited for tests shot on 14 Jun 1940. On 19 Jun 1940, a test was shot with Welles, Joseph Cotten and Evelyn Meyers, in the role of “Susan.” Production records for 24 Jun 1940 indicate that Ruth Warrick also tested for the role of “Susan”; because no other source, contemporary or modern, including Warrick's autobiography, mentions that she was under consideration for the role, this may have been an erroneous entry. Dorothy Comingore, then called Linda Winters, the name she used in a number of films in the 1930s, made her first test on 1 Jul 1940 with Welles, William Alland and Terry Belmont , who was not in the final film. On 29 Jun 1940, the projection room scene in which “News on the March” is shown, was shot. It is listed in the RKO production records as a test, as were scenes shot on the 1st, 3rd, 6th, 22th, 23rd, 24th and 25th of Jul 1940. Scenes shot during this period that were kept in the final film include Thompson's first meeting with Susan; Kane's discovery of Susan's suicide attempt; Kane slapping Susan in the tent in the Everglades; Kane speaking from a flag-draped platform; Kane being interviewed on the boat deck; Susan confronting Kane in their Chicago hotel room; Susan's singing lesson with Signor Matiste; Kane shaking hands with Chamberlain; and Kane standing with Hitler and Goering. In later interviews, Welles explained that he shot these scenes under the guise of tests, so that once begun, the RKO front office, with whom he had been having difficulties, would find it hard to stop the film. Welles entertained the press at a party on 1 Aug 1940 with footage from the White House wedding party scene. The press speculated on the film's subject matter, which Welles purposely kept secret. Although NYT reported the official version--that the film “covers the last sixty years of the American scene” and that Welles's role was that of a “robber baron industrialist”--HR, on 29 Jul 1940, stated, “despite denials from the Orson Welles contingent, insiders insist Little Orson Annie's flicker is based on the life of a well-known publisher. Treatment of the personality is sympathetic throughout.” Principal shooting continued until 23 Oct 1940, with two halts due to illnesses of Toland and Welles. On 10 Aug 1940, during the scene in which Kane yells at Boss Jim Gettys on the steps of Susan's second apartment, Welles fell about ten feet and suffered a chipped ankle. For two weeks, he shot around himself and directed from a wheelchair. On days when Welles filmed scenes requiring a lot of makeup, he would report to work before dawn and hold conferences as makeup artist Maurice Seiderman worked on his face. On 30 Aug, the company worked through the night on a rewritten scene depicting Leland confronting Kane after Kane loses the election. Welles reworked scenes as he shot and often gave extras lines to speak that were not in the script. Considerable time was spent after 30 Oct 1940 with inserts, added scenes, special effects, retakes and a trailer. Beginning 20 Nov, Harry Wild took over as cameraman, shooting the trailer and some scenes in the newsreel, including the Union Square speaker and the Spanish generals with Kane. The final shot, of Alland in front of the hospital before his interview with Leland, was taken on 4 Jan 1941 by cameraman Russ Cully, who also photographed one day in Dec 1940. On 15 Jul 1940, Joseph I. Breen, director of the Production Code Administration, pointed out in a letter to RKO that one scene in the script was in violation of the Code because of its setting in a brothel. Despite the warning, Welles filmed the scene, which occurs after the party at The Inquirer office celebrating the acquisition of The Chronicle staff. The scene includes actresses Joan Blair and Frances Neal, playing “Georgie,” the madam, and “Ethel,” a prostitute whom Georgie introduces to Leland, respectively. This scene was not in the final film. Joan Blair does appear as one of the dancers in the party scene, however. Another scene was cut: in The Inquirer's composing room, during the night before Kane's first paper is to hit the streets, editor Carter resigns, and Kane commands the composing room foreman Smathers to remake the pages five minutes before they are to go to press. When Smathers objects, Kane shoves the forms of type onto the floor and tells him that after proofs are pulled, he will check the pages again and “then, if I can't find any way to improve them again--I suppose we'll have to go to press.” Smathers was played by Benny Rubin, who was originally listed in the credit titles. On 21 Jan 1941, after his scene was cut, a memo was sent from Richard Baer (Welles's assistant, who, under the name Richard Barr, later became a well-known theatrical producer and director) to Douglas Travers stating Rubin's credit must be eliminated. According to production reports, Ed Hemmer was also in the cut scene. Edgar Barrier was originally considered for the roles of Rawlston and Raymond. Glenn Turnbull and Carl Thomas, hired as a song-and-dance team for The Inquirer party sequence, participated in rehearsals but not in filming. Albert Frazier is listed in production files as a man in a gorilla suit for Xanadu zoo scenes, but no gorilla character appears in the completed picture. Joe Recht's voice was used in re-recording. Pat O'Malley's listing in the Dec 1940 Players Directory Bulletin includes Citizen Kane in his credits, but no confirming evidence concerning his participation has been located. Earl Seaman was scheduled to play a stagehand, but was not listed in the production reports. The scene in which cars drive along a beach on the way to the Everglades picnic was actually shot at Point Mugu, CA, and some shots of the exterior of Xanadu in the “News on the March” sequence were taken at Balboa Park in San Diego, and at Busch Gardens in Florida, according to RKO Production Records. Stock footage for the film was obtained from Pathé News, including segments entitled “Red Party, Strikes, Etc.,” “Graveyard of Ships,” “Fang and Claw” and “White Wings,” and from General Film Library, Inc., including segments entitled “San Francisco Earthquake” and “Spanish American War.” Notes dated 18 Apr 1940 on suggested shots to be included in the newsreel sequence state that the Congressional Investigating Committee scene would be a reproduction of an existing J. P. Morgan newsreel. Citizen Kane marked the screen debut of many actors, including Cotten, Warrick, Agnes Moorehead, Ray Collins, Erskine Sanford, Everett Sloane and Paul Stewart, all of whom had worked with Welles in theater productions or radio broadcasts. According to RKO records, Sloane was paid $2,400 “in consideration for shaving his head.” Citizen Kane was also the first film for composer Bernard Herrmann, who had worked with Welles on the radio. Although Van Nest Polglase got screen credit as art director, it was the practice at RKO for Polglase, head of the department, to get credit on all RKO films, no matter what his contribution. According to Welles, Perry Ferguson designed all the sets, which numbered over 110. Welles, in trade paper ads the day of the film's Hollywood premiere, gave thanks “to everybody who gets screen credit for Citizen Kane and thanks to those who don't: to all the actors, the crew, the office, the musicians, everybody, and particularly to Maurice Seiderman, the best makeup man in the world.” According to a memo dated 5 Nov 1940, Welles wanted to give screen credit to Seiderman, who later worked with him on Touch of Evil. RKO officials were reluctant to give screen credit for makeup and perhaps establish a precedent, and pointed out that giving credit to Seiderman, an apprentice, “might jeopardize his personal situation with the Union,” according to a 23 Nov 1940 memo. Welles continued to insist that Seiderman's name be included in the credits, until 13 Jan 1941, when a memo issued by Welles through Richard Baer dictated that makeup credits be eliminated. Welles also decided to remove credit for set decorations. Although Hugh McDowell was the soundman from 22 Jul through 3 Sep, he also did not receive screen credit. In an article written for NYT in May 1941, Herrmann revealed that Welles allowed him twelve weeks to write the score, a much longer time than was usually alloted to the composer. Herrmann was thus able to “work out a general artistic plan” and “to do my own orchestration and conducting.” Instead of writing the music after the film was completely shot, the practice with most Hollywood films, Herrmann was able to work as the film progressed, allowing for many sequences to be “tailored to match the music,” particularly the montages, for which he wrote complete musical numbers. Herrmann composed two main motifs: “One--a simple four-note figure in the brass--is that of Kane's power....The second motif is that of Rosebud. Heard as a solo on the vibraphone, it first appears during the death scene at the very beginning of the picture. It is heard again and again throughout the film under various guises, and if followed closely, is a clue to the ultimate identity of Rosebud itself.” Herrmann commented that he used “radio scoring,” musical cues lasting only a few seconds, a great deal, that “most of the cues were orchestrated for unorthodox instrumental combinations” and that sound effects were blended with music to intensify scenes. The music included in the “News on the March” segment, Herrmann noted, was taken from the RKO files. Work was completed by 18 Jan 1941, and a complete print was ready for screening. The film, as of 21 Jan, was 11,041 feet, or approximately 123 minutes, according to a report from editor Robert Wise. Subsequently, the film was cut to 10,734 feet, or 119 minutes. According to an RKO cost sheet dated 28 Mar 1942, the final cost of the film was $839,727. Before production, the budget was estimated at $723,800. The film was scheduled to have its premiere on 14 Feb 1941 at Radio City Music Hall, but complications set in after a screening given on 9 Jan 1941 for Louella Parsons, motion picture editor of the Hearst papers. According to DV, Parsons insisted on a screening after an article about the film appeared in Friday, in which Welles ridiculed her for previously praising him and stated, “Wait until the woman finds out that the picture is about her boss.” Friday subsequently allowed Welles space to deny that he ever spoke the quote, but meanwhile, Hearst editors were ordered to keep publicity, advertisements and reviews of all RKO films out of their newspapers. Parsons threatened RKO president George J. Schaefer that Hearst would bring a great deal of pressure on the motion picture industry if the film were released. According to NYT, Louis B. Mayer of M-G-M and Harry M. Warner of Warner Bros. were then contacted, and Hearst representatives began investigating the “alien” situation in Hollywood, “something about which the industry is most sensitive.” Adela Rogers St. John , a Hearst columnist, began gathering information for a story on Welles's romantic adventures, and a Congressional investigation of Hollywood was hinted at by Senator Burton K. Wheeler. In a statement printed in NYT in Jan 1941, Welles contended that the film “is not based upon the life of Mr. Hearst or anyone else. On the other hand, had Mr. Hearst and similar financial barons not lived during the period we discuss, Citizen Kane could not have been made.” In the previously quoted statement on the intent of the film, found in the RKO story files at UCLA, Welles noted that in order to show the many divergent opinions concerning one individual, he decided that his character should be “an extremely public man.” He considered using a fictitious president, but “deciding against this, I could find no other position in public life beside that of a newspaper publisher in which a man of enormous wealth exercises what might be called real power in a democracy....The history of the newspaper business obviously demanded that Kane be what is generally referred to as a yellow journalist.” Welles wrote that once he chose his subject, “it was impossible for me to ignore American history....My picture could not begin the career of such a man in 1890 and take it to 1940 without presenting the man with the same problems which presented themselves to his equivalents in real life.” In the foreword to a memoir by Marion Davies, Hearst's mistress, Welles notes that everything in Citizen Kane was invented except for the telegram Kane orders to be sent to his reporter in Cuba (“You provide the prose poems, I'll provide the war”), which was based on the well-known wire Hearst sent to illustrator Frederick Remington (“You make the pictures, I'll make the war”) and Kane's “crazy art collection.” While acknowledging parallels, Welles points out that Hearst was born rich and was the “pampered son of an adoring mother,” whereas Kane was born poor and reared by a bank. Welles states, “It was a real man who built an opera house for the soprano of his choice, and much in the movie was borrowed from that story, but the man was not Hearst.” Others have speculated that Kane is not so much a portrayal of Hearst as a composite of a number of powerful men of the time, including Samuel Insull, Joseph Pulitzer, Charles A. Dana, Joseph Medill Patterson, James Gordon Bennett II, Frank A. Munsey, Harold Fowler McCormick and Colonel Robert McCormick. Indeed, on 8 Nov 1940, photographs of a number of famous publishers including Hearst, Pulitzer, McCormick, Patterson, Lord Northcliffe, Lord Beaverbrook, Bonfils and Sommes were ordered for the film to be reproduced for the “News on the March” sequence. Welles contended that Susan Alexander “bears no resemblance at all” to Marion Davies, whom he calls “one of the most delightfully accomplished comediennes in the whole history of the screen.” Some modern sources claim that Hearst's pet name for Marion Davies' genitalia was “Rosebud” and that Hearst threatened to expose details of the sexual lives of personages in Hollywood if the film were released. According to HR, Hearst saw the film's script in Sep 1940 and “shot it back without a word.” As Kane's dying word “Rosebud” was in the script at that time, it is unclear why, if the story about “Rosebud” was true, he took no action until the film was completed. (In Mar 1941, in Welles's New York production of Native Son, a child's sled bearing the name “Rosebud” was used as a prop, according to HR.) According to an 8 Mar 1941 memo, Schaefer wanted a clearance title attached to the film. Two possible clearance titles suggested on 3 Apr 1941 were: “This is not the story of any man, be he living or dead. Kane, and all other characters involved in this picture are wholly imaginary” and “Citizen Kane is not the story of the life of any man. It is the story of the forces that move in the lives of many great men, as seen through the eyes of lesser men.” According to a modern source, Welles objected and wrote his own clearance title, which was added to the film and later deleted. It read, “Citizen Kane is an examination of the personal character of a public man, a portrait according to the testimony of the intimates of his life. These, and Kane himself, are wholly fictitious.” According to DV, the Hearst ban on mentioning or advertising RKO product ended on 30 Jan 1941 for all RKO films except Citizen Kane. Hearst's forces tried a number of tactics to stop its release, including, according to DV, stirring up the American Legion, Veterans of Foreign Wars and other patriotic groups; sending photographers to get “personal” pictures of Welles while he was at Palm Springs; and persistently inquiring at the draft board as to the reason Welles was not drafted. Welles, in a later interview, stated that he was warned one evening by a policeman not to return to his hotel room because an underaged, undressed girl and photographers had been sent there as a setup, a situation that could have resulted in a jail sentence. In Apr 1941, after a radio broadcast of His Honor, the Mayor, written and narrated by Welles, the Hearst papers launched an attack on “The Free Company” series, of which the broadcast was a part, and on Welles himself, whom they labeled Communistic and un-American. Welles replied in a statement to newspapers that the attack was unfounded and based solely on Hearst's displeasure with Citizen Kane. In Feb 1941, DV reported that a rift had occurred in RKO's board regarding whether the film should be released, and that Welles, who had 25% interest in the film, privately threatened to take legal steps if the release was delayed. After Radio City Music Hall declined to premiere the film, HR reported a rumor that Henry Luce, publisher of Time, offered one million dollars for the negative, intending to release it. Modern sources cite rumors that Louis B. Mayer, worried about Hearst's threats against the industry, tried to buy the negative from RKO in order to destroy it. By Mar 1941, after a number of special screenings, HR reported that “the guess of 98 percent of those who have seen the picture is that it will never be released--can't be released other than under a threat of suits that Mr. W. R. Hearst will level against any theatre showing the film.” On 11 Mar, Welles threatened to sue RKO for breach of contract and to attempt to obtain a court order to guarantee the picture's release if he did not receive proof within twenty-four hours that RKO would give the film an early release. Welles himself offered to buy the film, but RKO, after a preview to the trade press in Hollywood and New York on 9 Apr, scheduled the world premiere at the Palace Theatre in New York on 1 May. Subsequently, the film had its Hollywood premiere at the El Capitan on 8 May 1941. Critics exuberantly praised the film. HR called it “a great motion picture.” Bosley Crowther of NYT wrote, “Citizen Kane is far and away the most surprising and cinematically exciting motion picture to be seen here in many a moon. As a matter of fact, it comes close to being the most sensational film ever made in Hollywood.” FD stated, “In Citizen Kane, the cinema assures anew that its romper days are over and that it has attained man's estate.” They noted the “somewhat similar experiment with 'narratage' 'way back in 1933,” a reference to The Power and the Glory (1933, see entry), which, like Citizen Kane told its story in segments that jumped back and forth in time, and predicted Citizen Kane would have a more definite and lasting influence than that film had on the art and technique of cinema. John O'Hara, writing in Newsweek, commented that Citizen Kane was “the best picture he ever saw” and that Welles's performance as Kane made him “the best actor in the history of acting.” Although the film did well initially at the box office, it did not make back its cost. The film was selected as the best picture of 1941 by the New York critics and by Look magazine, and was cited as one of the ten best by a FD poll of exhibitors and the National Board of Review. Mankiewicz and Welles won the Academy Award for Best Original Screenplay, and the film was nominated for Academy Awards in eight other categories: Best Picture; Best Director; Best Actor (Welles); Art Direction (black and white); Cinematography (black and white); Film Editing; Music; and Sound Recording. Four of the actors in the film, Joseph Cotten, Dorothy Comingore, Ruth Warrick and Ray Collins, received contracts from RKO. The film was re-released on 25 May 1956, and was selected as one of the twelve best films of all time in Sep 1958 by a Brussels poll of 117 film historians from 26 countries. Subsequently, Citizen Kane was chosen as the best film in motion picture history in 1962, 1972 and 1982 by Sight & Sound polls of international critics. In Jan 1989, Turner Entertainment Co. announced it was beginning preliminary tests to colorize the film, but after reviewing the contract between RKO, Welles and Mercury Productions, Turner announced in Feb 1989 that they would discontinue the tests and would not colorize the picture because of Welles's “almost total creative control,” including the final cut, that was written into the contract. Turner subsequently re-released the film theatrically on 1 May 1991. In 2007, Citizen Kane was ranked 1st on AFI's 100 Years...100 Movies--10th Anniversary Edition list of the greatest American films, remaining in the first position it occupied on AFI's 1997 list. Modern sources list the following additional credits: Asst art dir Hilyard Brown; Sketch artist Charles Ohmann; Sketches and graphics Al Abbott, Claude Gillingwater, Jr., Albert Pyke and Maurice Zuberano; Matte artist Mario Larrinaga; Boom operator Jimmy Thompson; Sd eff ed T. K. Wood; Sd eng for sd eff Harry Essman; and Mus ed Ralph Bekher.
7501	dbpedia	2	14	https://willsloanesq.wordpress.com/2020/12/04/there-is-a-man/	en	There Is a Man	https://willsloanesq.wor…41.89.jpg?w=1200	https://willsloanesq.wor…41.89.jpg?w=1200	[ "https://willsloanesq.wordpress.com/wp-content/uploads/2020/12/citizenkane1941.89.jpg?w=1200", "https://willsloanesq.wordpress.com/wp-content/uploads/2020/12/7ffc8eb20f871021c9ba406608a615f5.jpg?w=1024", "https://willsloanesq.wordpress.com/wp-content/uploads/2020/12/orson_welles_paul_masson_pinot_chardonnay.jpg...	[ "https://www.youtube.com/embed/oXJnxClGamA?feature=oembed" ]	[]	[ "" ]	null	[ "Author Will Sloan" ]	2020-12-04T00:00:00	There are many movies I wish I could see again for the first time, and Citizen Kane is one of them, but I’m fortunate to have kept a clear memory of my first viewing. It was 2001, when I was 12 years old and in the final weeks of sixth grade. I fancied myself a…	en	https://s1.wp.com/i/favicon.ico	Will Sloan's Brilliant Thoughts	https://willsloanesq.wordpress.com/2020/12/04/there-is-a-man/	There are many movies I wish I could see again for the first time, and Citizen Kane is one of them, but I’m fortunate to have kept a clear memory of my first viewing. It was 2001, when I was 12 years old and in the final weeks of sixth grade. I fancied myself a budding Movie Expert™, so I was aware that it was directed by Orson Welles (from The Muppet Movie), that it was the officially sanctioned Greatest Movie Ever Made™, and that Rosebud was a (spoiler alert) sled. Like a lot of people, I felt intimidated by its reputation. I worried it would be slow and obscure, and that I wouldn’t “get it.” Eventually I rented it from the library and, six days later (the night before it was due), watched it. Here are a few things I remember about that first viewing. I was seriously impressed by the early “News on the March” newsreel, which seemed to lay out the entire plot in advance. (In fact, I even remember pausing the tape to go upstairs and tell my mom about it. I’m sure she was riveted.) Around the time of the famous Breakfast Montage, I realized that this stuffed-and-mounted Masterpiece was very entertaining. Around the time that Kane sat in the balcony for his wife’s opera debut, I realized that Welles, in addition to a great director, was also a great actor. And I remember the power of the closing scene at Xanadu, where the camera drifted over the many objects and artifacts accumulated over Kane’s life. It felt like I really had gone on a journey with this character. These are not groundbreaking insights, but they are pure and unaffected, so I try to hold on to them. Citizen Kane a great movie to watch when you’re young and interested in movies. Orson Welles was 25 when it was shot – wise and worldly beyond his years, but still 25 – and every scene has at least one unusual, playful, and/or surprising idea. There’s the newsreel, with its fake silent-movie footage scratched up from editor Robert Wise dragging the film across the floor. The way the camera tracks from the window to the table of Mary Kane’s house. The way the camera drifts through the sign and down the skylight to meet Susan Alexander. The cut between the young Charlie Kane saying, “Merry Christmas…” and his guardian, Mr. Thatcher, dictating, “…and a happy new year.” The dissolve from the photo of the Chronicle’s staff to the Inquirer’s party. The multiple perspectives on Susan Alexander’s opera debut. Kane walking towards his fireplace, revealing that the fireplace is much huger than it appeared at first glance. Kane walking past the mirrors. On and on. Complementing the film’s visual imagination is the grace, energy, and economy of its storytelling. Consider how the film depicts Kane’s gubernatorial campaign: we see Jed Leland (Joseph Cotton) standing in the backseat of car in an alley – laundry hanging on clotheslines above him – stumping to the small crowd for “the fighting liberal, the friend of the workingman” Charles Foster Kane to defeat “the evil domination of Boss Jim Gettys.” Kane “entered this campaign…” (smash cut) “…for one reason only!” Kane is now leading a massive rally at Madison Square Garden. He crows about his rise in the polls; brags that he “makes no ‘campaign promises’” before swearing his allegiance to “the working man and the slum child”; and finally makes a big promise to arrest and convict Boss Jim Gettys. We see Leland in the audience, looking on skeptically before finally rousing himself to applause. We hear Kane’s son ask his mother, “Is pop governor yet?” Everything you need to know about this campaign – its animating ideas; how and why it gained traction; why Kane is ultimately doomed to fail – is laid out in two minutes and 28 seconds. For a budding cinephile, Kane encourages new ways of thinking about movies. A rare instance of a Hollywood studio granting a director complete creative control, it is certainly one of the pillars of auteurism. It introduces themes (the loss of an Edenic past; betrayals between longtime friends; a Great Man corrupted by power and humbled by circumstance) and visual ideas (long takes with complex movement; low-angle shots with actors towering over the camera) that Welles would continue to develop throughout his career. As the one untouched masterpiece that Welles completed with studio resources before a lifetime of compromise and frustration, Kane is the foundation for two competing narratives of Welles’ life: the self-destructive genius who never lived up to his potential, or the great artist who fought a valiant but quixotic struggle against know-nothing bureaucrats. More on this later. At the same time, there is no better example of filmmaking as a collaborative enterprise. The film is unthinkable without Gregg Toland’s cinematography, Robert Wise’s editing, Bernard Herrmann’s music, Maurice Seiderman’s makeup, Van Nest Polglase and Darrell Silvera’s art direction, Vernon L. Walker’s special effects, the performances of the Mercury Players, and of course, Herman J. Mankiewicz’s writing. In the case of Toland, Welles was so grateful for his contribution that he made the unprecedented decision to give himself and Toland equal billing in the closing credits. The contributions of these artisans are enormous and easy to identify. No other Welles movie has a passage of dialogue quite like Mankiewicz’s monologue about the girl in the white dress. But it’s also true none of these artisans ever made another movie like Citizen Kane. * A few months after I saw Kane for the first time, it was finally released on DVD, and I found the two-disc Special Edition™ under the Christmas tree. That day, I listened to the commentary by Roger Ebert, who comprehensively explained how the film synthesized a decade’s worth of technical innovations, from deep-focus cinematography to various optical effects. Ebert was a great appreciator of Kane, but disc two contained a harsher counterpoint: The Battle Over Citizen Kane (1995), a feature-length documentary that compares Welles’ rise and fall with that of Kane’s alleged source: the media baron William Randolph Hearst. The Battle Over Citizen Kane is pretty terrible, but a documentary about two fascinating people can’t help but be fascinating. It’s at its best laying out Welles’ origin story: a child prodigy who had already revolutionized theatre and radio by his mid 20s. Hearst’s story, meanwhile, is that of a yellow journalist whose papers directly incited the assassination of President McKinley. The documentary keeps cutting back and forth between these men – one a left-wing artist who spent his life struggling to finance his work, the other a right-wing oligarch who rested comfortably on his bully pulpit – as if they were somehow two sides of the same coin. Apparently they both had large egos. The thesis of this Academy Award-nominated documentary is that Kane was both men’s undoing: Hearst would forever be defined by the film he tried to suppress, and Welles, by picking such a powerful enemy, stalled his own momentum. At the conclusion, the narrator says: “In later years, Welles was a vagabond, trying to patch together his low-budget films. He begged or borrowed from everyone he knew, including $250,000 from an old pal, Charlie Lederer—Marion Davies’ nephew. The money came from her estate. Welles never paid it back. He’d do bit parts for money—ads for airlines or Paul Masson wine—between fits of temper at the journeyman filmmakers or junior execs who were now directing him. Sometimes he was so overweight he had to be ferried about in a wheelchair. He hated the fat man jokes. He hated it worse when people asked him what had he done with himself after Kane.” While the makers of The Battle Over Citizen Kane certainly knew better, most people watching would have assumed that Welles had ceased to exist as an artist. Anyone with any knowledge of Welles knew that his follow-up, The Magnificent Ambersons, had been “butchered” by the studio – although there has never been a shortage of people willing to blame this artistic atrocity on Welles (for travelling on government assignment to Brazil to make a film for Pan-American wartime relations; for making a movie that was simply too downbeat for mainstream consumption; for being egotistical and too big for his britches, etc.). His subsequent Hollywood films carried a faint air of disrepute: The Stranger was a straightforward entertainment; Macbeth was shot in 23 days for a Poverty Row studio; Lady from Shanghai was a lurid, garish thriller, and a conspicuous flop; and Touch of Evil was released as a B-movie. His late movies (The Trial, Chimes at Midnight, F for Fake, Filming ‘Othello’) were low-budget, independent productions that received spotty releases. All of these movies chafed against the popular perception of what the maker of The Greatest Movie Ever Made™ ought to be doing. Meanwhile, most of the projects that occupied his creative energies in his last 20 years, notably The Other Side of the Wind, remained incomplete in archives scattered around the world. Even serious cinephiles would probably have been more familiar with Welles from his wine ads than his later films. Even when I started looking into him, only a few of his films were readily available on DVD. Sometime in 2002 I found a box set of three public domain Welles movies – The Stranger, Mr. Arkadin, and The Trial – in the Walmart bargain bin, released by a company called Delta Laserlight. The Stranger is a slick commercial enterprise that Welles made to prove he could deliver a film on time and on budget, but the other two are rough-edged independents, containing some of the visual and thematic motifs familiar from Kane but distorted and abrasive. Each DVD contained an unhelpful introduction by Tony Curtis, who read from a teleprompter and kept mispronouncing “Arkadin.” The ensuing 18 years have seen a dramatic expansion of the availability of Welles’ work. We’ve had DVD box sets collecting multiple cuts of Touch of Evil and Mr. Arkadin, including versions assembled approximately to Welles’ specifications (revealing his artistic instincts to be consistently sharper than his financiers’). His once-neglected essay film F for Fake was resurrected by Criterion in 2005, and has since ascended to the canon. Almost all of his other major films have been given deluxe home-video releases, notably his extraordinary Shakespeare adaptation Chimes at Midnight, which was freed after decades of litigation. Most miraculously of all, Netflix put up the cash to complete his legendarily unfinished The Other Side of the Wind. The 2018 release of this state-of-‘70s-Hollywood time-capsule revealed a dense, challenging found-footage film that was the stylistic inverse of Kane, but also unmistakably the work of the same author. Other facets of his creativity – his radio and television work, his visual art, even his magic – have become more accessible. A steady stream of books have added new shading to his career: Joseph McBride’s What Ever Happened to Orson Welles?, Alberto Anile’s Orson Welles in Italy, Simon Callow’s Hello Americans and One-Man Band, Catherine L. Benamou’s It’s All True: Orson Welles’s Pan-American Odyssey, Gary Graver and Andrew J. Rausch’s Making Movies with Orson Welles, Josh Karp’s Orson Welles’s Last Movie, and Jonathan Rosenbaum’s Discovering Orson Welles, to name only a few. What has emerged is a broader, more nuanced understanding of Welles. It has become clearer how, having lost Hollywood resources, he built a new style from the ground up. Shooting in fragments over years in multiple countries with revolving-door casts, he was forced to invent a harsh, rapid editing rhythm that culminated with the collage-like The Other Side of the Wind. In later years he formed an important alliance with Gary Graver, an erstwhile B-movie cinematographer and Z-movie director whose rough-and-ready skills served the older Welles’ needs as comfortably as Gregg Toland did in 1941. There is also now a better understanding of Welles as an independent artist. It is important to understand that if Welles couldn’t be allowed to complete The Magnificent Ambersons on his own terms, he eventually decided that he wouldn’t survive making more movies like The Stranger. Regarding the perception of Welles as a failure, Jonathan Rosenbaum wrote: “The usual corollary of this attitude is a reading of Citizen Kane as a Hollywood picture rather than the first feature of an independent filmmaker that happens to use certain Hollywood resources.” Welles’ self-effacing quote “I started at the top… and have been working my way down ever since” has been often repeated, but more accurate is what he said when accepting the AFI Lifetime Achievement Award in 1975: “A maverick may go his own way, but he doesn’t think that it’s the only way, or ever claim that it’s the best one—except maybe for himself. And don’t imagine that this raggle-taggle gypsy is claiming to be free. It’s just that some of the necessities to which I am a slave are different than yours. As a director, for instance, I pay myself out of my acting jobs. I use my own work to subsidize my work. In other words, I’m crazy… but not crazy enough to pretend to be free. But it’s a fact that many of the films you’ve seen tonight could never have been made otherwise—or, if otherwise, well… they might have been better, but certainly they wouldn’t have been mine.” In later years, his willingness to shill for cheap wine and act in the likes of Butterfly fueled his image as a trainwreck. If you’ve ever endured a soul-crushing day job while pursuing creative projects at night, you can relate. This was not widely understood in Welles’ own lifetime. In 1970 and 1985, two critical biographies by Charles Higham seriously dented his reputation, built on the idea that Welles’ career had been ruined not by the philistines who butchered Ambersons, but rather by his own “fear of completion.” It is true that Welles left too many of his self-funded projects incomplete, although a more sympathetic analysis is that since he was paying for his own work, he could make it entirely on his own terms, and release it (or not) whenever he was ready. If, for example, he was embarrassed by The Deep (his unfinished adaptation of Charles Williams’ Dead Calm), he could simply put it away. This film, shot between 1966 and 1969 exists as an incomplete workprint in the Munich Film Museum, but has still never been commercially released. He apparently felt he couldn’t afford a critical drubbing, but it probably hurt his reputation more to have left it unfinished. * Now that Welles is better understood and appreciated, Kane has begun to lose its place as the focal point of his career, and the absolute centre of film culture. In 2012, it was finally dethroned from the #1 spot in Sight & Sound’s poll of critics to determine “the greatest movies of all time” – a position it had held every decade since 1962. An accompanying essay by Nick James noted, “Kane is no longer the immovable object of cinema appreciation,” and speculated that Chimes and Midnight and Touch of Evil might actually be superior, concluding: “Kane is dead. Long live Welles.” The same issue included an appreciative essay by Simon Callow on F for Fake, the film at the opposite end of Welles’ filmography, assembled largely out of repurposed footage and no less dazzling in its own way. I’ve seen Citizen Kane at least 20 times since that first viewing, and as with all great movies, it’s not the same as when I first saw it. As a 12-year-old, I interpreted it simply as a story of a dynamic young idealist corrupted by money and power (the turning point, it seemed, was when he grew a moustache). I must not have been paying attention to the part where Kane tells his hated former guardian Mr. Thatcher that, even while crusading against the fat-cats who run the Public Transit Trust, he still personally owned stock in the company. “You see I have money and property. If I don’t look after the interests of the underprivileged, maybe somebody else will, maybe somebody without any money or property and that would be too bad.” This bit of information is bookended by the speech Jed Leland gives Kane after the failure of his gubernatorial bid – a passage of dialogue whose contemporary relevance needs no elucidating… “You talk about the people as though you own them, as though they belong to you. Goodness! As long as I can remember, you’ve talked about giving the people their rights as if you could make them a present of liberty as a reward for services rendered. Remember the working man? He’s turning into something called organized labor. You’re not gonna like that one little bit when you find out it means that your working man expects something as his right, not your gift, Charlie. When your precious underprivileged really get together, oh boy, that’s gonna add up to something bigger than your privilege and I don’t know what you’ll do. Sail away to a desert island, probably, and lord it over the monkeys.” Admittedly, we don’t see a lot of the “working man” in Citizen Kane. The closest we get is poor Susan Alexander, an ordinary girl whose life is hijacked by Kane’s and who lives much of her life as his private property. I anticipate that Kane will drop further in the rankings on the next Sight & Sound poll. In some ways, this movie about an oligarch who fancies himself a liberal is more vital than ever, but canonical movies about the souls of oligarchs are not exactly the flavour of the month. One entity that does still have a vested interest in Kane’s centrality is WarnerMedia, the company that owns the RKO library. The official Warner Bros. “70th Anniversary Edition” Blu-Ray of Kane comes with a schlocky booklet that offers such pearls of wisdom as “The exuberance of the young director began to rapidly fade,” and, “Welles continued to work at the craft of filmmaking until his death in 1985, trying in vain to recapture the magic of his youth, not so unlike Charles Foster Kane.” Keep in mind that this unbelievably hacky sentence is from the film’s official Blu-Ray release. To WarnerMedia, Welles ceased to matter because he could not thrive in a company like WarnerMedia. It’s the system that’s correct, and it’s Welles’ fault for not adapting to it. Chimes and Midnight and F for Fake are not studio productions, and therefore do not exist. A digression: lately, I’ve found myself unexpectedly moved by the #ReleaseTheSnyderCut campaign. The subject of this genuinely grassroots effort is Justice League (2017), the misbegotten superhero buffet that was credited to director Zack Snyder but largely reshot by Joss Whedon. The version released to theatres is an obviously compromised mishmash of two competing sensibilities, and rumours circulated that a more coherent expression of Snyder’s vision still existed in rough-cut form. Fans of Snyder petitioned, protested, and spammed the WarnerMedia corporate Twitter accounts to #ReleaseTheSnyderCut, to the point that the stars of Justice League and even Zack Snyder himself joined in. Eventually they relented and hired Snyder back. Now Snyder is currently preparing not simply a rough cut but a dramatically expanded version of his original footage, with a budget of at least $70 million. In my opinion, this is an unambiguously good thing. Compare the Zack Snyder fans to the Marvel fans who primarily value the rigorous, top-down quality control of the Marvel Cinematic Universe, wherein filmmakers ranging from Kenneth Branagh to Ryan Coogler all make movies that look and feel exactly the same. The business model of Marvel Studios and its parent company, Disney, is to minimize the human factor as much as possible. I respect these Zack Syder fans for standing up for an artist’s personal vision against a powerful corporation. By the way, I think Zack Snyder is a very bad artist, but that doesn’t matter. * Herman J. Mankiewicz’s contribution to Kane’s screenplay became the subject of scrutiny in 1971 when Pauline Kael published “Raising Kane” in The New Yorker. This two-part essay alleges that, despite sharing credit with Welles as co-writer, Mankiewicz was essentially the sole author of the Citizen Kane screenplay, and also that Welles conspired to remove Mankiewicz’s name from the film. Anyone familiar with Kael’s career would have understood the real agenda of “Raising Kane”: to debunk the Auteur Theory once and for all. The Auteur Theory was first proposed by Francois Truffaut in the pages of Cahiers du Cinema, and then brought to America by Kael’s arch-nemesis Andrew Sarris, and advanced the then-radical notion that certain Hollywood studio directors (Alfred Hitchcock, Howard Hawks, John Ford etc.) imposed consistent personal style and meaning on their films to the point where they could be considered “authors,” and even artists. In a time when critics praised European masters like Bergman and Antonioni for elevating film to an art form, Sarris argued there was plenty of personal art already happening from craftsmen in the Hollywood factory. If Kael’s career can be boiled down to one line, it is this oft-quoted one: “Movies are so rarely great art that if we cannot appreciate great trash we have very little reason to be interested in them.” A seemingly populist sentiment on the face of it, Kael’s principle ultimately serves to uphold hierarchies of high and low – reassuring middlebrow readers that it’s okay to enjoy “trash” while also not needing to engage with it on any serious level. In my humble opinion, this attitude is a dead end. The limitations of the Auteur Theory are many and well-understood, but I’d rather be with Andrew Sarris looking for art in the crevices of a Phil Karlson movie than whatever Kael was doing. In “Raising Kane,” Kael implicitly sought to debunk the Auteur Theory by revealing that Hollywood’s “greatest auteur” was not the sole or even primary author of his greatest achievement. Her first strategy was to position Kane not as an unusual case of an artist being given free reign at a studio, but actually as a studio product in the lineage of 1930s “newspaper comedies.” Her second and more serious strategy was the allegations about Mankiewicz. Kael’s claims were pretty thoroughly debunked when historian Robert Carringer interviewed surviving collaborators and studied drafts of the screenplay for his monograph The Making of Citizen Kane. To put it briefly: Mankiewicz wrote a sprawling first draft; Welles then revised it, streamlined it, and introduced the flashback structure. This is not even counting such intangibles as the conversations the two men would have had before and during the writing of Mankiewicz’s first draft. It’s worth noting that Carringer was, on the whole, unsympathetic to Welles. The thesis of The Making of Citizen Kane is that Kane towers above the rest of Welles’ filmography because of the contributions of his skilled studio collaborators. Meanwhile, Kael’s discredited claims continue to live on: the aforementioned Kane Blu-Ray booklet includes the sentence, “How much help [Mankiewicz] had from Welles was open to debate.” This week sees the release of David Fincher’s Mank, a biopic of Herman J. Mankiewicz. I haven’t seen it yet, and so can’t speak to its quality. Those who have say that Welles is only a peripheral character, but that the movie still finds a small amount of time to repeat Kael’s allegations. Towards the end of The Battle Over Citizen Kane, editor Robert Wise observes that Charles Foster Kane’s fate was not unlike that of Orson Welles: both had a moment of great youthful promise, following by a protracted decline. Wise was one of the RKO employees tasked with shooting the incongruous “happy ending” of The Magnificent Amberson that was imposed while Welles was in Brazil, and Welles never forgave him. Wise eventually became a prolific and respected director in his own right, with such films as The Sound of Music, West Side Story, and Star Trek: The Motion Picture to his credit. He thrived in the studio system. Would you rather be the director of Chimes at Midnight or The Sound of Music? Or, for that matter, The Girl with the Dragon Tattoo?
7501	dbpedia	3	58	https://industrialscripts.com/citizen-kane-ending/	en	What’s SO Good About The Citizen Kane Ending?	https://industrialscript…nding-Scene.jpeg	https://industrialscript…nding-Scene.jpeg	[ "https://www.facebook.com/tr?id=712256225531761&ev=PageView&noscript=1", "https://industrialscripts.com/wp-content/uploads/2020/06/Screenshot-2020-06-19-14.42.38.png", "https://industrialscripts.com/wp-content/uploads/2020/12/1250-x-250-IS-Logo-Trusted-By-White-Trans-1.png", "https://industrialscripts.com/wp-...	[]	[]	[ "" ]	null	[ "Industrial Scripts", "Paul Boswell" ]	2022-08-30T17:20:00+00:00	It's often mentioned as one of the best endings of all time, but what really is so good about the Citizen Kane ending scene? We take a look.	en	https://industrialscript…icon-1-32x32.png	Industrial Scripts®	https://industrialscripts.com/citizen-kane-ending/	Citizen Kane; a classic piece of cinema still studied in film schools throughout the world today. Written by Herman J. Mankiewicz and Orson Welles, it was directed by Orson Welles, who also took the starring role. The 2020 Netflix movie Mank even tells the remarkable story of how the film was created back in 1941. It’s the ending though, in particular, that stands out as one of the most iconic and cited examples of great storytelling in cinema history. But why? What makes it an ending people still discuss today? Well, in this article we take a look at what is so good about the Citizen Kane ending scene and ending overall. “Rosebud” What is “Rosebud”? The long search is finally over, or so it seems! A reporter embarks on a journey to discover the meaning of protagonist Charles Foster Kane’s dying word, “Rosebud”. The story is depicted through flashbacks told by the significant people throughout Kane’s life. Each story reveals more about Kane as a person. However, it brings us no closer to the pivotal question asked. The truth is nobody in Kane’s life knows the significance of “Rosebud”. But, in the final scene, everything finally comes together. The plants are paid off, and the character flaws reinforced throughout the film culminate in a natural but dramatic manner. Most exciting is the big reveal. At the very last moment, the film appears to have reached its end. But just as the credits are expected to appear, there it is! The riddle is solved and we have an answer to what “Rosebud” means. Introducing Citizen Kane‘s Ending Scene Kane’s butler, in charge of the residence for the past eleven years, claims to have heard Kane mention “Rosebud” on two occasions. Once after Kane’s second wife Susan Alexander-Kane leaves him, and the final time on his deathbed. This employee provides the final flashback which naturally segues into the Citizen Kane ending scene. Picking up immediately from where Susan Alexander-Kane left off with her flashback, this is notably the final piece of the jigsaw in the puzzle of Charles Foster Kane. Scenes of Symbolic Destruction The Citizen Kane ending scene (or sequence) begins with a very memorable cockatoo screeching horrifically loud. It’s apparently completely irrelevant to the story. Welles has only ever commented on this as a ‘jump scare’; a playful way to shockingly alert any bored or distracted viewers. This scene is an important one and should have your full attention. Perhaps, Welles is trying to show us that. However, it also potentially acts as a metaphor for his wife, a bad opera singer. Moreover, it symbolizes his pain and insult as she walks out on him. Either way, it’s an alerting start to an important and powerful scene. The scene in which Kane destroys the bedroom in anger after Susan leaves him is one of the most famous scenes from the film. It’s a visual representation of how abandonment destroyed his world. And it ultimately leads to Kane rediscovering the snow globe. This, in turn, triggers the memory of his original abandonment by his mother. The discovery of the snow globe is the key to the Citizen Kane ending, both figuratively and literally. It is where Kane is reminded of a simpler time. Here, he played in the snow as a young boy just before his innocence and childhood would be gone forever. At this point in the story though, the meaning of the snow globe or the definition of “Rosebud” is still unknown to the audience. This scene provides the only other mention of “Rosebud” by Kane. And it purposely resembles the beginning of the film; a dying Kane holding a snow globe whilst uttering the word “Rosebud”. Sleds and Snow Globes When Kane first meets Susan, the snow globe is visible in her apartment. As they get to know one another Kane reveals he was en route to view his mother’s possessions that have been kept in storage since her passing. So it could be argued that here the snow globe caused a subconscious connection between Susan and Kane’s mother. The snow globe is peacefully familiar to Kane as the scene inside matches that of his childhood memory of his last day with his parents. The scene in which Mr Thatcher collects Kane shows the audience Kane’s abandonment and his resistance to give up his family. The use of the sled as a weapon is an iconic example of visual language. It is no accident that Kane uses the sled to create a barrier between himself and Thatcher. This moment directly correlates to the Citizen Kane ending (we’ll discuss this further down). In the Citizen Kane ending scene, a sled is tossed into a fireplace with the word “Rosebud” on it. This is the big reveal to the audience. In the final moments, it answers the question we’ve been asking for the film’s entirety – “what is Rosebud?” An Answer From the Fire The character in search of the answer will now never know as the only trace of evidence begins to burn away. Fortunately, the audience is able to have closure on the story as the sled is recognizable from the childhood scene in which Kane plays in the snow. When Kane utters “Rosebud” after Susan leaves him, it reveals his inability to ignore the person he has now become as opposed to the person he might have been. Kane’s resentment towards Thatcher for taking him from his home, and his general despise of wealth, is subtly present throughout the film. I always gagged on that silver spoon. If I hadn’t been very rich, I might have been a really great man. Charles Foster Kane As previously mentioned, the sled once served as a barrier between Kane and Thatcher. Now Kane is feeling existentially lost, he longs for his sled as comfort. Psychologically, he desires to reinforce the barrier between the carefree boy and the cold wealthy man he once feared. As an old man recognizing he has now become the cold wealthy man himself, Kane tears up as he reflects on the loss of his childhood purity. It is suggested the remainder of his short time left will be spent wallowing in his self-fulfilled prophecy of loneliness. Kane’s dying word suggests his final thought was of his childhood sled. His wealth, fame and collective fortune proved to be of no comfort or happiness in the end. Ultimately, Kane longed for his humble childhood and its simplicity. Significant Shots During Citizen Kane‘s Ending The way the final scenes are stylized brings the tone of the film to its darkest point. A large gothic-type mansion exhibits the large empty space that Kane desperately hopes to fill. Alas the smaller he grows by comparison. The size of the residence is truly exploited to magnify the depth of Kane’s loneliness. As Susan leaves Kane, he simply stands and watches her leave. Each escaping footstep creates only more empty space for him. Suffering in silence, he witnesses the great length she goes through in order to get away from him. After Kane’s breakdown in which he destroys the bedroom, he leaves the room and navigates his way through the castle. It’s unclear where he is going or why he leaves. Something that is explicitly clear is Kane’s many reflections. As he passes an infinity mirror, the image of himself all alone is forced upon Kane again and again. However, Kane gives no attention to the mirror and quite clearly looks away. This is the last we see of Kane in the film. This works as an accurate metaphor for both Kane’s narcissism and his eternal loneliness, that which will forever exist within his pleasure dome, his palace. One of the final shots in the Citizen Kane ending scene shows the sled that Kane plays on as a child. Not coincidentally, it is next to a picture of a young Kane and his mother. Amongst the vast collection of expensive statues and collectables, it is insignificant until it is removed from the heap and tossed into the furnace. The following shot is the reveal of the sled and its significance. “Rosebud”! Understanding “Rosebud” Mr Kane is a man who got everything he wanted then lost it. Maybe “Rosebud” was something he couldn’t get, or something he lost. Anyway, it wouldn’t have explained anything. I don’t think any word can explain a man’s life. No, I guess “Rosebud” is just a piece in a jigsaw puzzle. A missing piece. Jerry Thompson The metaphor of a man’s life being that of a jigsaw puzzle, with all the different pieces adding up to a full picture, is mentioned multiple times throughout the film. The film ends with the dramatic irony of the missing piece being burned away. As the black smoke ascends to the heavens, the final trace of “Rosebud” and Kane’s pain and suffering disappears. Thus cleansing the castle of his torturous memories; memories that will only ever be known to Kane himself. The Man and Boy The Citizen Kane ending scene rings so powerfully because it speaks to a duality at the heart of everyone; the adult they’ve become and the child they once were. Citizen Kane does this on an epic scale. Kane himself is a grandiose man, with his achievements, successes, failures and material trappings at an extreme. The ending, in general, shows this perfectly. He’s isolated in his mansion, surrounded by people but completely alone. He has accumulated vast wealth but still remains empty. Moreover, through all the possessions and trappings of a rich life, there lies one he can’t shake and wishes to hold onto more than any other – his childhood sled. This juxtaposition – between a man of wealth and accomplishment and a longing for a lost childhood – is a tragic one. And it’s an equation many can relate to. We all hold onto the objects that were important to us as children. More importantly, however, there are always moments in life which prove to be a fork in the road. And Kane being taken away from his family is such a moment. Uttering “Rosebud” on his deathbed proves the essentialness of this pivotal memory and moment to him. Many can relate to wondering what could have been and wanting to go back to that sense of innocence; a time when the most important thing in the world was joyously playing on a sled, with family watching on in the background. Everything and Nothing The Citizen Kane ending also, in a sense, critiques the American dream. Kane is a man who has achieved almost everything anyone can imagine in terms of wealth and material possessions. And the ending demonstrates this as much as any other part of the film. But it doesn’t matter to Kane. He still remains alone and he still longs for a lost childhood or the potential of another life. The Citizen Kane ending laughs in the face of any suggestion that money and success buy happiness. Would Kane have muttered “Rosebud” on his death bed if he’d never been taken away as a child? We’ll never know. But the mystery is part of what makes the Citizen Kane ending so powerful. What is So Good About the Citizen Kane Ending? To say Citizen Kane was good for its time is an understatement. It is fair to say that very few films have proved to stand the test of time as successfully. The Citizen Kane screenplay tells an epic story, filled with flawed, three-dimensional characters and a clear and engaging plot. All the well-placed plants during the narrative are executed expertly and pay off perfectly in the final scenes. The character arc is complex whilst natural and fulfilling. These elements make it a brilliant and engaging story from start to finish. Most importantly though, a bittersweet end is usually a strong tool to stir up emotion in an audience. The Citizen Kane ending does this very successfully. By revealing “Rosebud” when it does the film achieves two things: it answers the story’s main question and creates sympathy for Kane right at the last minute. This is the perfect example of how to end a film compellingly. The audience is given the answers they’ve sought throughout the film. However, they’re also left with a sense of mystery. We’re left grasping for something, wanting to know about Kane’s depth and gaining a heartbreaking insight right at the death into the myths that made the man. In this respect, the Citizen Kane ending pulls off the perfect balance needed for a great ending; resolving the story but leaving us desperately wanting more. –What did you think of this article? Share It, Like It, give it a rating, and let us know your thoughts in the comments box further down… – Struggling with a script or book? Story analysis is what we do, all day, every day… check out our range of script coverage services for writers & filmmakers. This article was written by Dom McSherry and edited by IS staff.
7501	dbpedia	3	23	https://www.northjersey.com/story/entertainment/columnists/jim-beckerman/2021/04/21/citizen-kane-age-80/7286695002/	en	Citizen Kane turns 80: Is it still the greatest?	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "http://videos.usatoday.net/Brightcove3/29906170001/201611/1379/29906170001_5205523362001_5205518811001-vs.jpg?pubId=29906170001", "https://www.gannett-cdn.com/appservices/universal-web/universal/icons/icon-play-alt-white.svg", "https://www.gannett-cdn.com/authoring/video-thumbnails/6cc0b477-a1db-4928-9cb4-cccd...	[]	[]	[ "" ]	null	[ "Jim Beckerman, North Jersey Media Group", "Jim Beckerman" ]	2021-04-21T00:00:00	\	en	https://www.gannett-cdn.…ages/favicon.png	NorthJersey.com	https://www.northjersey.com/story/entertainment/columnists/jim-beckerman/2021/04/21/citizen-kane-age-80/7286695002/	"Citizen Kane," which celebrates its 80th birthday May 1, is the Muhammad Ali of movies. The Greatest. You can argue otherwise — just as you can argue that Lincoln isn't the greatest president, "War and Peace" isn't the greatest novel, Billie Holiday isn't the greatest jazz singer. People do. But it doesn't make the film loom any less large. Attempts to de-throne it make news from time to time: as when a 2012 "10 Best Movies" poll from Sight & Sound magazine bumped "Citizen Kane," the traditional champion, to the No. 2 slot, and gave Hitchcock's "Vertigo" the crown. It caused talk, briefly. Beckerman: Oscar-nominated 'Minari' is a movie for our moment More: Shakespeare in lockdown: the Bard had his pandemic too More: William Fox, namesake of national news network, marched to his own political drum But the stature, even now, of Orson Welles' 1941 classic is indicated by the fact that "Mank," the drama about the writing of "Citizen Kane" that led this year's pack of Oscar nominees — 10 nods, including best picture (the awards telecast is 8 p.m. Sunday on ABC) — isn't even the first movie made about the making of "Citizen Kane." It isn't even the second. "The Battle Over Citizen Kane," a 1996 documentary, and "RKO 281," a 1999 HBO film, both covered this ground earlier. Pretty thoroughly, you might think. But it wasn't enough. It didn't curb the appetite for more about "boy genius" filmmaker Orson Welles, about William Randolph Hearst, the powerful media mogul whose anger he dared by making a thinly-disguised biopic, and Herman J. Mankiewicz — "Mank"— the outrageous, sozzled screenwriter who was caught in the crossfire (played in the new film by Gary Oldman). The making of "Citizen Kane" is one of the greatest stories about the movies. But no one would want to tell it, if "Citizen Kane" didn't also happen to be the greatest movie. What makes it so? There are a lot of ways to answer that question. But one is to simply say that it is the moviest movie. It's the film that celebrates, more than any other, the medium itself. It's a love letter to the movies — everything they are, everything they can do. Orson Welles — all of 26 when "Citizen Kane" premiered — had already made a huge name for himself by pushing theater and radio to their limits. On stage, he had set "Julius Caesar" in fascist Italy and cast a Haitian "Macbeth" with African-American actors — commonplace ideas, now, but jaw-dropping to 1930s audiences. His experiments in making radio more vivid had reached a notorious climax when his 1938 "War of the Worlds" broadcast convinced a lot of listeners that squid-tentacled beings from the planet Mars had actually invaded Earth. Hollywood, and bust So when Welles arrived in Hollywood — given unheard-of carte blanche by RKO studios, who were desperate for a hit — it naturally followed that he would be making The Ultimate Movie. He went into it with his usual gusto. "A movie studio is the best electric train set a boy ever had," he memorably said. His Ultimate Movie would have everything in it — all he'd learned about staging from the theater, all he'd learned about sound from the radio, all that directors on multiple continents had learned, over 40 years, about making movies. From Germany, he borrowed expressionism: grim gothic sets, shadowy lighting, dollying cameras and odd camera angles (he famously gave his sets ceilings, and shot up from the floor so they would be visible). From the Soviet Union, he borrowed montage: the quick, nervy editing in such sequences as Susan Alexander's (Dorothy Comingore's) succession of disastrous opera performances. From American filmmakers, he took action, pacing. He is said to have screened John Ford's 1939 western "Stagecoach" 40 times before making "Citizen Kane." From Georges Méliès, the turn-of-the-century French magician turned filmmaker, he borrowed illusion. "Citizen Kane" is full of cinematic tricks: none so breathtaking as the moment when the camera seems to actually pass through a glass skylight as it swoops down into a deserted nightclub. And going back to the origins of cinema, he borrowed one thing that had been missing from most movies ever since: sensation. The first movie audiences had screamed in fear when the locomotive seemed to be rushing toward them. They gasped when "Little Egypt," the hoochie coochie dancer from the 1893 World's Fair, seemed to shimmy right in front of them. They were scandalized, in 1896, when the first movie actors kissed in close-up. These films caused a commotion. Welles provided, for 1941, an almost equivalent shock. He made a "tell-all" movie about a powerful, dangerous public figure — William Randolph Hearst was the Rupert Murdoch of his day — and dared him to do something about it. He did, of course. Which is why "Citizen Kane," despite rave reviews, opened in only a few theaters, and was mostly overlooked at the Academy Awards (it did win a best screenplay Oscar for Mankiewicz and Welles). Welles had his creative control taken away. After that spectacular debut, he struggled for the rest of his career. "Citizen Kane" is a showoff's movie. Which is why there was a minority that didn't like it, when it opened at the RKO Palace Theater in New York on May 1 (it opened nationally the following September). And there's a minority that still don't. "Some commentators permitted themselves to observe that Welles' much-discussed camera virtuosity consisted largely of devices more experienced directors had learned to avoid because they drew attention to the film-making process," Richard Griffith and Arthur Mayer noted in their book "The Movies." But drawing attention to the film-making process was precisely Welles' style. Just as it was his style to draw attention to himself. "Citizen Kane" may not be the subtlest movie. It may not be the deepest movie. But it is the greatest movie. And as critic Pauline Kael, one of the film's notable defenders, said, "it may be more fun than any other great movie." Anyway, what's wrong with showing off? Welles, like Muhammad Ali, was a peacock. But it's not boasting if you can back it up. Jim Beckerman is an entertainment and culture reporter for NorthJersey.com. For unlimited access to his insightful reports about how you spend your leisure time, please subscribe or activate your digital account today. Email: beckerman@northjersey.com
7501	dbpedia	0	21	https://commons.wikimedia.org/wiki/Category:Citizen_Kane	en	Category:Citizen Kane	https://upload.wikimedia…nrestored%29.jpg	https://upload.wikimedia…nrestored%29.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Citizen_Kane_poster%2C_1941_%28Style_B%2C_unrestored%29.jpg/230px-Citizen_Kane_poster%2C_1941_%28Style_B%2C_unrestored%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/80/Wikipedia-logo-v2.svg/16px-Wikipedia-logo-v2.svg.png", "https://up...	[]	[]	[ "" ]	null	[]	null		en	/static/apple-touch/commons.png		https://commons.wikimedia.org/wiki/Category:Citizen_Kane	<nowiki>Ciudadano Kane; Filem Citizen Kane; Гражданинът Кейн; Cetățeanul Kane; En sensation; Громадянин Кейн; 公民凯恩; Fuqaro Keyn; Азамат Кейн; Civitano Kane; Граѓанинот Кејн; Građanin Kane; সিটিজেন কেইন; Citizen Kane; Citizen Kane; Građanin Kane; 大国民; Công dân Kane; Pilsonis Keins; Грађанин Кејн; Cidadão Kane; Citizen Kane; Citizen Kane; Citizen Kane; Vətəndaş Keyn; Citizen Kane; المواطن كين; 大國民; Aranypolgár; Citizen Kane; Citizen Kane; وطنداش کانه; Llaqtayuq Kane; Citizen Kane; Грамадзянін Кейн; همشهری کین; 大國民; Citizen Kane; მოქალაქე კეინი; 市民ケーン; المواطن كين; האזרח קיין; Citizen Kane; सिटिजन केन; 公民凯恩; Citizen Kane; சிட்டிசன் கேன்; Quarto potere; Грамадзянін Кейн; ซิติเซน เคน; Πολίτης Κέιν; Yurttaş Kane; 시민 케인; Citizen Kane - O Mundo a seus Pés; Citizen Kane; Občan Kane; Citizen Kane; Pilietis Keinas; Državljan Kane; Citizen Kane; Гражданин Кейн; Քաղաքացի Քեյնը; Citizen Kane; Obywatel Kane; സിറ്റിസൻ കെയ്ൻ; Citizen Kane; Citizen Kane; Citizen Kane; Ciutadà Kane; సిటిజన్ కేన్; Citizen Kane; Občan Kane; 公民凯恩; 大国民; film del 1941 diretto da Orson Welles; film américain réalisé par Orson Welles; амерыканскі фільм-біяграфія 1941 года; americky film; Usona filmo je 1941 reĝisorita de Orson Welles; eski insanlar; Orson Wellesin ohjaama elokuva vuodelta 1941; Американский фильм 1941 года; amerikansk film fra 1941; Film von Orson Welles (1941); filme de 1941 realizado por Orson Welles; film; فیلمی از اورسن ولز; 1941年美国电影; филм из 1941. г.; ameriški dramski film Orsona Wellesa iz leta 1941; アメリカの映画作品; película de 1941 dirigida por Orson Welles; فيلم 1941; Amerikansk dramafilm från år 1941 regisserad av Orson Welles; amerykański film (reż. Orson Welles; 1941); фільм; film van RKO Radio Pictures; סרט דרמה אמריקאי משנת 1941; ffilm ddrama am berson nodedig gan Orson Welles a gyhoeddwyd yn 1941; Orson Welles 1941-es amerikai filmje; 1941년 미국 영화; 1941 American drama film directed by Orson Welles; فيلم أُصدر سنة 1941، من إخراج أورسن ويلز; Αμερικανική δραματική ταινία του 1941; pel·lícula estatunidenca de 1941; Citizen Kane; シチズン・ケイン; シチズン・ケーン; Citizen Kane; Citizen Kane; Kansalainen Kane; Citizen Kane; Citizen Kane; 公民凯恩; Građanin Kejn</nowiki> Citizen Kane 1941 American drama film directed by Orson Welles image video Upload mediaInstance ofPart of Vatican's list of films National Film Registry (1989–) GenreCountry of originComposerScreenwriterProducer Orson Welles George Schaefer Distribution formatDirectorCast member Orson Welles (Charles Foster Kane, Charles Foster Kane) Joseph Cotten (Jedediah Leland, Jedediah Leland) Ruth Warrick (Emily Monroe Norton Kane) Everett Sloane (Mr. Bernstein) William Alland (Jerry Thompson) Paul Stewart (Raymond) George Coulouris (Walter Parks Thatcher) Dorothy Comingore (Susan Alexander Kane, Susan Alexander Kane) Agnes Moorehead (Mary Kane) Ray Collins (Jim W. Gettys, Jim W. Gettys) Fortunio Bonanova (Signor Matiste) Erskine Sanford (Herbert Carter) Gus Schilling (John) Alan Ladd (a reporter) Charles Bennett (the entertainer) Gino Corrado Harry Shannon (Jim Kane) Sonny Bupp (Charles Foster Kane III) Walter Sande Philip Van Zandt (Mr. Rawlston) Roland Winters Georgia Backus (Bertha Anderson) Buddy Swan (Charles Foster Kane, Charles Foster Kane) Gregg Toland (an interviewer) Publication date 1 May 1941 (United States of America) 3 July 1946 (France) 1941 Duration 119 min Cost 839,727 United States dollar (estimate) official website Citizen Kane is a 1941 American dramatic film and the first feature film directed by Orson Welles, who also co-authored the screenplay. It was released by RKO Pictures Subcategories This category has the following 3 subcategories, out of 3 total. Pages in category "Citizen Kane" This category contains only the following page. Media in category "Citizen Kane" The following 39 files are in this category, out of 39 total. Citizen Kane Logo.png 1,273 × 1,107; 1.36 MB 1905 cartoon of Charlie Murphy as a prisoner.jpg 1,070 × 1,690; 746 KB Citizen Kane (alternate logo).png 1,709 × 213; 159 KB Citizen Kane poster, 1941 (Style A).jpg 1,950 × 2,937; 1.57 MB Citizen Kane poster, 1941 (Style B, unrestored).jpg 2,117 × 3,181; 1.53 MB Citizen Kane Trailer (1940).webm 3 min 45 s, 654 × 480; 29.31 MB Citizen-Kane-Alland-Stewart.jpg 5,680 × 4,156; 8.03 MB Citizen-Kane-Alland.jpg 1,077 × 1,507; 503 KB Citizen-Kane-Book-FE.jpg 3,000 × 3,913; 1.62 MB Citizen-Kane-Bupp.jpg 420 × 480; 118 KB Citizen-Kane-Collins-Welles.jpg 1,286 × 1,030; 704 KB Citizen-Kane-Comingore-Welles-Collins.jpg 5,500 × 4,408; 7.16 MB Citizen-Kane-Comingore-Welles.jpg 1,200 × 903; 329 KB Citizen-Kane-Cotten-Welles-Sloane-Sanford.jpg 5,312 × 4,376; 9.5 MB Citizen-Kane-Cotten-Welles-Sloane.jpg 1,600 × 688; 430 KB Citizen-Kane-Declaration-of-Principles.jpg 524 × 408; 98 KB Citizen-Kane-Filming-Low-Angle.jpg 786 × 619; 286 KB Citizen-Kane-Inquirer-Window-crop.jpg 1,024 × 576; 274 KB Citizen-Kane-Inquirer-Window.jpg 768 × 618; 219 KB Citizen-Kane-Moorehead.jpg 6,000 × 4,129; 10.09 MB Citizen-Kane-Orson-Welles.jpg 2,290 × 2,689; 1.24 MB Citizen-Kane-Warrick-Bupp.jpg 1,500 × 1,166; 803 KB Citizen-Kane-Wedding-1.jpg 2,800 × 2,160; 3.17 MB Citizen-Kane-Wedding-2.jpg 1,600 × 1,290; 1.12 MB Citizen-Kane-Welles-Breakfast.jpg 1,616 × 1,237; 471 KB Citizen-Kane-Welles-Collins.jpg 1,790 × 2,247; 1.31 MB Citizen-Kane-Welles-Cotten-Newspapers.jpg 1,000 × 721; 239 KB Citizen-Kane-Welles-Coulouris.jpg 5,516 × 4,220; 8.62 MB Citizen-Kane-Welles-Inquirer-Doorway.jpg 1,118 × 1,386; 527 KB Citizen-Kane-Welles-Podium.jpg 984 × 1,230; 445 KB Citizen-Kane-Welles-Showgirls.jpg 1,200 × 877; 353 KB Citizen-Kane-Welles-Toland.jpg 1,200 × 1,194; 785 KB Citizen-Kane-Welles-Warrick-Breakfast.jpg 5,320 × 4,328; 9.18 MB Citizen-Kane-Whistle-Stop.jpg 1,476 × 1,116; 754 KB Dorothy-Comingore-1941.jpg 5,500 × 6,964; 9.27 MB Museo Cinema Torino - Welles Citizen Kane script.jpg 4,032 × 3,024; 5.7 MB North-Verde-Ranch-Victorville-Postcard.jpg 1,086 × 714; 561 KB Orson Welles-Citizen Kane1.jpg 405 × 283; 25 KB Polandball can into international cinema.png 705 × 3,001; 108 KB
7501	dbpedia	2	38	https://www.indepthcine.com/videos/what-makes-a-movie-great	en	What Makes A Movie Great? — In Depth Cine	http://static1.squarespace.com/static/60bcb6fc68242118a81e15ca/60c7363d4865226f2d764056/614457d7f82f356abdf2012a/1632907492137/Thumbnail1.jpg?format=1500w	http://static1.squarespace.com/static/60bcb6fc68242118a81e15ca/60c7363d4865226f2d764056/614457d7f82f356abdf2012a/1632907492137/Thumbnail1.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/60bcb6fc68242118a81e15ca/fbefc38c-b508-4c7e-b11d-52d7105bd1ad/Logo_white_v2.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/60bcb6fc68242118a81e15ca/fbefc38c-b508-4c7e-b11d-52d7105bd1ad/Logo_white_v2.jpg?format=1500w", "https://images.squarespace-...	[]	[]	[ "" ]	null	[ "Gray Kotze" ]	2021-09-26T16:00:00+02:00	In this episode I'll show how Natasha Braier's philosophy on photography and the gear that she uses informs her own cinematography style.	en	https://images.squarespace-cdn.com/content/v1/60bcb6fc68242118a81e15ca/12d13d05-e574-4b84-8675-7d7215617e77/favicon.ico?format=100w	In Depth Cine	https://www.indepthcine.com/videos/what-makes-a-movie-great	INTRODUCTION Art is subjective. Therefore it’s impossible to categorically state what a great or terrible piece of art is. Nonetheless certain movies are held in high regard by a consensus of viewers and reviewers alike. So what exactly is it that makes certain films ‘great’? What is the magic formula that I can use to make my movie a part of cinema’s canon? It’s hard to pin down exactly but in this video I’ll break down some factors which I feel contribute to movies being regarded as ‘great’. STORY One trademark that connects almost all great films is their story. Not only must the story be engaging but it must also connect with an audience en mass. In the novel East Of Eden, one of John Steinbeck’s characters says, “No story has power, nor will it last, unless we feel in ourselves that it is true and true of us.” I’d argue that part of what creates that magical spark that makes humans identify with a story is the tale’s ability to, consciously or unconsciously, reveal an insight about the world or the human experience. From the beginnings of consciousness, humans have used stories as a way to communicate deep truths, messages or ideas - rather than just stating these ideas outright. Perhaps because a story is a more nuanced form of communication different people can take away different things from the same story. As humans, our lives are also just one big story, so drawing theories, ideas, emotions, truths and themes out of narrative events is something which our brains are accustomed to doing. Many great films have the impact and longevity that they do by taking simple concepts and conveying them through story - almost like a fable. District 9 uses a story about aliens to create a commentary on social segregation, xenophobia and South African history. Rather than using a complex wordy argument, the story itself conveys those ideas. Or in Citizen Kane, which uses story to show a man who has to come to terms with the fact that people are not just the sum of their achievements and that money and power doesn’t buy happiness. Kane reveals a truth about life that we can identify in ourselves. Most great films therefore have a story which is both engaging and which functions in presenting an insight, or truth, about the human experience. CULTURAL IMPACT Great films are a product of their time. They often represent a moment or period in a particular place in history and have a definite cultural impact. For example, Taxi Driver visually represents the tone and feeling of the bleak, dark state that New York was in during the 1970s. Even if movies do not feature contemporary stories (are period or sci fi films) they often still carry traits which indicate or represent the feelings of the time in which they were conceived. For example, Classic Hollywood cinema from the 1950s often displayed a more idealistic, romanticised optimism that was prevalent during the post World War Two economic boom. This tone starkly contrasts many New Hollywood films from the 1970s which felt far more uneasy, realist and discomforting - a tone which reflected the economic recession, rising protests and growing disillusionment and fear about the Cold War. The pieces that make up these films may age over time, the dialogue may become cliche, the costumes out of style and the performances over the top. However, as great films have a solid thematic idea at the core of their story, these themes will stand the test of time. Like movements in art - with famous works from expressionists and post modernists - in film great movies are often selected and remembered which represent the time and style of the period - whether that be French New Wave, New Hollywood or Italian Neorealism. TECHNICAL INNOVATION This leads to another important aspect which contributes to a film’s greatness: it’s level of technical and artistic innovation. Many great films are remembered for using cinematic devices in inventive ways which pushed storytelling forward and experimented with artistic conventions. This could be through the cinematography, editing, music or any other expression of technical creative decisions. This could be the dark lighting that set the tone in The Godfather, or the match on action cut that transported the story 1000s of years in 2001: A Space Odyssey. When watching a great film, more often than not, nothing feels out of place or awkward. The audience just gets sucked into the story. We don’t question anything from a tonal point of view or point out technical flaws. This is the sign of a polished technical style. CREATIVE SYNERGY Not only do great films often innovate technically, but there is a high level of synergy between what is in front of the camera and the technical aspects that capture it. Things such as the lighting, camera movement and pacing in the edit are used to elevate and add to the story. I’d attribute this synergy to a director who is able to create a singular artistic vision. One where the technical side is in sync with the artistic side which is in sync with the story. That’s why some of the most well regarded directors often have a good degree of technical knowledge which they use to execute their artistic ideas. SUSPENDING DISBELIEF In a world where we as an audience have become acclimated to having tons of information available at the click of a button we are more familiar than ever with how things are constructed. The same applies to film. When people are more analytical and critical it becomes challenging to awe the audience. Back in the day all it took was a clip of a train coming towards the camera to terrify and amaze folks. Today’s audiences are more demanding. Whether a musical, a horror, a comedy, or a drama, great films are able to entangle the viewer. Getting them caught up in experiencing emotions because they buy into the world of the movie - suspending disbelief. Great films therefore create a cinematic landscape which is both believable and sucks you in. Any time there’s a shaky performance, a bit of odd pacing or an unbelievable twist in the story, filmmakers run the risk of alienating the audience. CASTING Speaking of shaky performances, the final factor which I feel largely impacts a film’s legacy and impact is casting. Coming back to my first point about the story, a great screenplay is meaningless if the on screen talent aren’t cast correctly and have the capacity to tell that story. Star power can help in this regard. Famous actors that are well cast in a great film, will retain that role as part of their legacy and solidify their character in the minds of the masses. Whether through film criticism, popular culture or memes, a character that enters the canon of mainstream culture will increase the impact of the film. Stardom isn’t a prerequisite though. Many great films have been made without stars, by lesser known actors giving stellar performances. The duty of holding up a story will always partially fall to the actors, so casting should never be underestimated. CONCLUSION The magic ingredients for greatness boil down to story, cultural impact, technical innovation, creative synergy, suspending disbelief and casting. But there’s also a mystery surrounding greatness, a spark which sticks in the minds of viewers and places a film in the history books. Maybe it’s everything I’ve mentioned, maybe it’s luck, or maybe something else.
7501	dbpedia	3	74	https://current.org/wp-content/uploads/archive-site/hi/hi601.html	en	"The Battle Over Citizen Kane"			[ "https://current.org/wp-content/uploads/archive-site/curlogo2.gif", "https://current.org/wp-content/uploads/archive-site/curstrip.gif", "https://current.org/wp-content/uploads/archive-site/homebutt.gif", "https://current.org/wp-content/uploads/archive-site/backbutt.gif", "https://current.org/wp-content/uplo...	[]	[]	[ "Thomas Lennon", "The Battle Over Citizen Kane", "William Randolph Hearst", "Orson Welles" ]	null	[]	null					null	Producers found a 'horrible roundness' in a clash of major 1940s personalities Heavyweight match: Welles takes on Hearst Originally published in Current, Jan. 15, 1996 By Deborah Uebe ''The Battle Over Citizen Kane,'' the Jan. 29 offering of The American Experience, is the latest sign of a resurgence of interest in the late Orson Welles, Kane's creator. Recent film festivals have featured Orson Welles: One Man Band, Oja Koda's exploration of the filmmaker's career. Audiences are still awaiting Don Quixote, Welles's final dream project. Although it remains incomplete, the film is currently being restructured for release and may have a limited run within the year. "There's been a confluence of events,'' says "Battle'' producer Thomas Lennon, noting that his documentary is unique because it focuses on Welles's early career. Moreover, the documentary examines an aspect of that career that has never before received significant attention: newspaper magnate William Randolph Hearst's successful effort to suppress Citizen Kane, a thinly veiled and brutal portrait of his life. Pieces of the Hearst-Welles conflict had come to light over the years, Lennon says, "but there was no single place where the story [had] been put together in [print] or film.'' Lennon and co-producer Michael Epstein themselves only stumbled upon the story while researching the life of Hearst for a prospective biography. The work was an outgrowth of the duo's earlier Frontline documentary, "Tabloid Truth,'' which used the Michael Jackson sex scandal to explore the tabloidization of network TV news. After they completed the Frontline program, it was a natural progression to look into the yellow journalism of the early 20th Century. "It's hard not to see some of those echoes in Hearst and Pulitzer.'' The producers' interest in Welles and Citizen Kane was piqued when they discovered just how completely Hearst had managed to thwart the film. The film that has been hailed in recent decades as an American movie masterpiece literally garnered boos at the 1942 Academy Awards ceremony and received an Oscar in only one of the nine categories in which it was nominated. The conflict more than 50 years ago was so fascinating to Lennon and Epstein that when they met with American Experience Executive Producer Judy Crichton to discuss their proposed Hearst biography, they spent much of the time speculating about the fight between Hearst and Welles. Concerned that Hearst's life story was too big to condense into a two-hour program, Crichton suggested concentrating on the Kane episode. Crichton's suggestion was both thrilling and intimidating, recalls Lennon. "We didn't know a whole heck of a lot about [the Kane conflict] at that point.'' Information about the incident was difficult to find because the story had received only cursory treatment in previous works on Welles and Hearst--and much of that was rumor mixed with legend. Welles himself was not a reliable source, and was given to perpetuating his own fable. The producers nevertheless managed to discover tactics Hearst employed to quash the film. Fearful of losing the invaluable publicity afforded by Hearst's great newspaper empire, Hollywood executives led by Louis B. Mayer rallied around the 76-year-old publisher and tried unsuccessfully to buy the film so they could burn the negative. Hearst supporters intimidated exhibitors into refusing to show the movie, privately blackmailing Hollywood insiders while Hearst's newspapers conducted a very public smear campaign against Welles. By far the most pernicious claims were that Welles was a Communist, Lennon believes. The allegations added a deeper dimension to Hearst's vendetta, as he and Epstein discovered when they obtained FBI files on Welles from historian James Naremore. "The real turning point was when we got FBI files [on Welles]. They reveal that Welles's [later] problems with the authorities began with Citizen Kane,'' Lennon says. Welles's own strong political expressions helped confirm the smear campaign. More important than political ideology, however, were personality traits, and the documentary explores these in great detail. Lennon and fellow scriptwriter Richard Ben Cramer characterize Welles as "a brilliant, brash 24-year-old,'' whose proud and ruthless genius was comparable to Hearst's. Like Oliver Stone with his Nixon, Welles brilliantly used the controversy about his film as a promotional tool "to sustain his artistic ambition, i.e., get people mad about it, get people riled up, get 'em into the tent,'' Lennon said at the press tour last week. Lennon believes that Welles instinctively welcomed the fight with Hearst because so much of his success before Kane had depended on tweaking authority and pushing boundaries. Welles used an all-black cast for his production of Macbeth and set the story in Haiti. His Julius Caesar became a modern drama about fascism. His legendary radio reading of H.G. Wells's War of the Worlds caused so much terror and uproar that Welles himself felt his career was over. Instead, he made the cover of Time magazine and received a Hollywood contract giving him complete artistic freedom to create two films--an unprecedented degree of license in that era. "Welles was both envied and loathed in Hollywood,'' Lennon says. Difficult to work with and inclined to display his temper, Welles could generate tension among his colleagues. Kane screenwriter and Hollywood veteran Herman Mankiewicz, for example, came to feel that Welles was taking the credit for his accomplishment. The documentary reveals that Citizen Kane was Mankiewicz's idea and that he felt a close attachment to the Hearst story. "My father ... was probably writing a book or a movie about Hearst for maybe 20 years, in his head,'' Frank Mankiewicz told the filmmakers. It was the resentful screenwriter who ensured that Hearst got a copy of the screenplay before the film's release. Nowhere are the parallels between the lives of Kane and Hearst more apparent than in the film's character Susan Alexander, a caricature of Hearst's longtime lover, the actress Marion Davies. The infatuated publisher lived with her at his mansion and featured her on the front page of his papers, earning derisive snickers from a public he once had held in the palm of his hand. Scandal aside, Davies was not the shrill, untalented alcoholic that Welles pictured in Kane. Many had remarked on her natural comic ability, and she proved loyal to Hearst until his death; when he fell on financial hard times, she sold many of the gifts he had given her so that he could pay his taxes. Lennon believes the harsh portrayal of Davies helps explain the bitterness of Hearst's attack on Kane and Welles. Welles ultimately won. As Richard Ben Cramer observed last week during Los Angeles press tour interviews with TV critics, the story of Hearst and Welles has "a kind of horrible roundness, because although Hearst literally crushed Welles and his career, and did the man tremendous damage, in the end Hearst could never get past what Welles had done to him. Welles hijacked the man's story and replaced it with his own.'' The once-invincible publisher's achievements are so little-known today that Lennon had to spend much of "Battle'' in flashbacks to Hearst's real life, explaining Hearst and his immense influence on American history. "It's easy to lose touch with his greatness, much of which has been obliterated by Citizen Kane,'' Lennon says. "When Hearst's son [passed away], the headline read 'Son of Citizen Kane Dies.' '' Lennon refuses to see such events as evidence that Welles won the battle over Kane, however. The ordeal turned Welles into a Hollywood outsider, who spent the remainder of his life taking bit parts and soliciting money to make movies. Citizen Kane was painful for both men, says Lennon. "That film weighs on both men even in their graves.'' The old film became one of the three characters in the documentary, along with Hearst and Welles. "Battle'' took two long and difficult years to complete. Editor Ken Eluto's work was key to balancing the intertwined stories of the three characters. The approach also posed a challenge in that it forced Epstein and Lennon, two confirmed social historians, to work with the medium of art film. Their unfamiliarity with art film, however, may prove the documentary's greatest asset in offering audiences new insights into the much-studied movie. "Kane's been embalmed as a great piece of theatrical art, and rightly so, but [we tend to] lose touch with the film as an act of social and political effrontery ... This [film] was a great Bronx cheer at Hollywood and American tycoonism,'' Lennon says. For Lennon, however, the story of Citizen Kane is more compelling for the personal tragedy it presents. Lennon believes that Welles's artistic vision made it inevitable that he would fail in Hollywood. "That's part of the poignancy. It's almost like the story of Icarus,'' Lennon muses. "Welles flew higher than any other filmmaker of his day.''
7501	dbpedia	1	82	https://mattersofgreatpithandmoment.wordpress.com/2017/03/11/the-social-network-the-21st-centurys-citizen-kane/	en	‘The Social Network’: The 21st Century’s ‘Citizen Kane’	https://mattersofgreatpi…-movie-title.jpg	https://mattersofgreatpi…-movie-title.jpg	[ "https://mattersofgreatpithandmoment.wordpress.com/wp-content/uploads/2017/03/david-finchers-favorite-movies.jpg?w=656", "https://1.gravatar.com/avatar/d5e7aae5d52d0d45010e1f1a0344b9b7e74514f17dcee48f6477f205d3570800?s=48&d=identicon&r=G", "https://0.gravatar.com/avatar/0ac60734aafda9689cb04478679dfd961b86b77f3...	[]	[]	[ "" ]	null	[ "~ Stephen Leotti" ]	2017-03-11T00:00:00	David Fincher's 2010 film, The Social Network, is about the life and loves of Mark Zuckerburg, the inventor of Facebook. The film is masterfully done, to say the least, but one thing I thought of when rewatching it that never struck me before were the parallels to Orson Welles' Citizen Kane, which is considered not only…	en	https://s1.wp.com/i/favicon.ico	Matters of Great Pith and Moment	https://mattersofgreatpithandmoment.wordpress.com/2017/03/11/the-social-network-the-21st-centurys-citizen-kane/	David Fincher’s 2010 film, The Social Network, is about the life and loves of Mark Zuckerburg, the inventor of Facebook. The film is masterfully done, to say the least, but one thing I thought of when rewatching it that never struck me before were the parallels to Orson Welles’ Citizen Kane, which is considered not only his best movie, but one of the best movies of all time (although I personally enjoy Touch of Evil a little more). The obvious comparison is that both films feature a male protagonist, who begins the story young and naive about how the world works, but then slowly gets pulled down the rabbit hole of corruption and betrayal as his empire grows. Both stories feature a woman that the protagonist is in love with, who acts as the source of inspiration for a lot of his actions. But there are far more comparisons to be made than just that. For one, both are (mostly) true stories. Kane was inspired not only by newspaper tycoon William Randolph Hearst, but also Samuel Insull and Harold McCormick, and aspects of Welles’s own life. So, while not a literal biography, there’s a lot of real life in it. The opposite can be said for The Social Network; despite its “authenticity,” the truthfulness of the film was called into question after its release. While nothing in the film has been disputed as an out and out lie, the film is said to be best viewed as a “dramatization” rather than a documentary. So there’s fact in the fiction and fiction in the fact. Both movies are told out of sequence using a framing device. In Citizen Kane, we begin with Kane on his deathbed as he utters his famous last words, before meeting up with a reporter who then investigates Kane’s life through interviews of people he knew; in The Social Network, we go back and forth between the litigation meetings and showing the events leading up to them. In both cases, the story begins in media res — which means we get immediately dropped into the story with little exposition, and then details are filled in later. (Some movies forget to actually fill in the details at all, but thankfully that doesn’t happen here.) Speaking of which, both movies essentially “spoil” their stories pretty early on. Citizen Kane does it in the literal way, via news reel footage, but The Social Network also lets us know pretty early on that things are going to go south for Zuck and co. It’s not any big plot twist that he and Eduardo end up enemies. In both cases, this kind of storytelling puts the focus on why and how these things happened and not simply what happened. This kind of storytelling is getting more and more rare as everyone shouts “spoliers!” whenever discussing even the most basic aspects of a movie these days. Everyone is convinced that knowledge and experience are the same thing — and yes, you can spoil some kind of big reveal and make it less shocking, but you can’t spoil a great drama; the power comes from the emotion of the moment, and not how clever shocking every twist and turn is. I can tell you exactly what happens in the two movies, but that’s not the same experience as watching them. Next, both movies make heavy use of special effects and technology, but do so in a way that is completely invisible. When you think of special effects heavy films, you think of Star Wars, Lord of the Rings, The Avengers, etc. but these two films don’t have giant armies or battles in them, so what would they need effects for? Orson Welles made use of a technique called “deep focus” on Citizen Kane, wherein the foreground and background were able to be kept in focus at the same time, allowing for a much more dynamic visual style of filmmaking than your average studio picture, but that’s not all. Welles also used miniatures, wipes, forced perspective, make up effects, and optical compositing to create breath-taking images — and yet none of these techniques were “invented” by him. All of them had been done before, but not to the level Welles employed them. Deep focus had been done in silent films all the way back in the 1910’s. Likewise, The Social Network used CGI in invisible ways. Notably, the Winklevoss twins were played by the same actor. Now, this is hardly a new idea; as early as the 50s, films have used one actor in two roles, most famously in the The Parent Trap with Haley Mills. But the limitations of doing it optically meant scenes had to be shot in static ways that aren’t that interesting. The remake of The Parent Trap was done in 1997, and technology at that point provided a little more flexibility, but the effect is still pretty apparent. The Social Network was able to seamlessly create the illusion of identical twins inhabiting the same space without having to compromise the cinematography. Beyond that, the film uses matte paintings and other digital effects to make its imagery more appealing — again, in practically invisible ways. And yet, neither film was that expensive. The Social Network only cost $40 million dollars to make — and I know that sounds like a lot, but for blockbuster films, a price tag of $120 million is pretty common. Kane came in at just under a million, which was also not that much for the era. I guess that’s where the most glaringly obvious split is: Citizen Kane was poorly received and The Social Network was lauded, winning the Oscar for Best Screenplay and nominated for more. Despite the aforementioned controversy surrounding the factual basis of the script, The Social Network still came out to rave reviews and made several times its budget. But when talking about the creative heads behind each film, once again, a comparison can be made. Both Welles and Fincher are known for their commitment to excellence, and are said to be perfectionists. As a result, both filmmakers never did that well within the studio system. Fincher’s most commercial film was Alien 3, which was an unmitigated disaster, both as a film and at the box office (though I do kind of like bits and pieces of it). Most of Fincher’s movies have not been hits, most notably Fight Club, which, like Citizen Kane, did poorly in its release and took years to garner a new appreciation. Due to the dynamite directorial supervision for both films, each displays a surprising amount of visual style for a story that largely amounts to people standing around talking. Neither film contains any significant action scenes, and yet through excellent pacing, editing, and structure, neither feels its length — although Kane is a rather slow film and can be hard for some modern viewers to get into. The lighting in both films owes more to film noir than your standard drama. It’s obvious that Fincher is a fan of Welles. Just look at what Fincher lists as one his favorite films of all time… Hmm… big surprise.
7501	dbpedia	0	37	https://unfilmy.medium.com/citizen-kane-remodelled-the-world-cinema-in-1941-75bcfe515c2e%3Fsource%3Duser_profile---------7----------------------------	en	Medium	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:80:80/1EoXOOMWLEiPwBBaYA1HQXA.jpeg", "https://miro.medium.com/v2/resize:fill:80:80/1EoXOOMWLEiPwBBaYA1HQXA.jpeg", "https://miro.medium.com/v2/resize:fill:80:80/1spyyLY129htNneNPFYjFSg.jpeg",...	[]	[]	[ "" ]	null	[]	null		en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	null
7501	dbpedia	1	94	https://www.tcm.com/watchtcm/titles/89	en	Not Available	https://prod-images.tcm.…are-1200x630.jpg	https://prod-images.tcm.…are-1200x630.jpg	[ "https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif", "https://prod-images.tcm.com/img/global/logo-TCM_white.png", "https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg" ]	[]	[]	[ "" ]	null	[]	null	Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.	en	/themes/custom/bogart/favicon.ico	Watch TCM	http://prod.tcm.com/unavailable/	Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH. Watchlist and resume progress features have been disabled. ACCEPT
7501	dbpedia	3	62	https://victoriabarajas.weebly.com/citizen-kane.html	en	Citizen Kane	http://victoriabarajas.weebly.com/uploads/2/5/0/7/25070231/385001.jpg	http://victoriabarajas.weebly.com/uploads/2/5/0/7/25070231/385001.jpg	[ "https://cdn2.editmysite.com/images/site/footer/footer-toast-published-image-1.png" ]	[]	[]	[ "" ]	null	[]	null	Mise en Scene			Film Studies	http://victoriabarajas.weebly.com/citizen-kane.html	Mise en Scene Victoria Barajas Dr. Valarie Zapata FST 1 25 September 2013 RP #2 Mise-en-scène in Citizen Kane Orson Welles’ 1941 film, Citizen Kane, is a prime example of French Poetic Realism style because of its use of mise-en-scène.Although extremely important, that isn’t the only factor that defines the French Poetic Realism style. Most great films in this style concentrated on the confrontation between individuals and society. According to Film, “French Poetic Realism films depicted characters whose fates are determined by their social milieu” (Pramaggmiore 122-123). In the film, it is clear that the protagonist, Charles Foster Kane, is thrust into a social environment that ends up being the source of his misery and demise. Welles uses mise-en-scène to depict this underlying theme in the film with great detail. He uses the four major components of mise-en-scène: setting, the human figure, lighting, and composition. However, he pays special attention to setting and the human figure to show the theme of the story; love cannot be bought. Setting can play a huge role in portraying the film’s themes. In order to fulfill the film’s plot, the diegisis had to be created with the story in mind. Kane took over the New York Inquirer and ran for governor of New York. He also dated the president’s daughter and built an opera house for his second wife, Susan Alexander. Welles had to choose a setting where all of these events could realistically take place. Therefore, he chose New York. A vast contrast to the small town of Little Salem, Colorado that Kane was born in. It represents Kane’s transformation from innocent young boy to a wealthy selfish man. Another great example of how the setting portrays the theme is Kane’s estate Xanadu. After Susan’s attempted suicide, Kane and Susan retired to Xanadu for many years. The mere size of this estate was so grand that not even all of Kane’s lavish material goods could fill it up. In the interior scenes of the Xanadu there is a lot of open space. In some cases open space can mean freedom, which is what Kane originally wanted out of building Xanadu, freedom from outside opinion and dictation. However, in this case, it ends up serving as the site of loneliness. The human figure is one of the most important elements in mise-en-scène. Without actors a film would just be a script on a set. According to Film, “Casting (the selection of actors), acting style, and the placement and movement of figures influence the viewer’s response to fictional characters, their strength and weaknesses, and their hopes and fears” (Pramaggiore 97). Casting, the visual representation of an actor and the acting style can determine whether a film is believable or not. The actors that star in lead roles are usually well known. Therefore, the actor who played Charles Foster Kane had to be someone that would attract an audience. Orson Welles, himself, plays Kane in the film. Although he had not acted in much before the making of the film, Welles was well known for one particular event just three years earlier. He did have a successful radio program that shook the nation with his Halloween prank of a War of The Worlds radio performance. The fact that he fooled the nation proved that he was a believable actor. The mere placement of actors within a scene can represent underlying themes in the film as well. The textbook for the class gives a great example of this method in Citizen Kane. It explains that Kane’s placement between the authoritative characters represents his powerlessness as a young boy. Throughout his adult life, Kane attempts to be in a position of power in order to make up for the previous scene stated. The scene where Kane has to decide whether to drop out of the political race or expose his secret love affair is another constant reminder that Kane cannot always be in power; no matter how much he wants it. In the scene he shows that he has control over the situation by choosing to expose his affair. Throughout the rest of the film it is visible that Kane is almost always the position of power in a scene. When Susan tells Kane that he doesn’t lover her, that he wants her to love him such he is standing over Susan. It is shot from a low angle to show the dominance Kane has over Susan. It makes him look superior and Susan look inferior. Costumes and props are also important elements that enhance the mise-en-scène. Costumes help define a character and personality. The stark difference between the wardrobes worn by Kane, as a young boy in Colorado and a young boy in New York, show changes in the story. It shows the wealth he has acquired. Similarly, when Kane had a sled in Colorado it was made of wood and was very simple and when he was in New York with Thatcher, his new ward, he received a higher end sled. According to Film, “…sometimes a prop holds tremendous importance and may embody or reinforce a film’s thesis” (Pramaggiore 106). The entire story in Citizen Kane is centered around that sled, even though the audience doesn’t know it until the end. It represents the origin of his downfall, the moment when he was taken from his parents and the lack of real love after that. Kane’s constant spending on statues and priceless objects also shows that he doesn’t care about wealth, what he really wants is the love lost when he was taken from his parents. The amount of props that where in Xanadu in the last scene visually enhance Kane’s dilemma. All throughout his life, Kane struggles with his struggle with his social environment and wanting everybody to love him. He attempts to buy everyone’s love by giving them what they want as long they love. Orson Welles used mise-en-scène to portray Kane’s struggles. He especially uses setting and the human figure in order to do so. His problems begin with the change of setting in Kane’s life and they end on his death bed when he speaks his last word Rosebud.
7501	dbpedia	3	35	https://www.tcm.com/tcmdb/title/89/citizen-kane	en	Not Available	https://prod-images.tcm.…are-1200x630.jpg	https://prod-images.tcm.…are-1200x630.jpg	[ "https://prod-images.tcm.com/img/global/logo-WatchTCM-animated-singleplay.gif", "https://prod-images.tcm.com/img/global/logo-TCM_white.png", "https://www.tcm.com/themes/custom/bacall/img/global/watch-tcm-transparent.svg" ]	[]	[]	[ "" ]	null	[]	null	Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.	en	/themes/custom/bogart/favicon.ico	Watch TCM	http://prod.tcm.com/unavailable/	Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH. Watchlist and resume progress features have been disabled. ACCEPT
7501	dbpedia	3	42	https://www.commonsensemedia.org/movie-reviews/citizen-kane	en	Citizen Kane Movie Review	https://www.commonsensem…e/kane-1-min.jpg	https://www.commonsensem…e/kane-1-min.jpg	[ "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_1_1_small.png", "https://www.commonsensemedia.org/components/src/commonkit_components/ck_image/images/ratio_16_9_small.png 350w,/components/src/commonkit_components/ck_image/images/ratio_16_9_xsmall.png 240w", "https://w...	[]	[]	[ "" ]	null	[ "Nell Minow" ]	2003-05-02T00:00:00	Classic should be required for any movie lover. Read Common Sense Media's Citizen Kane review, age rating, and parents guide.	en	/themes/custom/common_sense/images/favicons/favicon-16x16.png	Common Sense Media	https://www.commonsensemedia.org/movie-reviews/citizen-kane	Kids who watch this film can never know how revolutionary it was. Every one of its dozens of innovations, from the flashback structure to the use of sets with ceilings for additional authenticity, has become all but standard. No problem -- there is time enough for them to study these aspects of Citizen Kane's brilliance if they decide to learn more about film history and criticism. For their first viewing of this brilliant work (and for purposes of a family discussion), just let them focus on the story, the dialogue, and the characters, which remain as compelling and contemporary as they were more than 50 years ago. Like Willie Stark in All the King's Men, Kane begins as a populist and dies corrupt and alone, and we cannot help but hope for some explanation of how that happened, as Thompson does. Both Kane and Stark were based on real-life figures. Kane was based largely but not completely on William Randolph Hearst, the almost impossibly wealthy heir to the largest gold and silver mine owner in America, who became a powerful publishing magnate. Kane might also have been based on Welles himself, only 25 years old when he co-wrote, directed, and starred in this, his first film. He spent the rest of his life coming up with one excuse or another for why he never came close to that level of achievement again.
7501	dbpedia	0	17	https://televisionstats.com/m/citizen-kane/cast	en	Citizen Kane (Movie) Cast	https://i.televisionstat…citizen-kane.jpg	https://i.televisionstat…citizen-kane.jpg	[ "https://c.televisionstats.com/t/p/w300/ruF3Lmd4A8MHbnEBE6lxPMbsHGL.jpg", "https://c.televisionstats.com/t/p/w154/e9lGmqQq3EsHeUQgQLByo275hcc.jpg", "https://c.televisionstats.com/t/p/w154/djfCB0jPOgmq3w7RD3BMLzWsAu8.jpg", "https://c.televisionstats.com/t/p/w154/1vABUVxz3h2fxt5NOjwpMj4KSF4.jpg", "https://c.t...	[]	[]	[ "" ]	null	[]	2024-08-17T00:00:00	Cast members details for Citizen Kane. Get actor roles, casting info, images and more. Explore the cast of characters, their bios and filmography.	en	https://i.televisionstats.com/i/favicon.ico	Television Stats	https://televisionstats.com/m/citizen-kane/cast	Our free email delivers the daily top 10 TV shows and top 10 movies directly to your inbox. Stay ahead of the trends. Sign up below.
7501	dbpedia	0	40	https://digitallibrary.usc.edu/archive/Daily-Trojan--vol--88--no--54--Apr-29--1980-2A3BF1MSHUYD3.html	en	Daily Trojan, vol. 88, no. 54, Apr 29, 1980	https://digitallibrary.usc.edu/archive/Assets/V2/ChFVQzFTNTAwMDAwMDAwMDAwMxIGVFJNaXNjGiVcVFJNaXNjXDdhXGUxXDI0XDZlXDFhXFVDM01TQzI2MDQuaWNvIgQIARAPYgpVQzNNU0MyNjA0~/L2pqzMPsTRwEdTu6/L2pqzMPsTRwEdTu6/UC3MSC2604.ico	https://digitallibrary.usc.edu/archive/Assets/V2/ChFVQzFTNTAwMDAwMDAwMDAwMxIGVFJNaXNjGiVcVFJNaXNjXDdhXGUxXDI0XDZlXDFhXFVDM01TQzI2MDQuaWNvIgQIARAPYgpVQzNNU0MyNjA0~/L2pqzMPsTRwEdTu6/L2pqzMPsTRwEdTu6/UC3MSC2604.ico	[ "https://digitallibrary.usc.edu/archive/Assets/V2/ChFVQzFTNTAwMDAwMDAwMDAwMxIGVFJNaXNjGiVcVFJNaXNjXDkxXDU5XDhmXGNjXDExXFVDM01TQzI3MDkucG5nIgQIARAPYgpVQzNNU0MyNzA5~/GXOtjPoBSlOBrsso/GXOtjPoBSlOBrsso/UC3MSC2709.png", "https://digitallibrary.usc.edu/archive/Assets/V2/ChFVQzFTNTAwMDAwMDAwMDAwMxIGVFJNaXNjGiVcVFJNaXNjX...	[]	[]	[ "" ]	null	[]	null	- UC113244299 Daily Trojan, vol. 88, no. 54, April 29, 1980.	en	Assets/V2/ChFVQzFTNTAwMDAwMDAwMDAwMxIGVFJNaXNjGiVcVFJNaXNjXDdhXGUxXDI0XDZlXDFhXFVDM01TQzI2MDQuaWNvIgQIARAPYgpVQzNNU0MyNjA0~/L2pqzMPsTRwEdTu6/L2pqzMPsTRwEdTu6/UC3MSC2604.ico		https://digitallibrary.usc.edu/archive/Daily-Trojan--vol--88--no--54--Apr-29--1980-2A3BF1MSHUYD3.html	Content No settlement near in Marine Center dispute By Tim Lynch Staff Writer To the South Coast Regional Commission: Dear Sirs, please tell us, how did we get into such a mess? The university needs a research center and the fishermen need their ice. It's as simple as that, unless you don't care for research and never eat fish. I'm sure they can coexist. Yours truly, George H. Mueller Unfortunately, the regional commissioners, the Los Angeles Har- bor Department, the university, local fishermen and the harbor's only ice provider do not see the matter as simply as Mueller a pri- vate citizen who expressed his frustration (in the above letter) to the commission six weeks ago. II;! : I When the Harbor Department granted the university a lease to build its new research center last October, school officials had no idea they would become involved in a complex dispute between the fishermen and the Harbor Department. SUtfl Photo by Wayne Lavtna The university's problems began when the department con- demned CONFRONTATION While students from eight high schools waited to board buses after attending Festi- val the old center in WUmington and decided to put the new Aztian on campus Monday, a number of unidentified youths began throwing rocks and lumber at one of one in Fish Harbor, an area used primarily by fishermen and fish the buses. None of the students were injured. A Los Angeles Police Department spokesman said the processors. When the department which has the authority to de- cide group dispersed before they arrived on the scene. The youths had not been among those invited to the the location of ail structures revealed that a part of the cen- ter festival, according to a MEChA official. would displace the harbor's only ice house, the fishermen and the ice house operator fought back. By law, the university had to notify all landowners and tenants within 100 feet of the proposed site about the construction. The Harbor Department provided the university with the list of names, JT on but it failed to include the name of the ice house operator, Tony trojan Accetta. More than three months after the permit had been issued, Accetta mm. notified the South Coast Regional Commission of the university's failure to notify him. The commission, at a hearing in which one member called the Harbor Department a "big monster," revoked the university's permit. Since then, the opposing parties have made claims and counter Volume LXXXVIII, Number 54 University of Southern California Tuesday, April 29 1980 claims about the legality and validity of operating the research cen- ter in Fish Harbor. Two folders of public records at the coastal com- mission office in Long Beach bulge with hundreds of documents, GANG FIGHTS FEARED pictures and letters. "The fishermen view the Harbor Department with a lot of suspi- cion," said Don Keach, deputy director of the Institute for Marine and Coastal Studies at the university. "They're using us to force MEChA Aztian safeguards rally the hand of the Harbor Department." The university has been left with a nonfunctional $700,000 build- ing and no guarantee that the matter will be settled soon, or in By Stephanie Chavez Toward the end of the pro- gram, situation there was laid-bac- k its favor. Staff Writer Juan Rivera, a MEChA monitoring of the area. None of Last week, however, a Los Angeles Superior Court judge ap- proved In anticipation of possible coordinator, observed that the officers were involved in a university request mandating the South Coast Regional gang related problems that youths other than those who any confrontations," Farina Commission to reconsider its revocation of the original construction could have arisen when about had been invited had come said. permit for the half-complet- ed marine research center. 500 Mexican-America- n high onto campus. Also, a low rider (Continued on page 6) (Continued on page 13) school students were bussed to car, which did not belong to the university for Cinco de any of the three invited car Mayo festivities, members of clubs, was mistaken as part of Sex discrimination charged by medical MEChA organized their own the car show and allowed on security that prevented a po- tential campus. Rivera said he notified campus prof; claims paid lower salary confrontation between University Security of the situa- tion youths after Monday's and the possible conflicts pro- gram. By David Romero The suit demands that Cauffman be promoted that could arise from the unin- vited Staff Writer to full professor status and be paid an amount Barrio Day, which concluded youths' presence on cam- pus. the Festival Aztian celebration, A lawsuit charging the university with sex dis- crimination equal to the salary and benefits she would have associate in the earned had she received full against an professor a professorship was intended to recruit minori- ty Sgt. George Farina of Univ- ersity medical school has been filed in federal court and previously. students as well as show Security said that security will be served this week, according to the profes- sor's The also the should be them the educational opportun-ite- s was informed of the "possi- bility suit states university at the university. The pro- gram of some type of rumble." lawyer. prevented from further discriminating against included a band and a Two Los Angeles Police De- partment The suit, brought against the university by Joy Cauffman on the basis of sex and that the univ- ersity low rider car show in front of units that were in the Cauffman, an associate professor in family medi- cine pay reasonable attorney's fees and costs in- curred and pediatrics, states she has been paid a Cauffman because of the lawsuit. the administration building to area came to the university to by less than that received males the salary by doing make university students aware monitor the activities along same or similar work. (Continued on page 7) of the different subcultures of with security. the Chicano Community. "Once we were aware of the University Center wins by large margin in referendum By Margaret Bernstein Staff Writer Last week's Student Senate election garnered the largest voter turnout in the history of the university. A record-breakin- g total of 1,965 students voted, electing 16 under- graduate senators and 3 graduate senators. The highly publicized University Center referendum was favored by 86 of those voting. Voter turnout at the university has risen consistently during the past three years, jumping from a total of approximately 1,433 votes cast in the 1978 election to the turnout of 1,513 last year. All five incumbent candidates (Colette Benton, Irma Castro, Mercedes Marquez, Monica Townsend and Tim Walker) were ree- lected to the Student Senate. A complete listing of the new student senators is on page 15. Jeff Gates, chairman of the senate, suggested that the past year7 s highly visible performance by the senate had encouraged the huge voter turnout and the support of last year's candidates. Gates indicated that programs such as the Campus Newsletter, an update of senate activities published regularly in the Daily Tro- jan , and the successful University Center campaign had augmented the public image of the student senators and their actions this year. Gates also attributed the candidate 25 stu- dents large pool more Staff photo by Kannath Laaria ran for office this year than in 1979 to the newly conspicu- ous FESTIVAL AZTLAN '80 In celebration of Cinco de Mayo, MEChA held a variety of events Monday. role the senate is playing on campus. "Hopefully, this increase Various "low riders" displayed cars and vans. One of the cars, shown from two different angles, is pictured (Continued on page 13) above. All cars displayed were owned by three clubs: Lifestyle, Imperials and New Style. Daily Trojan Tuesday, April 29 1980 Update Stop Gap to remain closed From the Associated Press No funds for electrical wiring repairs Europe renews sanction threats By Galen Gruman or in the university to make re- pairs main wiring problems, and Staff Writer at present. "We cannot another $5,000 to $10,000 will The recently closed Stop Gap fire a teacher or not have a sec- retary be needed for the production of LUXEMBOURG Western European leaders on Monday Theatre may remain closed to for our faculty and stu- dents plays, said Ed Swift, a drama renewed their threat to impose economic sanctions against theatrical use because of lack of (in order to get the need- ed professor. Iran on May 17 unless "decisive progress" is made toward funds to repair the hazardous money). We are at a If after the end freeing the 53 American hostages. They also called for new electrical and minimum as it is now." repair begins system wiring. of the the theater U.N. efforts to try to win the captives' release. Classes, however, will contin- ue William Ross, chairman of the semester, could be for in the The nine-natio- n Common Market ended a two-da- y summit to meet in the former rail- road drama department, said the ready use pledging solidarity with "the government and people of the switching yard building school was seeking repair mon- ey fall, Swift of said, funds. pending the United States in their present time of trial." from from the university that availability using lighting worklights Two scheduled for The expressions of support came despite displeasure over connected to another electrical would bring the building up to plays Stop the aborted U.S. rescue attempt in Iran and the resignation The main has safety codes for normal class- room Gap have been moved to The system. system Green the school's other Monday of Secretary of State Cyrus R. Vance, who opposed been shut down. use. He and Beglarian Room, small theater. the mission. The Stop Gap had been agreed the school would be re- sponsible closed after a faculty member for equipment used Swift said even if funds were Tehran kill three bombings received an electric shock from in dramatic productions, such forthcoming, the repair would the faulty system. as dimmers and stage lighting, not be made until after the Grant Beglarian, dean of the Ross said. semester because of a severe TEHRAN A wave of bombings killed at least three per- sons School of Performing Arts, said Between $5,000 and $15,000 shortage of classroom space for in Tehran on Monday and Iran's police chief blamed the there is no money in his school will be needed to repair the the drama classes. blasts "U.S. The U.S. on agents." occupied Embassy came under gunfire three times overnight from "anti-revolutiona- ry elements" in passing cars and militants inside the embassy Datelines West said revolution guards returned the fire, Tehran radio report- ed. The militants moved some of the American hostages from the embassy to five cities to make another U.S. rescue at- tempt COFFEEHOUSE LA's top comedians RE JOYCE IN JESUS Bible study at 12:30 per- form more difficult, Tehran radio said. in Strassman's Room at 9 in the Student Activities Center. Standing Only The bombs that exploded Monday had been set under a p.m. today CHRIST Bible p.m. Wednesday in the Coffeehouse in Com- mons FOR CRUSADE car in a parking lot and in a movie theater, bank and drug CAMPUS store, authorities said. They said a fifth bomb was defused. study at 7 p.m. today in Mudd Hall 101. Grill. A telephone caller to the Paris office of exiled former Prime STUDENT HEALTH CENTER Menstrual PERFORMING ARTS Wind orchestra per- formance Minister Shahpour Bakhtiar claimed one blast was the work cramp workshop at 2 p.m. today in the Stu- dent at 8 p.m. Wednesday in Bovard Au- ditorium. of the "Shock Group Khorramdin." A Bakhtiar spokesman, Activities Center. who said he had never heard of the group, said the caller BLACKSTONIANS Meeting at 12:30 p.m. ARMENIAN STUDENTS ASSN. Meeting warned that such bomb attacks would continue until "the de- struction today in the Student Activities Center. at 5:30 p.m. Wednesday in the Student Activ- ities of (Ayatollah Ruhollah) Khomeini's reactionary and SAILING CLUB Meeting at 12:30 p.m. to- day Center. clerical regime." in Physical Education building 204. AERHO Meeting at 11:45 a.m. Wednes- day in the Student Activities Center. IPA INTERCULTURAL FRIENDSHIP HILLEL HOUSE Israeli dancing with free Carter visits injured men GROUP Meeting at 1 p.m. today in the instruction at 8 p.m. Thursday at the Hillel Student Activities Center. House. SAN ANTONIO, Texas President Carter, breaking the TEAM HANDBALL Club sport at 9:45 KOREAN CHRISIAN FELLOWSHIP Bible self-impos- ed isolation that has kept him in Washington or p.m. today in Physical Education building study at 5 p.m. Thursday in the Student Activ- ities Camp David for months, traveled to Texas on Monday and north gym. Center. donned a surgical mask and gown to visit men injured in last APSO Meeting at 6 p.m. today Student AAPRP Press conference for guest speak- er week's ill-fat- ed attempt to rescue the American hostages in Activities Center. Thursday in the Student Activities Center. Iran. CENTER FOR HUMANITIES Lecture: Emerging from his visit to off-limi- ts hospital wards. Carter USC LIBRARIES Poetry readings featur- ing "Moral Man and Immoral Society" by Hon. declared he was "not at all surprised" the men told him they Charles Wright at 2:15 p.m. today in the in Bovard Abba Ebdan at 7 Thursday p.m. were ready to "do it again" if necessary. Student Activities Center. Carter said the five men "expressed to me immediately Auditorium. INTRAMURALS All-- U superstar deadine PERFORMING ARTS Concert Band and their gratitude for a chance to participate in this rescue opera- tion and their immediate offer to continue in every possible at 4 p.m. today in Heritage Hall 103. Trojan Spirit Band at 8 p.m. Thursday in the way, including a repetition of the offer of their lives to secure INTRAMURALS Women's superstar dead- lines Student Activities Center. the safety and freedom of the hostages." at 4 p.m. today in Heritage Hall 103. USC ELLINES Meeting at 2 p.m. Thurs- day BAPTIST STUDENT UNION Bible study at in the Student Activities Center. Anderson, Cronkite ticket 12:30 p.m. Wednesday in the Student Activ- ities CHINESE CHRISTIAN FELLOWSHIP B- ible Center. study at 3 p.m. Friday in the Student Ac- tivities WASHINGTON Independent presidential candidate HELENES Meeting at 12:30 p.m. Wednes- day Center. John Anderson is considering CBS anchorman Walter Cronk- ite in the Student Activities Center. MOSLEM STUDENT ASSN. Religious as a running mate, and Cronkite, if asked, might accept, ASIAN AMERICAN CHRISTIAN FELLOW- SHIP prayer meeting at 11 a.m. Friday in the Stu- dent The New Republic Magazine reported Monday. Bible study at 12:30 p.m. Wednes- day Activities Center. "I'd be so honored to be asked, I wouldn't turn it down," in the Student Activities Center. CARP Meeting at noon Friday in the Stu- dent Cronkite is quoted as saying in an interview with Morton M. Activities Center. GO CLUB Playing and instruction at 4 Kondracke, the magazine's executive editor. Wednesday in the Student Activities TENNIS CLUB Court time at 6:30 p.m. Fri- day "No one, including Cronkite, has been approached about p.m. Center. at Marks Tennis Stadium. the possibility of running," said Mike Rosenbaum, an aide to Anderson. "This kind of talk is premature." TENNIS CLUB Court time at 6:30 p.m. SHOTOKAN KARATE Meeting at 4 p.m. Wednesday at Marks Tennis Stadium. Friday in Physical Education building 202. TAVOLA ITALIAN A At 12:30 p.m. SKYDIVING CLUB Films and jumping Secret meeting on Chrysler loan Wednesday at the YWCA forecourt. course at 6 p.m. in Heritage Hall Auditorium. UPA Peer advisement for declared and SOCIETY OF HISPANIC PROFESSIONAL WASHINGTON The government board that could have undeclared psychology majors Wednesday in ENGINEERS Meeting at 12:30 p.m. Friday a life or death say over the Chrysler Corp. will meet in secret Founders Hall 304E. in Oiin Hall of Engineering lounge. to decide whether the automaker has for Tuesday qualified CHRISTIAN STUDENTS Fellowship and SONGFEST COMMITTEE Songfest $1.5 billion in federal financial backing. Out" at 8 Saturday at the Bible study at 12:30 Wednesday at "Steppin' p.m. It is highly likely that the aid, in the form of federal guaran- tees p.m. in School of Social Work 215. GtgsK Th3tr of private loans, will be approved. Chrysler contends the 12:30 p.m. FANTASY WARGAMES CLUB Meeting at STUDENTS FOR A LIBERTARIAN SOCIE- TY aid is needed to keep it from closing down. It is possible that another meeting will be needed after Speaker at 7 p.m. Wednesday in the 10 a.m. Saturday in the Student Activities Tuesday, however, before a final determination can be made, Student Activities Center. Center. said. USC WOMEN'S TRACK AND FIELD a government spokesman USC BAHA'I CLUB Fireside Meeting with The decision by the government's Chrysler Loan Guarantee SCHEDULE Southern California Cham- pions informal discussions the Baha'i faith public on Board to hold a closed meeting came in the wake of a court at 10:30 a.m. Saturday at UC Irvine. order last week barring it from closed, off-the-reco- rd meet- ings. at 3:30 p.m. Wednesday in the Student Activ- ities ENGLISH DEPARTMENT Poetry reading: Center. Cynthia MacDonald at 2 p.m. Saturday in the TROJAN COLLEGE REPUBLICANS Student Activities Center. Partial Lance trial verdict Meeting at noon Wednesday in the Student ALPHA KAPPA PSI Meeting at noon May Activities Center. 5 in the Student Activities Center. BUSH FOR PRESIDENT Meeting at noon INTERVARSITY CHRISTIAN FELLOWSHIP ATLANTA In their seventh day of deliberations, the ju- rors Wednesday in the Student Activities Center. Trojan Christian Fellowship meeting at 3 in the bank fraud trial of former U.S. budget director Bert ASIAN AMERICAN CHRISTIAN FELLOW- SHIP p.m. May 5 in the Student Activities Center. Lance returned a partial verdict Monday, but the judge sent them back to work without diclosing their decision. Bible study and fellowship at 11:30 GAY AND LESBIAN STUDENT UNION The jurors continued deliberating until nearly 5 p.m. and a.m. Wednesday in the Student Activities Speaker for Gay Awareness Week at 12:30 then were sent home an hour earlier than usual. Center. p.m. May 5 in the Student Activities Center. The partial verdict settled the case for one of the four de- fendants, UPA Meeting at 12:30 p.m. Wednesday in PHRATERES Meeting at 12:30 p.m. May but Lance and his three associates were left won- dering Founders Hall 108. 5 in the Student Activities Center. whose name was in the large sealed envelope. CIRCLE K Meeting at 5:30 p.m. Wednes- day CHRISTIAN SCIENCE Meeting at 3 p.m. in Student Union 307. May 5 in the Student Activities Center. Daily Trojan Tuesday, April 29 1980 3 Coalition files suit against L.A. police Petitioners for the California Marijuana Initiative have filed a civil rights action suit against the city of Los Angeles, the Los Angeles Police Department, Police Chief Darrell Gates and two police You've gotta be interested to read officers. this... Members of Reefer's Raiders, a local coalition that has gathered the most petition signatures needed to put an initiative to legalize You've gotta be interesting to be in marijuana on the June 3 ballot, appeared at the Los Angeles press this... club April 23 to announce the suit filed against the city. Addressing a handful of reporters, Michael Avery, coordinator of Because... the group, delivered a prepared statement that said two Los An- geles police officers harassed two members of the Raiders, tore up Its probably the most exciting educat- ional voter registration cards and arrested Deborah Williams and Daniel experience ever offered at USC Dusey on the charge of being "drunk on drugs" as they sought signatures for the petition on Sepuiveda Boulevard April 9. Its the "Faculty-in-Residenc- e" Program "We have three witnesses who are able and willing to testify," If you're interesting, and interested... said Avery adding that attorneys from the National Organization for the Reform of Marijuana Laws will be representing the group in court. "Destroying voter registration cards is a misdemeanor," Avery said. "It is punishable by a $500 fine at the very least." Be at the Trojan Hall Dining Room It was mentioned at the press conference that police recently had at 12:30 Friday, May 2, 1980 allegedly torn up petitions by the Citizen's Police Review Board. "After what happened to us it does not surprise me at all," Avery (smart students won't need directions) said. The group plans to "vigorously pursue" the issue and to make citizen's arrests of the two officers who they said destroyed the reg- istration cards. (Continued on oaae 13) TOIMIGHT m CLASSICS PRCSCNTS - MORRIS ThKdTRS Between the wind and the lion is the woman. For her, half the world may go to war. 7- - 945 Sean Cannery Candice Beip Brian Hei $1.50 una m IttRld M Mb Milne Riottca hi Here Jaft Use Mil (Mart rmna fwrnsm Wvm tlattod Arrtsti THIS SUNDflV 5-4-- 80 TH GRADUAT6" NATIONAL HONOR SOCIETITIES' MORTAR BOARD icrnity and BLUE KEY f I present A LEADERSHIP RETREAT May 9-- 11 Idyllwild Applications available in STU 202 and are due Thurs., May 1 with $15 fee. OPEN TO ALL STUDENTS Get involved meet campus leaders: Meet Administrators: Jeff Gates (Chair, Student Senate) Dr. James Appleton (V.P. Student Affairs) Julie Green (President, Mortar Dr. Jim Dennis (Asst. V.P. Student Affairs) Board) Dean Juanitia Mantovani (Asst. Dean Hu- manities Dennis Alfieri (President, Blue Key) & Raft Debate Winner) Debbie Curtis (Chair, Audit Dean Clark Howatt (Engineering) Board) Doug Walker (United Ministry) Mary Ward (Senator: Chair, EEAC) Al Rudisall (University Chaplain) Dean Joan Schaefer (Dean of Women) And a Cast of Thousands 4 Daily Trojan Tuesday, April 29 1980 The opinion of the Daily Trojan is rep- resented only in the unsigned editori- als. Robin Oto Linda Lebovics R. Jane Zachary All other cartoons, columns and Viewpoint Editor Managing Editor Editorial Director letters represent solely the opinion of their authors. When trying isn't enoughl MARKFINLEY "At least he tried . . ." Life and values in the Marines Eight men are dead. "At least he tried ..." I have been reading the letters in the Daily Tro- jan der if Murray, the self-appoint- ed expert on Mar- ine The United States is embarrassed in front of the world. opposing the recent Marine Corps display in mentality, even talked to any of the young "At least he tried ..." Founders Park with interest and even frequent men who were presenting the display. I think The hostages are now scattered. amusement. My mood changed to anger and dis- gust not, for if he had, he would have found out Yet the nation seems to echo with "At least he when I read John Murray's letter (April 10). something that would have surprised him: they tried . . ." I found his letter to be moronic, narrow-minde- d are human beings, just like you and I. he tried. and personally offensive. Yes indeed, By the way, I visited nearly every display and He tried to make an overwhelmingly dangerous mission Mark Finley is a senior in religion. was not recruited once, nor did I hear of any "safe" and "humanitarian;" he permeated a daring rescue Marines broaching the idea of recruitment. Univ- ersity attempt with the spirit of caution and hesitancy. He tried Murray stated, with apparent dismay, that students asked and Marines answered. The to insure that no blood would be shed, and in doing so ROTC (Reserve Officers Training Corps) partici- pants Marines are only for those who want to join and reduced the chances of success. do not "stay out of sight," ostensibly be- cause who can make it. There are times when "I tried" just isn't a good enough "they are not harassed very much." Is One last point. Murray favors "kicking the Murray suggesting that we should harass stu- dents excuse. 1 his is one ot them. whole program (ROTC) off campus." I do not because do we not agree with their values Was such a rescue attempt justified? Should such a raid or do not like their career choice? think Murray understands the fine idea our mili- tary have been organized in the first place? Perhaps these Murray stated that the display took place at a has that most commissioned officers must questions are really not important at this point. Perhaps "particularly bad time," as "none of us need re- minding have college degrees. Part of this comes from the the question that most needs to be answered is this: when of the increasing military influence in need for technical knowledge, but a good deal Carter decided to free the mili- tary this comes from the sense that a college education finally hostages through country." I wonder if Murray has looked be- yond force why did he have to do it so weakly that failure the end of his nose and has wondered why makes one more amenable to reason, better able to alternatives and better able weigh was almost guaranteed from the start? we Americans are concerned about our military clearly even to teach and lead than someone who has not had Obviously Carter attempted to rationalize the use of lately. military force by making it "humanitarian" and using only The American military is in poor shape, and the any college. the bare minimum of men and equipment. This was not Soviet bloc military is in great shape. We have I must admit though, that after reading Mur- ray's made commitments to allies in Western Europe letter, I have begun to doubt the efficacy of an act of war, he has assured everyone, it was strictly a that we would not be able to honor successfully the university in helping one think at all. humanitarian effort. Those who military interven- tion oppose without resorting to nuclear arms, but I suppose are not buying that line and neither are those who Murray and his ilk would rather ignore this fact War is a horrible experience, and I never met feel that Carter had the right idea, but not the guts to car- ry and jump on the pseudo-pacifi- st isolationist a Marine who wanted to die. Military training is it off. myopic bandwagon. rough in itself (particularly Marine Corps train- ing) A decision should have been made. Either we should Murray stated that "nothing will convince me and I never met anyone who enjoyed it. I have continued to avoid military force, or we should have that any one of them (Marines) has a brain in his will freely admit that America has abused her struck forcefully and probably successfully. Carter acted head." Coming from a second year law student, military might and 10 years ago, fought a sense- less, in his familiar manner of saying both yes and no; he re- sorted that in itself is shocking. Am I to infer from this needless war. What should be remembered to military force but insisted on a "small" force and that he has decided a priori what he will believe is that it was a civilian president and a civilian and what not? If so, what is the use of dialogue, Congress (comprised mainly of lawyers, by the a minimum of bloodshed. The end result: eight dead Mar reason or courts, for that matter? I would sup- pose way) that perpetuated that war and actually de- nied ines and five left behind. We helicopters can no longer that Murray was sincere when he wrote; he our military the chance to either win it or maintain our previous "holier than thou" attitude of re- maining should least because civilian at avoid sounding thick-heade- d if he get out, perhaps businesses were above the use of military force and the nation, wants to persuade anyone. making too much money. as well as the hostages, is in a possibly worse position Murray, in addition to implying that Marines than before the attempt. have no brains, said they are "drones." I find And a final note about Marines in this context: The attempt to rescue the hostages failed, not because this offensive. I am an ex-Mari- ne Corps Sergeant, When the commandant of the Marine Corps saw of helicoptor malfunctions, but because it was poorly and I am also a 4.0 student. in the late 60s that the American Congress and planned. It was the possible cancellation of the plan at any The Marine Corps is a rough experience, and President had no intention of winning that war, moment, rather than its chances of success that were em- phasized there are people in there who make life hard. But he objected and the Marines had pulled out by by Carter. I also found among my fellow Marines intelli- gence, 1970. That's right, "Marine Corps commandants wit, self -- discipline, compassion and the against the war." There is a value for life in the Either be prepared to overwhelm the enemy or don't capacity for self-sacrifi- ce for something beyond Marines; it is just that Marines know that some use military force, period. Half-measure- s, like Carter's the "me." things are even more valuable than life by itself. aborted rescue attempt, can only end in tragedy and wast- ed I also found concern; concern for others and for And Marines, I might add, also know what they lives. the United States. I often find all of these traits must be prepared to do in defense of those great- er lacking in students here at the university. I won values. Letters. Faculty resolution by rescinding his teaching du- ties B.C. and held every fourth year cause there was no year be an opportune time to make and prohibiting his use of threrafter until A.D. 393 (The "zero."). Thus the modern in- stitution this historic correction? departmental facilities, and to next games after 4 B.C. were in of the games in 1896 in fact, de facto dismiss him by A.D. 1, then A.D. 5, and so was, in fact, one year early. GIBSON REEVES Editor presenting a date for termina- tion on, apparently one year late be Is it possible that now would Rancho Palos Verdes We would like to make a of his employment and sal- ary. small but important correction These actions, according to of the otherwise nicely reported national officers of the Ameri- can article (Daily Trojan, April 17) Association of University by a staff writer, David Rom- ero. Professors, are in clear and The article began by stat- ing substantial violation of both na- tional that "a Faculty Senate reso- lution standards and of proce- dures passed Wednesday in our USC Faculty Hand- book. (April 16) challenges the ad- ministration's It is these departures from intended dismiss- al procedural due process which THEY Ru WO WHi IN THE SllNC THEIR, ODWllANDEK THEY BtfW IT 816. THE IStRtltC efu6X4S AfcEWCft UXK ITS RAfe of a tenured Safety and Sys- tems the Faculty Senate finds "to- tally OF WWT EXPEcTiue, TO FREE THEiR IN-CHI- EF SNO IT "SSErrS?0" " rtS nS, HUD capm canMDEs... COULD BE DC. Management professor." unacceptable" and which lift THfc iiX tM TttJW ij) In letters to tenured Prof. it has strongly recommended NIED WITH JOKES. . 3we llmfc- - Kenyon B. De Greene, dated be immediately corrected. March 24 and 27, Academic FACULTY RIGHTS AND RES- PONSIBILITIES Vice President Paul Hadley COMMITTEE communicated the university's Faculty Senate intent to seek De Greene's dis- missal the nui has sa- rin THE PRESIDENT FIW to SAW THE HOSmSK uS SCAT- - AMERICA LOVES HJA(ASM SP'Wgi' ECSTATIC.' AWTOtllO TO IISlT VIlTH THE TEM INOKDERTD DI5-Tflf- cT IT liWT ON V THE SA Time AS S3" on the ground of alleged An opportunity? NlU(2D CCVrWlANDO- S- 'IfOiX. AND MWPK') PK5IDtNT(l5 "neglect of duty." What ever F(C6.- - flSOD... the substantive merits of this in ended action, its mode of com- munication Editor: has no evident pro- cedural If the 1980 and 1984 Olympic defects. The Faculty Games were postponed for one Senate has not challenged the year each, until 1981 and 1985 intent to seek dismissal per se. and so on the games THESaJtejfOfyWIE 6rp.. BPlT5M OXUAlSlfl IS LOOKN6 UMqf THIS TlMf OF However, Dr. Hadley's letter(s) would be returned to the ori- ginal YEAR.. go on, as indicated in the un- animously four-ye- ar cycle of classical adopted senate reso- lution antiquity. of April 16, to in fact, As you may know, the games summarily suspend De Greene were traditionally begun in 776 Daily Trojan Tuesday, April 29 1980 5 Grant to cinema TV will help pay for soundstage NEED ADVISEMENT? The division of Cinema and Television received a $650,000 pledge last week for the construction of a film soundstage, as part of a cinema building project estimated to cost between $10 and $15 mil- lion. The pledge, from the Harold Lloyd Foundation, is the single Don't know what classes largest contribution for the project to date. The School of Performing Arts is looking to build facilities like the film soundstage, said Grant Beglarian, dean of the School of to take? Performing Arts. Other facilities that need funding include a cine- ma library, to house the university's large collection, music practice rooms and cinema workshops. The total cost of all planned build- ings will be about $20 million. Other smaller contributions have been received as part of the School of Performing Arts' drive to upgrade its present facilities, LAS ADVISORS CAN HELP! Beglarian said. Many facilities are converted shacks or temporary buildings. The gift from the Lloyd Foundation will pay for "the first See one of our advisors during lunch two bricks," Beglarian said, but he expects this donation to cause "a bandwagon to develop." The Lloyd Foundation gift will not allow construction to start, but is considered a major asset for the project, Beglarian said. Classes in yoga offered MONDAY thru THURSDAY Yoga classes are being offered trying to find Him through at the university YWCA by the drugs. APRIL 28 - MAY 1 the Health Happy Holy Organi- zation. When Bhajan brought Kun- dalini The classes, which will to this country, he be held on Thursday nights at yoga and broke a tradition of keeping 6 p.m., will specialize in Kun-dali- ni this yoga secret. Kundalini yoga. yoga, a Aside from teaching yoga MAY 5 - MAY 8 18,000-year-ol- d science, is classes, the organization runs a called the "yoga of awareness." drug and alcohol prevention It makes use of the body, center in Tucson, Arizona. The breath and sound currents. organization's Drug and Alco- hol 11 AM to 1 PM Sarb Sarang Singh Khalsa, Program's average success one of the course instructors, rate is 50 compared to federal said Kundalini yoga allows for government estimates of 2 to "a comprehensive, compara- tive, 4 on the national average of intuitive mind" by open- ing success. the intuitive centers of the The program represents a brain. holistic approach to rehabilita- tion Yogi Bhajan brought Kundali- ni and is based on yoga, Commons Lobby yoga to the United States meditation, self-awarene- ss, from India in 1968. nutrition, and a positive family Khalsa said Bhajan, a master environment. of Kundalini yoga, felt the More information may be ob- tained youth of America were looking by calling 232-885- 0 be- tween for God, except they were 1 p.m. and 6 p.m. TOMORROW EUGENE IONESCO WILL AUTOGRAPH HIS PLAYS at the TROJAN BOOKSTORE 11:30 -- 1:OOPM 6 Daily Trojan Tuesday, April 29 1980 Accreditation procedures SOFT BAUSCH CONTACT & t-- LOMB INCLUDES AMERICAN LENSES OPTICAL begin for five-ye- ar study Eye exam Complete training Follow-u- p visits for 6 months Deluxe $20 lens care kit Same By Paul Escobar update anything that happened organizationally between 1976 and 1980, and com- plete or academically day service on most lenses - Written guarantee Staff Writer of statistical reports," Bimbaum Phone, (213)475-760- 2 The university will begin accreditation proce- dures appendices for the 1980 academic year, as part of a said. the stated that for the Academically, report five-ye- ar comprehensive study, the President's university "to decide in some document whether Council executive committee announced A poll. Oftar expires May 31 Advisory or not (it) should continue its traditional paths, sight Meoicai. gtoup nc Monday. shift to become more of an international and less An accreditation self-repo- rt of the university, to of a regional university, or try to do both may 1)645 WHshlf Blvd. Suite 1070, Los AnqHw be completed by May 15, will provide informa- tion be of less than working on improv- ing consequence the Western Association of Schools and Col- leges the library and admitting qualified students." 4? 4? 3? if 4 S? i? 4 ? 4? i Sb 4? 4? status can of the use university. in assessing the overall academic The report commended the university for main- taining effective relations. "The The five-ye- ar study report follows a 10-ye- ar reg- ular community cam- pus MEMORIAL SERVICE evaluation. has an open, nonfortresslike relationship with the There has been devel- oped Henry Bimbaum, coordinator of the 1980 Accre- ditation neighborhood. ;A Memorial Service for Noora Ghareeb will be heldij Report, said the university must submit a a series of programs, designed to provide appropriate services for those living in the vicini- ty 29 five-ye- ar interim report to the association before on Tuesday, April in a fashion that also provides educational and an accreditation team will be sent to inspect the cftat 10:00 a.m. university. research opportunities for faculty and students." efiat the University Relgious Center (Front Lounge) The last accreditation team reviewed the univ- ersity The report also made reference to a proposed in March 1976. university center, while criticizing physical educa- tion 4iAlvin S. Rudisill, University Chaplain, will officiate. Birnbaum said a delegate of approximately five facilities. will review the in 1981, af- ter "Facilities for indoor activities inade- quate t people university May sports are if f $ Jf 3 Cft Cft Cft f reviewing the self-repo- rt. for the many groups to be served: physical Various schools, departments, and administra- tors education, intercollegiate athletic teams, intra- mural have been asked to submit information for sports, and student, faculty and staff recre- ation. the report. Planning for a university center and new "Essentially, those providing the information recreation facilities, while in progress, should be comment on any criticism in the 10-ye- ar report, re-evaluat- ed." California pregnancy counseling service. inc. MEChA safeguards Aztlan rally EARLY PREGNANCY TESTING New Test Can Confirm Pregnancy (Continued from page 1) An LAPD officer said that their differences somewhere Within A Few Days of Conception when the rally started to break else. We were able to keep it He said that evidently two up one group of students left down because we had our own FREE UCG Pregnancy Testing results while you wait groups did engage in some sort for the busses and were fol- lowed (security). Security and LAPD of verbal confrontation, but by a second group. "As tend to overreact in these is- sues BRTH CONTROL STEFUUZATON that it ended when a University we approached the busses we because of the lack of sen- sitivity. Security officer warned them to were being waved down by a UNWANTED PREGNANCY take their problems off campus. bus driver. By the time we got "I do want to emphasize that Rivera said that there was a there one group started walk- ing the kids who caused the prob- lems General Anesthesia Asleep or Local "small scuffle" after the pro- gram back. Some of them were were not invited by our as the students boarded leaving with rocks in their organization and came on their Low Fee Includes Lab Tests, their busses on Jefferson Aven- ue hands." own and no incidents oc- curred." Counseling, Surgery & Medications near the pedestrian mall University Security and the Rivera said. Confidential and Personal Care construction site. LAPD were not aware that ob- jects He said, "there is rivalry be- tween Medi-C- al & Student Health As students boarded, rocks had been thrown at the high schools, especially and lumber from the consruc-tio- n busses. in East Los Angeles and Santa Insurance Accepted site were thrown at one of Rivera said that this situation Monica. We tried to prevent FOR INFORMATION OR APPOINTMENT the busses. Students outside of was "put out by our own secu- rity. this by asking teachers to LOS ANGELES 233-5- 1 23 the bus were shouting, spitting We were able to talk with screen potential people who get Ml 3. MMMMpMA CA 90020 and antagonizing those inside. them and have them settle angry easily." AFRICAN EXPEDITION GERMANY TO KENYA VIA the SAHARA DESERT 14 week $1650 Tel. 826-77- 66 SCOPE Presents Frank Africa Expedition Co. (JSC School of Performing Arts, School of Music presents (DnTemPORflRY muic EnEfTIBLfc" Directed by ROBERT WOJCIAK ! F S1B-Britte- n TUESDAY, APRIL 29 SCHOENBERG INSTITUTE 8:00 PM Tickets: $4.00 ($2.50 sr. citizens, $1. 50 stu.) Available Booth Hall 110 & Mutual Agencies Credit card, phone orders & info. : 741-711- 1 i... if x Communism Research Club u Weekly meetings for serious in- vestigation of the background, Wednesday, April 30, SAC PATIO teachings, and consequences of the philosophies of Marx, Engel, 12:30 Lenin, Stalin, Mao, etc. Want a prize? Dress Accordingly! v Meeting will be Tues., April 29 Everyone Welcome 3:30 PM SAC RM 201 Daily Trojan Tuesday, April 29 1980 Discrimination suit (Continued from page 1) on Jan. 18, 1980 that she had Cauffman, who is 53, came to the right to sue and had 90 the university as an assistant days to do so. Cauffman filed professor in 1966 and was ten- ured suit on March 26. and promoted to her cur- rent She is concerned over tieups status in 1969, but has re- ceived that have been reported in sim- ilar no promotions since. cases of professional sex The suit stems from a long-ter- m discrimination. effort by Cauffman to be The backlog of cases reported : promoted to full professor. She to the commission and retalia- tion Sr '.H'- - Fx J Ell said she tried raising the prob- lem by employers have dis- couraged through university and many other women community channels of com- plaint from proceeding with lawsuits, before assistance Cauffman said. seeking :;;! .y ; i- - ?i. from the Department of Health, She said she has been at the Education and Welfare and the prime of her professional life Department of Labor in 1973 during the course of her com- plaints. and 1974. She said the labor department "Many of the men who came investigated the case in 1974, into the department with me at but she has received no out- come the same level have been pro- fessors report of the investiga- tion. for some time," Cauff- man said. In September 1974, she filed The suit states she has repeat- edly a charge with the Equal Em- ployment been denied promotion for Ml photo by Kannrtfi Uwta Opportunities Com- mission which she was fully qualified ALL THAT JAZZ This musical group, Tierra, played at the Festival Aztlan '80 Monday in Founders about discrimination while males who were less Park. The group played contemporary Latino music for the celebration in honor of Cinco de Mayo. based on sex. qualified were promoted by the The suit contends that after university. MARBURGER'S DEPARTURE she did so, the university retal- iated She said her attorney advised through her work assign- ments, her not to cite specific cases to Dean's resignation called loss promotion tenure rights and and salary privi- leges, Registration the Daily Trojan. increases, fringe benefits and By Holly Houston "It is a marvelous opportunity. Stonybrook is professional opportunities. The deadline for requesting Staff Writer one of the most important state universities des- tined On April 5, 1977 and May 24, the mailing of registration ma- terials "I hate to see him go' said President Hubbard, for academic excellence," Hubbard said. 1978, Cauffman filed separate for fall 1980 is Wednes- day. summing up the feelings of many administrators "He was a great addition as a teacher and admin- istrator. charges with the commission Registration envelopes are concerning the resignation of John H. Marburger, He caught my eye 11 years ago as alleging retaliation for filing the available in the Registrar's Of- fice dean of the College of Letters, Arts and Sciences. being bright. It was inevitable he should assume original charge. (SAS, Room 2) and require Marburger will leave the university in July to be- come greater academic capabilities." She said the commission was 41 cents in postage. The enve- lopes the President of the State University of If a president is cnosen soon, it would be his unable to investigate until the must be turned in by 5 New York at Stonybrook. (Continued on page 16) fall of 1979, and informed her p.m. to Room 2. ATTENTION BEAUTIFUL The American Advertising Federation WOMEN j: presents The Phi Kappa Psi calendar is again searching for the twelve most beautiful women on campus. If you're one of them, you're invited to a cocktail party on Wednes- day, A TALK ON THE ADVERTISING April 30, at 7:00 p.m. R.S.V.P. Chuck 747-629- 2. INTERNSHIPS AT THE DAILY TROJAN ! What Does 'THE LIST" Mean?! by ALEC TAN $ $ BIG BUCKS $ $ ij Advertising Services, Offices of Student Publications jji $204,800.00 t SAC 207 Outrageous 12 NOON TODAY FREE USC CAMPUS LUTHERAN MINISTRY presents DELIVERY THE AFTER 5 PM LION IN A Slice of Life" WINTER by James Goldman UNIVERSITY VILLAGE - VILLAGE FARE 746-722- 1 April 30 THRU May 3 8 p.m. University Church PEPPERONI SLICES 817 W. 34th St. Always Ready 85tf Tickets $4,$2 Booth Hall 110 FREE Papermate Pen Call 741-711- 1 W Delivery 8 Daily Trojan Tuesday, April 29 1980 an Expreu Company ! -- N? mm American Express hasn't changed its application qualifi- cations for graduating students during the current credit crisis. That's because the American Express Card isn't a credit card. It's a charge card. There's no revolving, open-en- d credit. You are expected to pay your bill in full every month. So with the Card, you don't get in over your head. You use your head. American Express is continuing its special application plan for graduating students. If you have a $10,000 job (or the promise of one) lined up, you can apply for an American Express Card right now. You'll need the Card for everything from business lunches to vacations, from buying clothes to buying theatre tickets. You'll have new responsibilities after graduation, he American Express Card will help you manage them. To apply for a Card, just pick up an application at one of the displays on campus. Or you can call the toll-- mm free number 800-528-8000,a- nd ask for a special student application. The American ExpressCard. Don't leave school without it. Daily Trojan Tuesday, April 29 1980 9 DEAN'S LIST FOR THE COLLEGE OF LETTERS, ARTS AND SCIENCES Spring Semester, 1980 Humanities CcJachis, Sam C. Sr BISC Phoenix, AZ Kosa, David A. So BISC Torrance CohDEri, Paul H. Jr BISC Downey Kremples, Dana M. Sr BISC Long Beach Contaoi. Ruben A. Fr BISC Redlands Kunitake, Jill M. Sr BISC Los Angeles Abdoh, Rcza Fr COLT Corson, Gail R. Sr BISC Lexington, MA Kwong, Melsen M.C. So BISC Los Angeles Albert. John F. Jr. ENGL Glendora Crlpe, Jerry R. So GEOL Covina Kyan, Feesiang Fr BISC Los Angeles Allain. Stephanie C. So ENGL Los Angeles Dahnke, David G. So BISC Woodland Laflammc, Lisa J. Fr CHEM Pocasset. MA Basil. Wendy P. Jr ENGL San Pedro David, Brian M. So PHED Placentia Lau, Gene C. So CHEM Monterey Park Boyle, Susan C. Jr ENGL Honolulu, HI Dawson, David L. Jr BISC Palos Verdes Estates Lederc, Terese G. Fr CHEM Portola Valley Brenden, Scott J. Jr LING Acampo DeLoreilhe, Philippe-Yza- m Jr ASTR Santa Monica Lee, Andrew Jr BISC Arcadia Brizzotara, Christopher Sr ENGL Alva, OK DeconrJ, Robert W. Fr BISC Great Falls, VA Lee, Cheryl M. Sr BISC Los Angeles Burkhard. Evelyn S. So HUMN Sylmar Dicesare. Paul E. Jr BISC Dobbs Ferry. NY Lee, Gordon So PHYS Chowchilla Caswell, Diane C. Jr GERM Whittier Dickinson, Jane W. Sr BISC San Diego Lee, Merry Fr MATH S. Pasadena Cernins, William J. So ENGL Upland Ding, Gregory W. Sr BISC Palo Alto Lee, Raymond K. Sr BISC Glendale Chambers, Debbie D. Sr LING Los Angeles Duzi, Garth A. So BISC Fresno Lennartz, Robert C. So BISC Hawthorne Charchol. Jackie L. Fr ENGL Dana Point Dyer, Gina M. Sr PHED Lakewood Lester, Melanie B Sr PHED San Marino Clark, Dawn G. So ENGL Los Angeles Echols, Michael E. Sr BISC Big Bear Lake Libman. Bonita S. Fr BISC San Marino Class, Alicia Jr FREN Bell Eggert, Mark B. Sr PHYS Simi Valley Loo, Ronald K. Jr BISC Tucson. AZ Cook, Melanie G. So PHIL Harrisburg. PA El Farra, Nadia L. Jr PHYS Los Angeles Louie, Sharlene K.C. Fr CHEM Los Angeles Curd, Joseph D Jr PHIL Downey Eng. Andrey Jr BISC Montebello Low, Jimmy Fr CHEM Exeter Curone. Mary C. Jr ENGL Alhambra Erler, Maryleigh O. Sr BISC Whittier Lu, David S.-- C. Fr BISC S. Pasadena Davis, Lynn Jr SPAN Los Angeles Farag, Ashraf Fr BISC Kuwait Lubin, Diana A. Sr BISC Los Angeles DeVet, Therese A. So LING Baam. HOLLAND Farazian, Key van H. Jr PHYS Los Angeles Lyons, Stephen F. Fr CHEM Shawnee Mission. KS Del Goercio, Stephen A. Fr ENGL LaCanada-Fli- . Fatollahi, Ali A. Fr BISC Inglewood Ma, Ching-Chen- g Jr BISC Redondo Beach Deloo. Mary I. Jr FREN Santa Barbara Fedko, John S. So SPIN Santa Ana Maki, Jane K. Fr CHEM Torrance Deluna. Deann Sr ENGL Los Angeles Felix, Michael A. Fr BISC Pico Rivera Makonian, Mark B. Jr PHED Los Angeles Devlin, Tracy A. Sr COLT Elkins Park. PA Forest, David W. So BISC Fairfield Marchetti. Fernando A. So BISC Calabasas Dunagan. Craig A. Sr ENGL Los Angeles Fujii, Bryan R. Jr CHEM Thousand Oaks Marketto, Mary L. So GEOL Alhambra Eliopoulos. Marianne Jr PHIL San Mateo Fujita, Sharon M. Fr BISC Los Angeles Marshall, Mylon W. Fr GEOL Delano Finley. Mark Sr REL Long Beach Fuselier, Stephea A Jr PHYS Metairie. LA Martinho. Elena So BISC Long Beach Fujimoto, Y. G. So EALC Pacific Palisades Gallagher, Dan J. Sr GEOL Redondo Beach Matsumoto. Randal S. So BISC Pearl City. HI GeofTray, Gerald R. Fr ENGL Los Angeles GeUbert, Andres L. Fr BISC Elmhurst. HY Matteucci, Tom D. Jr GEOL Albuquerque, NM Gilroy, Edwin J. Sr HUMN Palos Verdes Estates Giddings, Jacqueline A. Sr PHED Newport Beach Mayer, Frank J. Fr BISC Ridgecrest Grandlienard. Garry L. Fr GERM Waterloo. IN GiganteUi. James W. Jr BISC Los Angeles Mclnerney, Sheila A. Sr PHED Rome, NY Greiner, Corinne L. Ft ENGL Palos Verdes Gomez, Debbie S. Fr BISC Temple City Mcjenkin, Lisa K. Sr SPIN Laguna Beach Griflin. Patricia L. So FREN Vacaville Goodman, Ronald S. So SPIN Los Angeles Meek, Peggy L. So BISC Los Angeles Hall, Barbara L. Fr FREN Redondo Beach Gross, Thomas P. Jr CHEM Meinke, Heidrun B. Sr BISC Sherman Oaks Hamilton, Kevin T. Fr ENGL San Leandro Gun thorp. Matthew A. Fr CHEM Las Vegas. NV MeUd, Toufk S. Fr BISC Los Angeles Hanlon. Charles R. Fr PHIL Dartmouth Gupta, Geeta K. Sr BISC Downey Miller, Keeley E. Jr BISC Thousand Oaks Hill, Brian R. Jr ENGL Torrance Ha Duong, Quan Jr BISC South Gate Minami, Kenneth T. Fr BISC Honolulu, HI Holford, Gregory R. Fr ENGL Glendale Habashi, Neveen So BISC Glendale Minor, Charles L. Fr BISC Wilmington, DE Johnson, Arthur L. Jr LING Adelanto Haddad, Rosemarie Fr PHED Los Angeles Missakian, Maylene L. Jr BISC Upland Johnson, Bryan K. Sr CLAS San Diego Molnar, Todd J. Sr BISC Encino Kaya, Karen T. Jr EALC Honolulu. HI Moon, Mark S. Jr GEOL Monterey Park Knapp. Angela D. Fr HUMN Balboa Moy, Timothy S. Sr BISC Los Angeles Leonian, David M. So ENGL Studio City Nan, Helen H.-- R. Fr BISC Los Angeles Leveqne, Mark G. Jr ENGL San Pedro DEAN'S MESSAGE Napoiitano, Charlene R. So BISC Glendale Libera tore, Frank M. Jr HUMN Los Angeles Newcomb, Stan A. Fr CHEM Rancho Palos Verdes Lyons, Linda So ENGL Shawnee Mission, KS Ng, Rowona A. Fr BISC Los Angeles Marty, Grace S. So FREN Homcwood Listed here are the names, years, departments Nguyen, Linn K. So PHSC San Clemente McCarthy, Thomas H. Fr ENGL Boise, ID and cities taken from the Registrar's list of Nguyen, Ngocloan Fr MATH Los Angeles Meadow croft, Laura H. Sr AHIS Los Angeles Nguyenphuc, Yenchi Jr BISC Oak Lawn, IL Meder. Jeffrey A. So ENGL Rolling Meadow, IL students enrolled in the College of Letters, Arts Nicassio. Ralph A. So BISC Alta Loma Mitchell, Victoria J. Jr ENGL Burbank Ning, Winnie W.N. Fr CHEM Encinitas Moote, Karen L. Sr FREN Los Angeles and Sciences whose grade averages exceeded 3.5 Nishiki, Mark H. Jr BISC Palo Alto Nakashima, Julie J. Sr ENGL Los Angeles in the Fall 1979 semester. The labor required to Nishino, Marc I. Fr BISC Orange Ochi, Mariko Sr REL Tokyo. JAPAN Nobles, Dolores L. Fr BISC Markham. IL Oliver, Michael A. Fr. ENGL Saratoga earn a place on this list is poorly rewarded by the Nyberg, Thomas A. Jr BISC Fullerton Griins, Danae T. Jr. SPAN Los Angeles The reward O'Brien, Michael J. Fr BISC Richmond, VT it brief recognition provides. great Otis, Brian C. Jr PHIL Alhambra O'Brien, Elizabeth A. So BISC Sharon. MA Park, Cynthia F. Sr EALC Wilmington will come later, and it will come from society, not Oda, Roger M. Fr BISC Gardena Perl man, Mira-La- ni Jr ENGL Los Angeles Oechsel, Michael J. Jr CHEM N. Hollywood Person, Janet Jr ENGL Torrance from the Dean. College is not intended to provide Okamoto, Brian T. Fr BISC Monterey Park Polk, Kevin O So ENGL Boulder City, NV immediate rewards, and those who gain most Panossian, Seroj So BISC Glendale Potmanteer, Timothy, P. Sr ENGL Santa Ana Paris, Joseph M. Fr BISC Cerritos Porter, Mark E. Jr ENGL Reno, NV from it are willing to postpone gratification of Patkos, George B. Sr CHEM Monrovia Qvale, Signe R. Sr FREN Los Angeles Peacock, Marcus C. So CHEM Crystal Bay, MN their immediate desires. Their of Ray, Sherrie L. Fr LING Pasadena example Pena, Celia M. Fr BISC Los Angeles Rempel, Susan C. So ENGL La Canada sacrifice strengthens our resolve and straightens Peppard, Jeff D. Fr CHEM LaHabra Rose, Andrew C. Sr ENGL Delmar, NY Peterson, David W. Fr CHEM Mankato, MN Rosenzweig. Mitchell S. Sr ENGL Elkins Park, PA our perspective. On behalf of the faculty and Phillips, Gregory L. Fr BISC Los Angeles Saecker. Ann E. Sr GERM Bakersfield Quilfigan, Theodore J. So BISC S. Laguna administration of the College, I congratulate Sand rock. Moira J So LING Yorba Linda Quon, Michael So BISC Los Angeles ScanJoo, Marie V. Jr ENGL Encino those listed, and wish them continuing success in Rhee, George S. Jr BISC Los Angeles Sherman, Mara B. Sr SPAN Culver City Rider, Michael A. Fr CHEM Everett. WA Shin. Jennet Sr EALC Monterey Park their academic endeavors. Riggio, David W. Jr BISC N. Hollywood Slocum, Lee A Jr GERM Burlington. VT Ritter, Niles D. Sr MATH Fremont Smith, Cecily E. Jr ENGL Monterey Roche, Richard J. Jr BISC San Gabriel Solomon, Beatrice H. Sr ENGL Beverly Hills Ross, Steven M. Jr SPIN Los Angeles Solomon, Lugene S. Jr SPAN San Marino I Rover, Robert P Jr BISC Atascadero John H. Dean& Spinner, Nicholas E. Sr PHIL Beverly Hills Marburger, Ruch, Judith L So BISC San Diego Steindter, Wallace Jr ENGL Los Angeles College of Letters, Arts Sakurai, Kenneth H. Jr BISC Los Angeles Straight, Susan C. So ENGL Riverside Sanematsu, Louise E. Fr BISC Orange Swan, Alice B. Sr SPAN Laguna Hills and Sciences Scher. Scon R. So BISC Northridge TabaUbai, Golnar Fr PHIL Los Angeles Schiller, Gary J. Sr BISC Los Angeles Taira, Alavne S. Jr EALC Gallup, NM Schiller, Vicki L. So BISC Los Angeles Takii, Teresa M. Jr ENGL Whittier Schroeder, Karen R Sr PHED New Orleans, LA Tamaki, Linda H. So ENGL Torrance Halikis, Nick M. Fr BISC Palos Verdes Schuberg, Mark J. Sr MATH r4onhridge Tumas, Jenny Jr ENGL Altadena Hamada, David Z. So BISC Laguna Beach See, Mary M. Jr PHED Norwalk Tutsch, Ellen Jr EALC Kobe. JAPAN Hamilton, Sue So BISC La Jolla Sefa-Boaky- e, Kofi D. Jr BISC Los Angeles Wagers, Jill F. Sr FREN West Covina Hammond, Kathleen Jr PHED Lakewood Segnar, C. C. So GEOL Lafayette WaMon, Lori A. Fr ENGL Berkelev Harris, Kathleen R. Jr BISC Mesa. AZ Seno, Timothy G. Sr BISC Los Angeles Wallace. Richard S. So PHIL Portland. ME Harrison, Richard R. Jr BISC San Dimas Serikawa, Carolyn F. Fr BISC Gardena Weinberger, Stacey So GERM Long Beach Hartman, Joseph R. Fr BISC Ventura Shimizu, Glendon M. Fr BISC Los Angeles Weber, Steven E. Sr EALC Burbank Hashimoto. Lois K. Jr CHEM Pearl City, HI Shimoyama. Jeffrey K. Jr PHED Culver City Wifeon. Barbara Fr OAS Arcadia Haueisen, Jeffrey K. Sr MATH San Pedro Shishirna, Marc H. Sr BISC Monterey Park Wingert, W. A. Sr. ENGL Clare mom Ha use. Donald W. So BISC Carmichael Shubin, Nicholas J. Sr BISC Montebello Yoshimoto, Grace N. Jr ENGL Monterey Park Hendrix, Eric D. Fr GEOL Santa Ana Sima, William F. Jr BISC La Mesa Yurdin. William E. Sr ENGL Springfield, 1L Heropoulos, Angelo N. So BISC Menlo Park Siu, Jennifer Jr PHED Alhambra Hirayama, Brian K. So BISC Gardena Skankey, Gary R. Sr BISC Ojai Howatt, Lynsey R. Sr PHED Los Angeles Slapnik, Kurt J. So BISC Visalia Natural Sciences and Mathematics Hsu, Nathan Y.-- L. Jr BISC Foster City Smith, Christopher P. Jr BISC San Marino Hsu, Owen Y.-- G. Jr BISC Foster City Smith, Cindy J. So BISC Bakersfield Ahmad, Laura A. Fr BISC Pasadena Hnyler, Jay S. Fr SPIN Park Ridge, IL Solon, Sarah R. Jr BISC Evanston. IL Ajemian, Nana A. So BISC Kalamazoo. MI Ida, Rodney D. Fr BISC Orange Soriano, Sulpicio Jr CHEM Tamuning. GU Alabyad. Alhashmi M. Sr PHYS Memphis, TN Iinuma, Nick K So BISC El Monte Stag none, David Fr BISC Albuquerque. NM Alvarez, Francisco Jr BISC Newbury Park DJich, Vanja I. So CHEM Downey Stand, Mark D. Fr CHEM Orange Ando, Arthur D. Jr BISC Cerritos Inouve, Dale D. Jr BISC Monterey Park Steinkamp, David H. Fr BISC Torrance Auerbach, Todd Fr BISC Hacienda Heights Irvine, William J. Sr BISC Rolling Hills Sterns, Michael J. Sr BISC Los Angeles Baharie, Brent S So BISC Santa Ana Irwin, Jan C Jr BISC Monterey Park Stetson, William B. Fr BISC Torrance Baker, Daniel S. Fr BISC La Canada Iwai, Rick T. So BISC Montebello Stokes, Kelly J. So PHED Santa Monica Baker, Susan J So CHEM La Canada Jacobs, Scott B. So BISC Beverly Hills Sujanani, Kishor H. So BISC Kowloon, Hong Kong Balcotn, Laurie P Jr BISC Coronado Jappay, Elizabeth L. Fr BISC Los Angeles Sullivan, Richard R. Sr BISC Rolling Hills Barkdull, Lisa C. Jr MATH Santa Ana Jimenez, Jim P. Fr BISC Tujunga Switzer, Barbara A. So BISC Lake Worth, FL Bercsi, Stephen J. Jr BISC Woodland Hills Johnson, Barton S. So BISC Northridge Swobe, Caryn C. Fr PHED Reno. NV Blan, Andrea L. Fr BISC Huntington Beach Johnson, Jeffrey W. So CHEM Sepulveda Tabacopoulos, Diana So BISC Glendora Bloom, Steven E. Fr BISC Northridge Johnson, Steven B. Sr BISC Anaheim Tamaru, Richard H. Fr CHEM Honolulu, HI Boehmer, Sally A. Jr PHED Mission Viejo Johnson, Theodore R. Jr GEOL Costa Mesa Tavitian, Ara Fr CHEM W. New York, NJ Boone, Matthew C. Jr BISC Santa Monica Jurkevics. Lauma M. Sr BISC Los Angeles Tefft, Nancy L. Fr MATH Las Vegas, NV Bueno, Sabrina C. Jr BISC Monterey Park Kai, Donna J. So BISC Culver City Thai, Dieumy Fr CHEM San Diego Bui, Van A. Fr BISC Ventura Kalem, Craig B. Sr PHYS Altadena Thein, Patrick K. Sr BISC Los Angeles Byron, Richard L. Jr BISC Arcadia Kalpakian. Basilio Jr BISC Los Angeles Thretfall, James Fr BISC Phoenix, AZ CahUI, Bruce E. Sr BISC Phoenix, AZ Kampe, Carsten E. Sr CHEM Torrance Thue, Jeffrey C. So BISC Los Angeles Cambra, Jay A. So BISC Wahiawa. HI kannegieter. Lane S. Fr BISC Sunset Beach Timmons. Michael S. Sr BISC Honolulu. HI Campagni, Michael A. Fr BISC Whittier Kasper, Steve E. So BISC Alhambra Tom, Paul T. Sr BISC San Diego Carabetta. Vito J. Sr BISC Los Angeles Kate, Linda M. Fr BISC Woodland Hills Traill, David M So GEOL Glendale Carney, Helen F. Fr BISC Portland, OR Kawaguchi, Mike N. Fr BISC Los Angeles Trudeau. Marc V. Sr BISC Burbank Caruso, Joseph M . Sr CHEM South Holland. IL Kawata. Garrett R. So BISC Los Angeles Turn bow, Sandra L. Fr MATH Bellflower Chang. Willis-Jo- n K. Fr BISC Honolulu, HI Kidman, Timothy K. So MATH Rancho Palos Verdes Valkjo, Arthur So BISC Cemtos Chao, Thomas J. Fr BISC Urbandale, IA Kiknchi, Kyle Sr BISC Monterey Park Van Ben them. Lynne B. Jr PHED La Jolla Ching, Donna S.F. So BISC Honolulu. HI KHz, Robert Jr BISC Los Angeles Van Daele, Patrick J. So BISC Riverside Chow, Peggy Y.-- W. Fr BISC Santa Clara Kimura, Elaine E. So BISC Azusa Vanslvke, Stephen M. Jr PHED Santa Monica Christensen, Lisa M. Fr BISC La Canada Kitchen, Kimberly S. Sr PHED Fullerton Vargas, Stella D R. So BISC Monterey Park Clayman, Helaine O. Sr PHED Los Angeles Kitsigianis, Geliann Sr BISC Downey Von Der Ane, Jean L. Jr BISC Los Angeles Coe, Jennifer S Jr PHED Palos Verdes Estates Kobayashi, Mark R. Jr BISC San Pedro WaddeU, Heather A. Sr CHEM Torrance 10 Daily Trojan Tuesday, April 29 1980 SPRING SEMESTER 1980-DEA- N'S UST FOR THE COLLEGE OF LETTERS. ARTS. AND SCIENCES Natural Sciences and Mathematics Dodson, Keltic J. So IR Manhattan Beach Koo. Jacqueline T.L. Jr IR Beverly Hills Dole, Cindy L. Jr JOUR Arcadia Koster, Marguerite A. So PREL Milwaukee. WI (continued) Dokzal, Sharon L. Fr PSYC West Covina Krekorian. Paul M. Jr HIST Reseda Dombrowski, Christopher S.Jr POSC Los Angeles Kristof. Moira H Jr HIST La Canada Waiters, Michael D. Fr PHYS Orange Dominquez, Jaime L. Sr POSC Long Beach Krupp, Karhryn D. Sr SPCO Newport Beach Wang, Peter T.-- H. So ASTR N Hollywood Dryer, William F. Jr ECON La Canada Kubota, Laura L. Jr JOUR Los Angeles Warren. Barbara J. Fr PHED Palos Verdes Estates Dunham, Robert B. So AMST Pasadena Kurihara, Sharon C. Sr BRCG Oxnard Weinreb, Ari Fr BISC San Francisco Duplessis, Helen M. Sr PSBI Los Angeles Kurisaki, Clay S. Jr PSYC Honolulu. HI Westland, Grant N. So BISC Long Beach Edwards, Mary S. Sr ECON Los Angeles kutcher. Kenneth L. Sr ECON Escondido Wickers, Gregory M . Sr BISC Seal Beach Eghrari, Haleh Jr PSYC Tehran. IRAN Kyriacou, Charles Jr JOUR Burbank W illiamson, Alan E. Sr CHEM Pasadena Ehrenwald. Luis Sr PSYC Tecamacbalco, MEXICO La Shell, Marguerite E. Fr JOUR Encinitas Willis, Debra A. Jr BISC San Gabriel Eid, Roger G. Jr ECON Beirut. LEBANON Labounty, Debra S. Fr POSC Ferndale, WA Wilson. Gregory W. Fr ASTR Huntington Beach Eller, Claudia D. So JOUR Los Angeles Lam, Lin So PSYC Tucson, AZ Wong, Braven L Jr BISC Monterey Park Escobar, Paul E. So POSC Whittier Lamas, Jose M. Jr IR Azusa Wong, Kenneth ' So CHEM Los Angeles Eskue, Daniel G. So POSC Glendora Lampert, Martin D. Jr PSYC Irvine Yamada, Melvtn T. Jr BISC Pearl City, HI Etess, Michael H. Fr ECON U Jolla I-anch- antin, Louis F. Sr SPCO San Marino Y anuria. Robert K. Jr BISC Downey Ettd, Veronica E. Fr BRJO Orlando. FL Landis, Craig S. Fr POSC Los Angeles Wmada, Ted K Jr CHEM La Puente Evangelists , Alfredo G. Jr POSC Kahului, HI Latish, Deborah J. Jr JOUR Paradise Valley, AZ Yamashita, Naomi M. Fr BISC Long Beach Evans, Gregory R. Sr PSBI Huntington Beach Lawrence, Lisa A. Jr PSYC Anaheim Yee, Herman T Jr CHEM Long Beach Evans, Hollis A. Jr BRCG Seattle. WA Lee, Erwin Sr PSYC Monterey Park Ye, Ronald Jr BISC San Francisco Farbstein, Joel M. So PRJO Chesterfield. MO Lee, Kam M So ECON Monterey Park Yonekura, Stanton So BISC Huntington Beach Farrdl, Joseph D. Jr POSC Ridge wood, NJ Leonard, Steve So IR Rolling Hills Yoshhnnra, Don M. Sr BISC Fowler Fiorentino, Leila A. Sr IR Sherman Oaks Leong. Gorki in A. Sr PSYC Monterey Park Young, Randy S. So BISC Orange Fis. Rita L. Fr PSYC Palos Verdes Estates Leslie, Idenne M. Jr HIST El Paso, TX ZUI, Jeffrey D So MATH Ontario Ftato, Rose M. Jr PSYC Lodi Lev, Arthur J. Fr POSC Los Angeles Flicker, Eric D. Jr PSYC Scottsdale. AZ Levine, Wayne M. Fr JOUR Terape. AZ Foote, Chris Sr SPCO Longmont, CO Lew, Cathy M. So SOCI La Habra Social Sciences and Communication Frantz, Carol A. Fr BRJO Phoenix. AZ Lew, Deborah A. Jr PSYC Rancho Palos Verd Frederick, Jane L. So PSBI Cupertino Lteb, Devra J Sr PREL Studio Cirv Adams. Mtchelle-Rene- e So PSYC La Verne Frost, Christopher W. Jr PSYC Norwood, PA Liebenguth, Heidi A. Jr PREL Encino Agee, James L. Jr POSC Sierra Madre Frudenfeild, Krista J. So BRCG Los Angeles Lipscomb, Lisa A Fr POSC Hawthorne Aguas. Mary M Jr PSYC Portland. OR Fukushima, Yoshitaka Jr POSC Tarzana Long, Carole A. Jr JOUR Pasadena Aiwasum, Deborah A Fr POSC Arcadia Fung. Carlton H. Fr PSYC Monterey Park Loock. Kathryn M. Jr PSYC Burbank Alexander. Edmund P. Sr PSYC Charlottesville, VA Futter, Cvnthia A. Sr PQSC West Covina Lam, Jennifer T. Fr POSC Pacific Palisades AOford. Michael G. Fr POSC Marina Gabav, David L. Fr IR White Plains. NY Lurie, Karen S. Jr PSYC Los Angeles Altaian, Scott D. Sr PSYC Torrance (.afford, Cheryl D. Ft POSC S pears ville. LA Lynch, Loretta M. Fr SPCO Independence, MO Alpern. Amy R Sr JOUR Las Vegas. NV G alios, Stacy L. Jr POSC Napa Lyon, Suzanne L. Jr PSYC Mission Viejo Anderson, Charles T So ECON Haverhill, MA Gallagher, Thomas J. Sr POSC Northfield. 1L MacNeill. Wendy I. So BRJO Sacramento Anderson, Karen L. So PSYC Virginia Beach. VA GaUardo, Gina Jr son Los Angeles Malta, Garry S. Sr PSYC Encino Anton, Mark G. So PSYC Stockton Garbcr, Adolfo Sr HIST Inglewood Mancuso, James N. Jr HIST Los Angeles Appd. Charles P. Fr POSC Bradbury Garcia, Frank Fr IR San Jose Manfre, Pamela So POSC Novato Archer. Janet B. Sr HIST Garden Grove Garrison, Jennifer A. Jr PSYC Rancho Palos Mangou, Armelie J. Sr ANTH Monterey Argneio, Robert M Jr POSC Los Angeles Gant, William D. Fr IR Clovis Mar, William J. Sr PSYC Gardena Armato, John P Sr PSYC Manhattan Beach Garza, Gina M. Fr BRJO Los Angeles Marks, Cynthia A Fr JOUR New York, NY Asper, James D. Sr PSYC Escondkk) Gates, Jeffrey W. Sr ECON Hillsborough Marotta, Paul D Sr ECON Palo Alto A wad. Daouda Jr ECON Los Angeles Gayle, Karen E. Fr SOCI Las Vegas, NV Martin, Mary F. Sr SOCI Glendale Azoff, Deborah L. Jr PSBI Los Angeles Geiger, John M. Sr PSYC Sherman Oaks Martinez, Mark F. Fr POSC Whittier Bacon, Phillip E. Jr IR Houston. TX Geiger, Robert K. Sr POSC Whittier Mather, Barbara A. Fr JOUR Maple Glen. PA Bailey, Ariene A. Sr BRJO La Habra Getter, Judith R. Fr POSC Hillsborough Matthews, Bradley A. Jr SPCO Los Angeles Baker, David C. Fr PSYC Oklahoma City, OK George, Linda J. Sr HIST Santa Maria Mauro. Thomas J. Sr IR Woodcliff Lake. NJ Baker, Laurel E. So IR Canoga Park Gill. Susan M. Sr HIST Bakersfield McWilliams, Anne So HIST Torrance Baldwin, Ronald E. Sr ECON Bcverlv Hills Golds, Alan H. Jr BRCG Berkeley McBride, Kris A. Sr PSYC Half Moon Bay Barclay. Cynthia D Sr ANTH Overland Park, KS Gonzales, Jaime J . Jr POSC Sun Valley McCarthy, Andrea L. Fr BRJO Bloomfield Hills. M Barnes, Mary K Sr POSC Inglewood Gonzalez, Larry J. Sr SOCI Los Angeles McCuskev, Kathrvn Fr PSYC Reno. NV Barnes, Yolanda M Jr JOUR Los Angeles Gould, Richard A. So POSC Anaheim McGlone, Michael B. Sr ECON Northndge Bava. Francises G. Jr POSC Brawley Gralnik, Ronald K. Fr BRCG Torrance McGowan, Kirk B So HIST Sunnyvale Bear, Diane M. So BRJO Boise. ID G nmnis, David S. Sr HIST Beaverton. OR McLaughlin. Eileen L. Jr POSC San Pedro Beauregard, Michael H So ECON San Diego Graves, Jane Jr HIST St. Paul. MN McManus, Marvann Jr HIST Capistrano Beach Becchetti. Gina D So JOUR Los Angeles Green, Andrea Jr PSBI Beverly Hills McNab, Cecil R Jr POSC Los Angeles Bedi. Meenu Sr PSBI Los Angeles Green, Julie E. Jr POSC Sacramento McNeill, Drusilla Jr ECON Pasadena Bidrian, Lorraine S. So BRJO SepuKeda Green, Wendy J. Jr JOUR Crete, IL McTernan, Colin E. Fr POSC Beechncr, Melissa A. Fr IR Newport Beach Greene, Irene A. Jr PSYC Los Angeles Meghrigian. Astrid Jr IR Los Angeles Beedy, Kevin J Fr POSC Alhambra Griffith, Jean E. Jr ' SPCO Los Angeles Mekjian, Michael L. So PSYC Studio City Beeman, Beth M. Sr POSC Redlands Gross, William J. Sr POSC La Habra Meita. June D. Sr PSBI San Gabriel Benka. Rory L Sr BRJO Los Angeles Guerra, Fernando J So POSC Los Angeles Meikonian. Katherine Y Sr PSYC Sierra Madre Berger. Cynthia L. So PSYC Las Vegas, NV Guglieimino, Diane N. Sr POSC Glendale Meschendorf, France sea Fr JOUR Suisun City Berman. Freda A. So JOUR Encino Guimmayen, Ernest F. Jr ANTH Escondido Metfessel. Brent A. Jr PSBI Morgan Hill Bernardino, Rafael Fr POSC La Mirada Gutierrez, Aireen L. Fr PSYC Rialto Meyer, Eric D. Ft ECON Scottsdale. AZ Berton. David A. Sr POSC Beverly Hills Gutierrez, Norma So ECON Anaheim MhVr, Cindy M. Sr PREL Marina del Rey Billings. Robert N. Sr IR Lakewood Hantaan, Scott D. So ECON Miller, Juanita V. Jr POSC Los Angeles BMev, Nicolette C. So PSYC Riverside Halpern, David M. Fr ECON Brookline. MA Miller, Robert A. Sr POSC Long Beach Bishop. Dale B. Sr PSBI Pasadena Hand, Penny R. Sr PSYC Beverly Hills Mirolla. Jerry T. Jr POSC San Miguel Burn. Gary S So POSC Los Angeles Harada, Carol A. So PSYC Monterey Park Mitchell. Emery F. Jr PSYC Concord Blvthe, Bonnie L Jr IR Santa Barbara Harris, Gail L. Sr JOUR San Diego Moll. John R. So POSC Los Angeles Boehro-de-Molin- a. Sally Jr POSC Los Angeles Harvey, John A. Jr ANTH Kailua-Kow- a, HI M orison. Susan C. Sr PSYC Los Angeles Bolden , Dwight M. So POSC Los Angeles Hatanaka, Jeanette Sr SPCO Los Angeles MontaKo, John Jr POSC La Puente Boldt. Sandra L. Fr JOUR Vista Hawes, John A. Jr PSBI La Mesa Montana, Robert L. Sr PSYC Gardena Boone, Robin R. Jr POSC Duarte Hawes, Lesley A. Jr POSC Encino Monty, Louis H. Sr PSBI Hacienda Heights Box, Karen M Jr PSBI Seal Beach Hawes, Walter H. Fr ECON London. ENGLAND Mooney, Elizabeth A. Jr HIST Franklin, MA Bratv. Janice L. Sr PREL San Diego Hayakawa, Alan R. Sr SPCO San Francisco Moreno, Dario V. Sr JOUR Hermosa Beach Breihan, Crista K. Fr SOSC La Jolla Heard, Randolph W. Fr JOUR Los Angeles Morner, Mara D Fr POSC Lafayette Brigandi, Janet M. Jr JOUR Kings Park, NY Heide. Hollis A. Jr SOSC Villa Park Morouse, James M. Fr ECON Yorba Linda Britton, Dora A Fr IR French Gulch Helberg, Tom R. Jr SPCO Toledo. OH Moms, William Fr IR Marina del Rey Broderick, Julia S. Fr IR Costa Mesa Hellman, Jerome R. So BRCG Malibu Moss, Joyce A Jr JOUR Dayton. OH Broderick. Victor K. Sr PSYC Cetntos Hempel, Carrie L. Jr POSC Scottsdale. AZ Mun-ei- , Mark G. Fr ECON Newport Beach Brooks, Mark A. Sr IR Sylmar Henderson, Sean O. Fr ANTH San Marino Nacheff, Dana K. Jr IR Van Nuys Brow man. Darrvi M. Fr SOSC Alameda Henry, Michael J. So PSYC Orange Nagele, Ronald R. Jr ECON Orange Brown. Kevin P. Jr PSYC Sherman Oaks Hernandez, Barbara L. Sr ANTH Pasadena Najera, Carol J. So POSC Rosemead Brown, Mark W Fr PSYC South Gate Hickey, Mary E. Jr JOUR Carpinteria Nakazawa, Christine K Sr PSYC Phoenix. AZ Bryant, Kenwood C. Jr IR Plava del Rey Hicks, Robert L. Jr PSBI Glendale Natham, Curtis R. So PSBI Temple City BureUJ, Pedro M. Sr POSC Caracas, VENEZUELA Hill. Kelly K. Jr AMST Boulder. CO Need ham, Alison J Jr PSYC Monterev Park Burton, Meredith D. Fr PSYC Huntington Beach Hill house. Cheryl Jr PSYC Los Angeles Nehnm, Andrew J. Fr ECON Canoga Park Butler. David L. Jr IR La Canada Hirsch, Sandy M. Sr SPCO Studio City Nevftt, Judith B. So PSBI Long Beach Cabezas, Fabio R. Fr HIST Toluca Lake Hiskey, Robin C. Sr PSYC Palos Verdes Newsont, Leanne L. Jr SPCO Hawthorne Calvillo. Alexander L. So POSC Los Angeles Ho, Janice S.H. So ECON Walnut Creek Nguyen, Ha D. Fr IR San Clemente Cameron. Parry G. Fr POSC Encino Hod is, Howard N. Sr PSBI Buena Park Nichols, George J. Sr HIST West Covina Cannon, Stephanie S. Jr POSC Helena. MT Hoffman, James B. So POSC San Gabriel Nobhn, James R Sr ECON Long Beach Capaldi, Michael D. Fr HIST Westlake Village Hottoway, Karen E. Sr JOUR Newport Beach Noriega, Laurie A. Sr SPCO Monterev Park Carii, Dana A. Sr IR Glendale Howard, Martin B Sr IR Claremont Norris, Jeffrey Sr HIST Glendale Carruthers, Stephen M. So POSC Fairfield. CT Hubler, Stephen A Ft IR Redondo Beach Nunn, Michael J. So PSYC Rowland Heights Cawia, Kathleen T. So JOUR Millbrae Hughes, George B. Sr ECON Pittsford. NY O'Conndl, Kathleen Sr POSC Woodland Hills Chan. Calvin Jr POSC San Jose Hunter, Todd Fr SOCI Pacific Palisades Oestreich, Ronald S. Sr POSC Torrance Chan, Doris M. Jr PSYC Monterey Park Hvraan, Steve H. Fr ECON Pacific Palisades Oka be, Noriko Jr ECON Tokyo JAPAN Chao, Joyce Jr PSYC Palos Verdes Estates later, Marc E Fr JOUR Palo Alto Okabe.TishM Fr PREL San Jose Chavez, Manuel Jr AMST Pico Rivera Immerzeel, Claudia R. Sr ANTH Culver City Okamura, Linda N. Jr PSYC Los Angeles Cbee, Peter C.F. Sr PSBI Los Angeles Jacobsen, Donald I . So ANTH Mission Viejo Oliver, Randall D. Sr PREL Anaheim Cheng, Claudine So IR Hong Kong. CHINA Jacobson. Venita N. So SPCO Sacramento O'Malley, Charles G. Jr PSBI Long Beach Chitjian, Mark B. Fr POSC Costa Mesa Jagger, Pamela J Fr HIST La Jolla Ong, Tomson T. Fr POSC Torrance Chittick. Brian S. Jr. POSC Long Beach James, Dennis D. So IR Sacramento Orwell, John P. So BRJO Hampstead, London Chow. Warren A Jr PSBI Huntington Beach Jensen, Thomas C. Sr HIST Lighthouse Point. FL Osborne, Merri A.M. Fr BRJO Seattle, WA Christensen. Eric A. Sr HIST Santa Ana Jimenez, Rossanna M. Sr PSYC Hayward PadiUa, Steven C Jr SPCO Alhambra Own, Grant Y Fr PREL Kahului. HI Johnson, James M. Fr POSC Wilmette. IL Padulo, Lawrence P. Sr POSC Trumbull, CT Churm. John Sr IR San Clemente Johnston, Marsha W. Fr JOUR San Diego Page, David M. Sr JOUR Sherman Oaks Churukian, Kirk A. So PSBI Glendale Johnston, Steven J. Fr PSYC West Hartford. CT Parker, David J. Fr HIST Pasadena Clarke, Susan L. Jr HIST Madisonville, KY Johnstone, Jerrilynn L. Jr PREL Glendale Parker, Gregory J. Sr PSYC N. Hollywood Clawson, Lance D. Jr PSBI Malibu Jones, Leslie S. Sr SPCO Los Angeles Parrish, Lori D. So POSC Burbank Clatter, Darryl W. So JOUR Costa Mesa Joe, Karen Jr AMST S. Pasadena Pattiz, Anthony E. Jr POSC Santa Barbara Cogan, K. M. Jr HIST Torrance Jung, Curtis C. Fr POSC Los Angeles Pedcrsen, Susan G. Jr PREL Long Beach Cohen, Bruce A. Fr POSC Weston, MA Kallins, Barbara So PSYC Downey Pelt on, Tammi A. Sr BRJO Santa Ana Cologne, Steven J. Jr ECON Kane ho Santa Fe Kane, Maurice S. Fr JOUR Los Angeles Perez. Robert Jr IR Walnut Cooper, Thomas M. Sr POSC Santa Monica Kannarr, Tina L. Fr JOUR Hilo. HI Perkins, Cecilia A. Fr SOCI Santa Ana Com, Elizabeth A Sr POSC Valencia Kaplan, Deborah S. So POSC Beverly Hills Periin, Natalie M. So . JOUR Los Angeles Cowley, Charles F. Fr POSC San Francisco RaLrman, Tern A. So POSC Newport Beach Peterson, Don L. Jr PSYC Villa Park Cox, Richard R Fr PREL Laguna Niguel Keane, Michael Fr ECON Bay Village. OH Petruska, David A. Jr PSBI San Marino Craig, Constance A. Sr PREL Los Angeles Keating. Kim Y. Jr BRCG Hermosa Beach Porrazzo, Michael Jr POSC Morgan Hill Cretsinger. Ann M. Sr POSC Arlington. TX Kellv. Catherine M. Sr BRCG Orange Potter, Kittridge M Sr PREL Los Alamitos Critefli. Nancy M. So POSC Cypress Kelly, Karen E. Jr BRJO Huntington Beach Prcsbrey. Lois J. Sr PSYC Honolulu. HI Crnko, Adelaide Jr JOUR San Pedro Kennedy, Katherine A. So PREL Monte bello Pryds, Darleen N. Fr HIST Oakland C rouch, Jack D Jr IR Palm Springs Keuyliaa, Asdghig V. Sr POSC Fountain Valley Quast, Necia L Fr IR Tonasket. W A Cureton, Robert E. Jr PSYC Los Angeles Kezios, George Sr PSYC Sun Valley Quintanilla. Maria D Sr PSYC Los Angeles Carrie, Kimberley J Sr PSYC Anaheim Khadjenouri, Massoumeh Fr SOCI New York. NY Ragenovich. Alice E. Jr JOUR S Pasadena Dahlin, Tracy L So HIST Fullcrton Kildiszew, Nicholas T So POSC Palos Verdes Estates Raksin. Alexander Fr JOUR Studio City Damelio. Michael A. Jr HIST Chula Vista Kilmer, Sharon K. Sr JOUR Wauwatosa, WI Ratzky. Paul J Ft POSC Burbank Darr, Deborah Sr PREL Palm Desert Kirkland, David M. Jr BRJO Compton Ray, Pamela J. Sr SOCI Pasadena Davidson. Celeste Fr SPCO Beverly Hills Kite, Alan H. Fr PREL Camarilio Redding. Catherine Jr PSYC Sherman Oaks Davis, Ellen B Sr POSC Long Beach kitayama, Stacy L. Sr PSYC Glendale Reeser, Karen A So PREL Sunnyvale Davis. Robert J So POSC Palm Springs Koenler. Steven M. Sr ECON Los A lam itos Reid, Tim R. Jr ECON Sunnyvale Diaz, Lucy J. Jr PREL Santa Ana Kol. Martha L. Fr PSYC Los Angeles Retake, Stefan M Jr POSC Bakersfield Daily Trojan Tuesday, April 29 1980 11 SPRING SEMESTER 1980-DEA- N'S LIST FOR THE COLLEGE OF LETTERS. ARTS, AND SCIENCES Social Sciences and Communication Undeclared Jeffrey, David M. So UNDL Los Angeles (continued) Joe, Joanne S.P. So UNDL Montebello Abbe, Mark W. Fr UNDL Ventura Johnson, Kathleen A. Fr UNDL Glendale Rexach. Frank F. So IR Anaheim Abe, Dennis R. Ft UNDL Johnston, Bonita J. Fr UNDL Chula Vista Revnoso, Refugio Fr PSYC Los Angeles Abels, Jamie A. Jr UNDL Goleta Jones, Judith Sr UNDL Hacienda Heights Rezentes. William C. Jr PSYC Honolulu, HI Achkinazi, Abraham Jr UNDL Bell Jones, F. Fr UNDL Fullerton Richardson, Alan W. Sr PSYC Covina Agajanian. Sandra N. Jr UNDL Montebello Kathryn Juarez, Ricardo H. So UNDL Norwalk Richardson, Clare F. So JOUR Santa Monica Akamine, Leslie T. Fr UNDL Kaneohe, HI Jung, Jin-He- e Fr UNDL S. Pasadena Ritchie, Susan M. Sr POSC Los Angeles Akers, Kelly K. Fr UNDL Glendalc Roberts, Samee L. Fr SPCO Modesto Allen, Derek R. So UNDL Madison, WI Kahelin, Thomas C. So UNDL Huntington Beach Rocca, Gianna Jr POSC Venice Alvarez, Carmen So UNDL Pasadena Kanen, Todd A. Fr UNDL Newport Beach Rodrigues, Aaron G. Sr POSC Brawley Andalman, Hilary L. Fr UNDL Miami, FL Karoon. Mina So UNDL Los Angeles Rodriguez, Virginia Fr PSYC Torrance Arrukovich, Madeline So UNDL Inglewood Kern, Cynthia S. Jr UNDL Arcadia Romberg, Gail L. So SPCO Steamboat Springs, CO Baer, Marianne B. Fr UNDL Pasadena Kewetl, Karen M. So UNDL West Covina Rompf, David C. So JOUR Anaheim Baker, Iroy f. Fr UNDL Glendale Kimura, Michael J. Fr UNDL Encinitas Ross, Roxanne M Jr SPCO Los Angeles Balbin. Kim A. Fr UNDL Santa Rosa KJiger. David M So UNDL Downey Roth, Howard N. Sr POSC Los Angeles Bankki, (Catherine S. So UNDL Roclrford. IL Koike, Sharon A. Jr UNDL Los Angeles Rothkopf, Cindy L. Sr SOCI Las Vegas. NV Barakat, Manal A. So UNDL Moorpark Konopka. Patricia A. Fr UNDL Fullerton Roy, Patrick M. Jr HIST Edmonds, WA Barker, Richard D. So UNDL Lancaster Kouros, Philip D. So UNDL Huntington Park Rush, Catherine Sr PSYC Los Angeles Baur, Tassilo N. Fr UNDL Tacoma, WA Kovanagi. Stanley H. Fr UNDL Gardena Saarkoppel. Helen C. Jr PSYC Los Angeles Beckman, Stuart F. Fr UNDL Los Angeles Kruse, Mark S. Fr UNDL Glendale Sager, Kelli L Fr POSC Wenatchee, WA Beiing, Kristen L. Jr UNDL Woodland Hills Kudrow, David So UNDL Tarzana Saito, Michael T. Jr PSBI Del Mar Bell, Elizabeth B. Fr UNDL Woodland Hills Kurrasch, David B. Jr UNDL Newport Beach Sakagucfai, Susan G. So BRCG Turlock Bell, Lisa So UNDL San Marino Kwan. Alice W. Fr UNDL Waukegan. IL Salem, Anthony M. Sr JOUR San Diego Benjamin, Richard S. Fr UNDL Newport Beach Kyriazis, Dimitris Fr UNDL Glendale Sanchez, Anita E Jr POSC Montebello Bera, Rosalie A. Fr UNDL Vallejo Lauterio, Lydia Jr UNDL Los Angeles Santoro, Raymond J. Jr POSC Holley. NY Berkovich, Gil Fr UNDL Miami, FL Lebeau, David J. Fr UNDL Scottsdale, AZ Sargeant, David P. So BRIO Los Angeles Block, Jan M. Fr UNDL Napa Lee, Belinda Y. Fr UNDL Panorama City Sato, Julie H So PSYC Rosemead Blood, Brian G. So UNDL ElToro Lee, Jeff L. So UNDL Rowland Heights Schflz, Jerry L Jr PSBI Arcadia Blume, Suzanne C. Jr UNDL EI Monte Lee, Shi-Chi- eh Fr UNDL Martinez Schmidt, Lila L. Jr PSBI Arcadia Borba, Marleen M. So UNDL Chino Lewitt, Jay M. So UNDL Encino Schneldcrest, Julie A. Sr PSYC Chatsworth Boss, Gregory A. Ft UNDL La Canada Lindegren, Karl R. So UNDL Escondido Schockman, Lori A. Fr PSYC Venice Brad burn, Robert E. Fr UNDL Mantannan Beach Lomperis, Steven J. So UNDL Elmhurst. IL Scott, Alice R. Jr SPCO Kenilworth, IL Bras, Steven So UNDL Spring Valley. NY Lorant, Jan E. Fr UNDL Phoenix. AZ Sedin, Tammy L Fr PSYC Whittier Brown, Marc A. Ft UNDL Harbor City Lowry, Jennifer E. Fr UNDL Los Angeles Shaffer, Gina V. So JOUR N. Hollywood Brudin. Kimberiy A. Sr UNDL Hemet Lae, Beverly Sr UNDL Los Angeles Shanahan. Kathleen E. So HIST Los Angeles Brunet, Mark T. So UNDL Rockwall, TX Lukasiak. Valerie D. Fr UNDL Canoga Park Sharf, Anne L Sr SPCO La Canada Buttrev, Kathleen M. Jr UNDL Monrovia Luna, Karen S. So UNDL Redlands Sherman, Brad J Sr POSC Douglas Cattca, David R. Jr UNDL Cemtos Lather, Steven M. So UNDL Long Beach SberriU, Jacqueline F. Jr SPCO Los Angeles Cambell, Anthony E. Fr UNDL Carson Lutzky, Richard C. Fr UNDL Kirk M. Fr UNDL Arcadia Maiden, Wanda G. Fr UNDL Gardena Shook, Mitchell K Jr POSC Hawthorne Campbell, Sibley, Kathcrine M Sr SOCI Northndge Captinger, Kimberiy A. Jr UNDL Laguna Niguel Malky, Linda K. So UNDL Monterey Park Simon, Sabnna L. So PSYC Los Angeles Caras, Stacy J. Fr UNDL Palos Verdes Estates Malony. Michael N. Jr UNDL Pasadena Sims. Cheryl M. So PSYC Rolling Hills Cariston, Lori L. Fr UNDL Littleton, CO Manard, Christopher D. Jr UNDL Sana Ana Sinkler, Sharon D. So POSC Vista Carpenter, Therese A. Fr UNDL Maronde, Craig D. Fr UNDL Monterey Park V. So UNDL Lomita Siavkin. Mark D. Fr POSC Los Angeles Carreon. Yvonne S. So UNDL Garden Grove Matsuyama, Nagisa S. So UNDL Kenilworth. IL Small. Karen I Fr PSYC Fullerton CasseU, Wendy E. Jr UNDL Weston, CT Matthews, Douglas Catherine L. So UNDL Smith, Jennifer Jr JOUR Santa Monica Chenalloy, June C. Fr UNDL S. Pasadena Mayer, Pedley Smith. Patricia E Sr PSYC Los Angeles Chiamori, Steve T. So UNDL Malibu Mayr, Julie F. Fr UNDL Westminster Smith, Stephen M. Jr POSC Sepulveda Cleveland, Sharon Fr UNDL Detroit. Ml Mazur, Larry D. So UNDL Downey McClements, James E. Fr UNDL Laguna Beach Snvder. Maria B So POSC S Lacuna Cosan, Terri S. So UNDL Montebello McConnell. Johnene P. Jr UNDL Austin. TX Soiaies. M r 1 Jr POSC Antigua. GUATEMALA Collins, Caroline Fr UNDL Lake Oswego, OR Soofer. Robert M Jr IR New York. NY Cotton, Ruth H. So UNDL Whittier Meek, Mary A. Fr UNDL Los Angeles Nadine F. Fr UNDL Culver Mendoza, Sperry, Heidi T. Fr PSYC Arcadia Conti. Rick A. Jr UNDL Phoenix. AZ City David A. Fr UNDL Arcadia Spokoiny, Larry S. Sr POSC Mercer Lsland. WA Conway, Margaret M. Fr UNDL Garden Grove Miller, Sherman Oaks C. Jr UNDL Stanffer, Philippe A. Sr IR Los Angeles Corazza, Lynne S. Fr UNDL Beverly Hills Miller. Jeffrey Mitts, Steven L. Fr UNDL Addison. IL Stea, Richard A. Sr HIST Los Aiamitos Cordova, Teresa R. So UNDL Beverly Hills Mitsuhiro. Sr UNDL Park Stern, Ellen C So SOSC Los Angeles Coryell, Jeffrey R. Fr UNDL Bay City. MI Mayumi Monterey UNDL San Leandro Melanie J. So Stewart, Nancy E. Jr HIST Athcrton Cowell, Peter F. Fr UNDL Grafton, WI Mock, Christine A. Sr UNDL Montebello Montano, Strode, Margaret A. Sr BRCG El Cajon Crawford, Thomas M. So UNDL Long Beach R. Sr UNDL Sacramento Sue, Dale E Jr PSBI Los Angeles Crosby, Michelle Jr UNDL Los Angeles Montgomery, Stephen J. So UNDL Park Sup, Audrev C. Fr POSC Honolulu. HI Cross, Rona M. Jr UNDL Santa Monica Morgan, Sylvia Huntington Morisaki, David B. Fr. UNDL Los Supple. Lisa L Sr IR Undisville. PA Cuizon, Maribel A. So UNDL Oak Harbor. WA Angeles Sutton. Teresa L. Fr JOUR Edmonds. WA Curritt, Margaret Fr UNDL Chicago. IL Morisaki, Mark A. So UNDL Los Angeles Sr UNDL Beverlv Hills Swaim. William D. So BRIO Mission Vicjo Cntts, Richard R. So UNDL Long Beach Moss, Maureen Swanson, Mark A. Fr HIST Des Moines, 1A Dabney, Judson V. Fr UNDL Riverside Mnecke, Maureen A. So UNDL Greenfield, WI Swtoer, Chiara S. Fr BRCG Toronto, ONTARIO Dais, William C. Fr UNDL Green Bay. WI Muench, Michael R. So UNDL Long Beach Fr UNDL La Mesa Syage, Jyllel J Jr PSYC Webster, NY Davis, Shari L So UNDL Alexandria. VA Mullen, Michael E. Michael H. Sr UNDL Corona del Mar Taa, Clifford H. So JOUR Surabaya DeMontesquiou. Andre P. Fr UNDL Los Angeles Mutter. John B. So UNDL Irvine Tardio. Christine A. Fr POSC Potomac, MD Depew, Gary M. Fr UNDL La Mesa Murray, Tashjhm, Nanne So IR Pasadena Desantis, James J. Jr UNDL Glendale Nadel, Paul J. Jr UNDL Beverly Hills Tasboji." Nasser So ECON Tehran. IRAN Doi, Elaine M. Jr UNDL Honolulu. HI Nagaishi, Bonnie J. Jr UNDL Los Angeles Dennis D. Fr UNDL Tavlor. Timothy B. Sr POSC Dows, Joyce E. Fr UNDL Culver Citv Natham. Temple City Tchoa, Young C Sr POSC Los Angeles Duncan, Randall S. Jr UNDL Fairfax, VA Nava, Robert Jr UNDL Los Angeles Clare H. Fr UNDL Fountain Teng, KaiL. Sr SPCO Monterey Park Dunn, Harry S So UNDL Birmingham. MI Nelson, Valley Leslie D. So UNDL La LL Teng, Li P. Jr ECON San Marino Duvall, Taylor So UNDL Scottsdale. AZ Nelson, Grange. a. Trace M. Jr JOUR Culver City Dw ight, Carmen D. Sr UNDL Kansas City. KS Nesis, Zachary J Fr UNDL Woodland Hills UNDL Santa Clara Fred-Ri- c So Blake R. Jr PSBI San Gabnel Knee, Blavne A. Jr UNDL Las Vegas, NV Neumann, i, David W. Jr ECON Los Gatos English, Kurt E. Fr UNDL Encino Nicolai, Kristen J. Fr UNDL Long Beach Nicolaides. M. Fr UNDL S. Pasadena Thompson. Rebecca A. Fr POSC Pacific Palisades Epstein, Donald So UNDL Santa Monica Becky Louis Fr L'NDL S. Pasadena Tieszen. Lori J. So IP Hinsdale. IL Escobedo, Silvia B. Sr UNDL Los Angeles NicolaJdes, Tidotsoo, Michael P Fr ECON Denver, CO Evraud, Albert J. So UNDL Beverly Hills Nlese, Catherine A. Fr UNDL San Bernardino Gwen M Fr UNDL Los Tom, Mavling Fr POSC Montebello Eyerman, Sharon D. Jr UNDL Santa Monica Nishida, Angeles T. Fr UNDL Honolulu. HI Tomlin. Dwight E. Jr POSC Torrance Faber, Karen E. So UNDL Newport Beach Nobunaga, Ann So L'NDL Culver Citv T. Tostado, Richard M. So POSC Los Angeles FarreU, Michael D. Jr UNDL Redondo Beach Nomura, Stanley William A. So UNDL Houston, f X Trianosky. Marcelene M. Jr PSYC Los Angeles Fences, Milan T. Fr UNDL Gulfport. FL O'Brien, Denise M. Jr UNDL Tat. David K.L. So SOCI Hong Kong. Fernandez, Annamaria Fr UNDL Tqrrance Oda, Sylmar Lisa M. Fr UNDL Manhattan Beach Turnev. Jacqueline J. So HIST S. Pasadena Fletcher, Richard A. So UNDL Orange Okimoto, Ukai, Clara So IR Los Angeles Foley, Bonnie J. Jr UNDL Marina del Rey Oliver, Michelle C. Jr UNDL Glendale J. Fr UNDL Umaaskv, Estela S. Jr PSYC Los Angeles Kong, Marianne Fr UNDL Gardena Ormiston, Nancy Orange Marci L. So UNDL Westfield. NJ lisevkh, Regina L. So PSYC San Diego Fourchy, Paul R. Fr UNDL Fresno Oslick, UNDL San Marino W. Sr Vales, Edward B. Fr IR National City Frey, Kip A. Jr UNDL Columbus. OH Ott, George David G. Fr UNDL Pasadena Vaisami. Jeanne Jr ECON Athens Fuentes, Max E. So UNDL Spring Valley Oxnard. T. Jr UNDL Santa Maria Van Home, Keith Jr BRIO Clarendon Hills. IL Gabriel, Kelly G. So UNDL Las Vegas Oye, Gary Rosanne T. Fr UNDL Los Vander Linden, Dana L. Sr SPCO Rancho Cordova Garcia, Miguel A. Fr UNDL Pasadena Paddio, Angeles Palmer, B. Jr UNDL Bronxville, NY Vedel, Eileen S- o- IR Hialeah. FL Garr, William S. Jr UNDL Sierra Madre George Victoria L. Fr UNDL Arcadia Ventre, Michael M. Sr JOUR Kenilworth. NJ Gasamer, Cheryl L. Jr UNDL Woodland Hills Peterson, Thomas A. Fr UNDL Sierra Madre Vidk. Jeffrey J Sr PSYC Glendalc Gee, Craig S. So UNDL Oakland Phillips, Brian I. Fr UNDL Des Moines. LA Villa. Robin I Sr BRCG San Francisco Geiger. Karl P. So UNDL S. Pasadena Pidgeon, Vincent, Eric M. Fr JOUR Longboat Key, FL George, Deborah M. So UNDL Reno. NV Pinegar, Laura A. Jr UNDL Los Angeles Fr UNDL Beach Sandra A. Long Virtue, Douglas A. Sr GPUS Rolling Hills Giesemann. Rolf Fr UNDL Mexico D.F., MEXICO Plunkett, Lisa B. Fr UNDL Westminster Vitar, Gary S. Sr POSC Long Beach Gilmore, Beatrice So UNDL Long Beach Priester, So UNDL Los Wadness, Richard D. So PSYC Framingham, MA Gima, Craig S. Fr UNDL Honolulu, HI Proeger, Kathleen A. Angeles Jennifer L. Fr UNDL Beach Wagner, Diane E. Sr JOUR Burbank Grayson, Lanita M. Sr UNDL Carson Quain, Newport Irene So UNDL Monrovia Walker. Mary A. Sr HIST Cypress Green, Pamela J. Fr UNDL Pasadena Rademaker, J Fr UNDL Woodland Hills Waller. Terry A. - Jr SPCO Los Angeles Green, Robert L. Jr UNDL Woodland Hills Radley. Steven Gretchen A. So UNDL Westminster Walters, June M. Jr PSYC Millersville, MD Greene, Ritchie Fr UNDL Westminster Radtke. Robert W. So UNDL NH Ward, Scott D Sr ECON Chicago, IL Greenfield, Stephen M. Sr UNDL Weston, CT Rae, Derry, Abilio- - So UNDL N. Weigei, Guy E. Fr JOUR Mctairie, LA Hacker, Diana S. So UNDL Los Angeles Ramos, Hollywood Natacha E. Fr UNDL Burbank Weintraub, Donna A. Jr SOCI Los Angeles Hal lock, B raven S. So UNDL Los Angeles Ramos, Richard N So UNDL Scons Wells. Jane M So BRCG La Verne Ham Dry, Mark F Jr UNDL Carmichael Ray, Valley D Fr UNDL Lake OR Wefts. Linda A Jr POSC San Diego Hammar, Taryn S. Sr UNDL Tacoma, WA Reading, Jay Oswego. Robert W. Fr UNDL Wilmette. IL Wells, Ted W Jr PREL Laguna Niguel Hansen, Laurie J. So UNDL Costa Mesa Remini, Fr UNDL Encino Dana L. Wetmore, Kimbcrley A. Jr PSYC Lafayette Hansford, Gregory R. So UNDL San Pedro Reston. John So UNDL Brewster. NY Whitaker, Christina F. Fr JOUR San Francisco Hardin, Kathy E. So UNDL Sun Valley Rivard, A. Robb, Bruce So UNDL Seattle, WA White, Pamela A. Fr BRIO Mesa. AZ Harlow, Nancy K. Jr UNDL Medford.OR So UNDL Camarillo N. Wian, Casey C. Fr BRIO Vaiyermo Harman, Cindy S. Jr UNDL Santa Monica Robinson, Craig John B. Fr UNDL MN Will. Eric J. So POSC Omaha. NE Harman, Jefferson H. So UNDL Thousand Oaks Rogers, Hopkins. Robert So UNDL Huntington Beach Wilson. Barbara E So PSYC Alhambra Harms, Michael S. So UNDL West Covina Roland, Rootsis. John B So UNDL Incline Village. NV Wilson. Darryl B. Jr IR Encino Harris, Jana Fr UNDL Oklahoma City. OK Rubinstein, L. Jr UNDL Culver City Wilson. Lisa M. Fr PREL Hart, Janice E. Jr UNDL Santa Ana Greg Wong, Beverly J. Sr PSBI Montebello Hashimoto, Kris C. ( So UNDL Monterey Park Ryan. Margaret A. Fr UNDL Suzanne Fr UNDL New NY Wong, Karen B Fr POSC Harbor City Hawkins, Cynthia L. Sr UNDL Los Angeles Ryan, City. William J. Jr UNDL San Francisco Wong, LisaS. Fr PSYC Monterey Park Hayes, Stephen D. So UNDL York, PA Ryan, Saliba, Rochelle M. Fr UNDL LaJolla Woo, Arnold D Sr POSC Cudahv Herman, Michael Sr UNDL Redondo Beach Bruce R. So UNDL Sherman Oaks Wood. Mildred C. Sr SOCI La Canada Hern don. Amy J. Jr UNDL San Diego Saunders, Scannell, Dennis J. So UNDL San Manno Yamaguchi. Howard S. So POSC Long Beach Hickman, Pamela J. So UNDL Orinda Ken So UNDL Scottsdale, AZ Yamamoto, Keiko G. Fr PREL Long Beach Hicks, Jack B. So UNDL Lawndale Scarborough. Schaefer. S. Fr UNDL Yang, Henry H. Sr PSBI Hilo. HI Hisayasu. Dawn K. So UNDL Pasadena Christopher Northndge Yonemara, Ken S. Sr PSBI Gardena Hoadley, Allison F. So UNDL Honolulu, HI Schaie, Slephan H. Fr UNDL Pasadena Vnshihashi, Pauline M. Fr JOUR San Gabnel Hoagiand. Jill A. So UNDL Fullerton Scheiflv, Jan Jr UNDL Whittier Yoshizumi, Scott K. Fr POSC Anaheim Hoffman, Janice So UNDL San Gabriel Schettino, Peter A. Jr UNDL Buckeye. AZ Zachary, Roberta J So JOUR Shafter Hollister, Terry L So UNDL Solana Beach Schick. Eric P. So UNDL Palos Verdes Estates Zak. Jonathan M. Jr IR Covina Howe, Victoria M. Fr UNDL Ann Arbor. Ml Seferian, Barbara J. So UNDL Sherman Oaks Zamarripa, Steve J Jr POSC Lomita Innocenti. France sea I . So UNDL Newport Beach Segal, Justin M. Fr UNDL Los Angeles Zavaretti. Ann M. Jr PSYC Colorado Springs, CO Ishii, Tina S So UNDL Gardena Sessarego, Padla M Fr UNDL Santa Monica .muda, Robert A. Fr IR Huntington Beach I turn. Maria M. Fr UNDL South Gate Settelmayer, Daniel K. Fr UNDL Whittier .timhrunncn. Lisa A Jr JOUR Carlsbad Jardon, Cynthia D. So UNDL Norco Shafer, Claire L. Fr UNDL Saul" 12 Daily Trojan Tuesday, April 29 1980 SPRING SEMESTER 1980-DEA- N'S LIST FOR THE COLLEGE OF LETTERS, ARTS, AND SCIENCES Beta, Matthew J. Fr CSCI Yakima, WA Bates, Darryl E. Sr CINE Coraopolis. PA Undeclared (continued) Boldt. Erich V. Sr CSCI Vista Baumann, Debra A. So DRAM Weed Bower, David F. Jr CSCI Winchester, MA Beck, Barbara J. Sr CNTV Los Altos Shannon, Joseph J. Jr UNDL Birmingham. MI Cloots, Jeff L. Sr CSCI Oconomowoc, Wl Beeman, Greg L. So CINE Occidental Shaw, Steven A So UNDL LaJoIla Craig, Gary A. Jr CSCI Reno. NV Botinelly, Robert T. Fr CNPR Lakewood Shaw, Suzanne M. So UNDL Long Beach Dandrea, Jon M. So CSCI Burbank Bracey, Phillip G. Sr CNTV Beverly Hills Shida. Joanne K Fr UNDL Monterey Park Esmailian, Armond So CSCI N. Hollywood Brandt, Anita E. Sr CINE Van Nuys Shoushtarian, Azita Fr UNDL Tehran. IRAN Evans, Scott. C. Jr CSCI Shaw AFB. SC Bruskin, David N. Jr CINE Philadelphia, PA Shuman, Bruce H. Fr UNDL Encino Fiduccia. Mark Jr CSCI Santa Ana Buckley, Norman L. Sr CNTV Fort Worth, TX Sichel, Elaine Fr UNDL Belvedere Gegenheimer, William R. Sr CSCI Las Vegas, NV Burr, Jeffrey C. ft CNPR Dalton. GA Sigala, Gilbert D. Sr UNDL Montebello Gikas, Nicholas Fr CSCI San Diego Cappe, James E. Jr CINE San Rafael Sigler. Kathleen T. So UNDL Fullerton Gove, Priscilla E. Fr CSCI Clifton Park, NY Clarke, Sheila J. Fr DRAM North brook, IL Sittig, Richard J. Jr UNDL Santa Ana Hsu, Elizabeth So CSCI Los Angeles Cox, Angela Fr DRAM Shreveport, LA Small. Kristie L. Jr UNDL Fullerton Indrapradja, Hermawan Jr CSCI Bandung, INDON Dunlap, Carl a S. Jr CNTV Casper, WY Smith, Craig A. Jr UNDL Santa Monica Karmadji, Aloysia N. Fr CSCI Jakarta, INDON Edelstein June R. So CINE Syracuse, NY Smith, Janna O. Fr UNDL Bakersfield Kennedy, Timothy E. Sr CSCI Honolulu, HI Ellis, Kirk b. Fr CINE Colorado Springs, CO Smith, kathryn L. Fr UNDL Glendora Kounis, John T. So CSCI Glcndale Fein berg, Nancy R. Sr DRAM Lynnfield. MA Smith, Lisa A. So UNDL Laguna Beach Lee, John T. So CSCI Hacienda Heights Foust, Marta J. ft DRAM Orangevale Smith, Sharon J. Sr UNDL Ventura Lie, Tjin M. So CSCI Jakarta Selat. INDON Geller. Linda A. So CINE Long Beach Smock, Joseph S. Fr UNDL Downey Lindstrom, Clark R. Jr CSCI Bellevue, WA G nazal, Aziz Sr CINE Los Angeles Snaer. Catherine M. So UNDL San Marino Livengood, Steven F. Fr CSCI Vista Goode, Kristine H. Jr DRAM San Diego Spalla, Michael A. Jr UNDL Northridge Loy, Patrick R. Fr CSCI Los Alamitos Greenbaum, Donna L. So DRAM Redondo Beach Spiegel, Edward S. So UNDL Studio City Mertz, Venita A. Sr CSCI San Pedro Greer, Deborah G. Jr CINE Woodland Hills Spian, Claire A. So UNDL Alameda Miller, William R. So CSCI Knoxville, TN Harber, Gary K. Fr CINE Camarillo Staggs, Mark K Jr UNDL Millbrae Miskiel, Joseph C. So CSCI Long Beach Hatt, Frederick H. Sr CINE Lancaster Stiles, Alison K Fr UNDL Los Angeles Miyamoto, Kyle K. Fr CSCI Pearl City, HI Haxall, Elizabeth L. Sr CNTV Lemoyne. PA Stiriu. Tammy J. Fr UNDL Hawthorne Mlynek, Nancy D Sr CSCI Las Vegas, NV Huntley, Christopher N. Sr CINE Lafayette CSCI N. Las NV Hutchinson, Steven R. So CINE Paradise Valley , AZ Stokes, Shelly So UNDL Los Angeies Nguyen, Khanh T. ft Vegas, Stoiberg, David G. Fr UNDL Phoenix, AZ Noriega, Carlos I. Sr CSCI Santa Clara DJsley, Mark A. Jr CNTV Santa Rosa Stone, Jonathan M. Fr UNDL Beverly Hills Osman, Jeffrey W. Jr CSCI Whittier Inouye, Jon M. Sr CINE Culver City Stovdl, Jennifer B. Fr UNDL San Rafael Pan, Ping CP. Fr CSCI Toronto. ON Isaac, Frank K. Jr CNTV Lakewood, OH Streter, Alan J. So UNDL Los Angeles Sameshima, Steven T. So CSCI Rose mead Iverson, Andrew J. Fr CINE Thousand Oaks Sue, Debbie L. So UNDL BuenaPark Saulet, Craig J. So CSCI Los Angeles Jo win. WUen M. Sr DRAM Indianapolis, IN "Mull Shannon M. So UNDL Aptos Schulz, Bradley E. Jr CSCI Hillsborough Kaplan, Mark A. Sr CINE Northridge Sang, Lilly H K Fr UNDL S. Pasadena SjoWom, Stephen E. Fr CSCI Lakcwood Kast, Gretchen L. So CINE Durham. NH Surrell, Julie D. Fr UNDL Cypress Takahashi, Royce Y. Jr CSCI Hilo, HI KeBy, Peter A. Sr CINE Scarsdale. NY Szokoi. Joseph W. Jr UNDL Los Angeles Toombs, Kenneth Fr CSCI Cornwall, NY Kuban, Bruce E. Jr CINE Dixon Tabaie, Nooshin H. Fr UNDL Wells. Lon W. Sr CSCI Magalia Lange. Richard N. ft CINE Los Osos Jr CSCI Los Angeles Lanteri, Joseph L. Fr DRAM Wallingford. PA Wuts, Maurice J. Takimoto, Constance Y. Fr UNDL N. Hollywood NY Sr CINE Troy, M. Sr FA Altadena Long, Jeffrey Bateman, Kimberly Tanabc, Keith T. So UNDL Montebello LA W. Jr CNTV New Iberia, Fr FA Sherman Oaks Lourd, Bryan Bentivoglio, Cristiana UNDL Irwin, PA So Tantistra, Gerard ft CINE Carrollton, TX Lovett, Anthony R. So FA Napa Thomas D. Terry, Victoria E. Jr UNDL San Marino Capalety, Jr CNTV Los Angeles Glendora Mahdavi, Roya Chamlev, Stacey A. So STAR UNDL Santa Ana Threshk, Ann E. Fr CINE San So FA Joliet, IL Manning, Hap H. So Diego E. Fr UNDL Rockville. MD Dejarld. Tina M. THus, Timothy ' Haverhill. MA Hopkins, Caryl V. Sr FA Merrick, NY Mavrof rides, Eva K. Jr DRAM UNDL Cerntos Torrez, Belinda J. So Bemardsville, NJ CINE So FA Alhambra Mayfield, Gerald L. ft Ignatieff. Paula A. Christine M. Fr UNDL San Diego Trepte, NJ Clifton. Jackson, Anastasia C. So FA San Diego McDonald, Susan J. Sr DRAM Tse, Tak-Ki- n M. Jr UNDL Hacienda Heights DRAM Hilo. HI IRAN JanisB. Jr Tnrrill, Mark Fr UNDL Glcndale Kashff, Sharareh Fr FA Tehran. McEldowney, FA Menlo Park Melton, Keith D. Jr CINE Santa Barbara Fr Upjohn, Sally A. Sr UNDL Laguna Beach Kohn, Kathryn A. Pomona CNTV Ushijima, Valerie C. Fr UNDL Culver City Lin, Joe H C Sr FA Los Angeles Meslonch, Thomas Jr NY DRAM Uyeno, Selma K. So UNDL Pearl City, HI Montano, Catherine M. Sr FA Montebello Miller, Stephanie C. Fr Lockpon, AZ DRAM Phoenix. Fr FA San Diego Monroe, Mary C. Fr O'ComaeU, Susan L. Los Van Woerkom, Linn D. So UNDL Angeles DRAM Pacific Palisades Susan R. Jr FA Glendale Okamura, Michael H. Jr Vanderupwich, Desiree Jr UNDL Huntington Beach Payne, Beach So FA La Mesa Padia, Alyssa M. So CINE Newport C. Fr UNDL Arleta Rooth, Pi a J. Verham, Joyce Frederick, MD Robert M. So CINE Saltsman, Maria L. Fr FA Compton Payne, Vie beck. Pamela G. Jr UNDL Walnut Creek Sierra Madre La Canada Pedersen, Lisa M. Jr DRAM So FA L. NE Seastrom, Carolyn Walker, Ann M. So UNDL Kearney, FA Pomona Piechocki, James E. Sr CINE Sepulveda Ward, Shelby Jr UNDL Los Angeles Whaien, Timothy P. Sr Fr FA El Cajon Quirk, Carmel E. So DRAM Burbank Wilson, Scott C. Webb, Glen R. So UNDL San Jose Costa Mesa Rawlins, Lisa C. Sr CINE Jr FA Hong Kong David Yang, Welch, Pamela A. So UNDL Ramsey
7501	dbpedia	0	56	https://archive.org/stream/a-history-of-narrative-film-by-david-a.-cook/A%2520History%2520of%2520Narrative%2520Film%2520by%2520David%2520A.%2520Cook_djvu.txt	en	A History Of Narrative Film By David A. Cook : David Cook : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/services/img/a-history-of-narrative-film-by-david-a.-cook	https://archive.org/services/img/a-history-of-narrative-film-by-david-a.-cook	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivin...	[]	[]	[ "" ]	null	[]	null	A History of Narrative Film	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/a-history-of-narrative-film-by-david-a.-cook	Search the history of over 866 billion web pages on the Internet. Search the Wayback Machine Search icon An illustration of a magnifying glass. Save Page Now Capture a web page as it appears now for use as a trusted citation in the future. Please enter a valid web address
7501	dbpedia	3	54	http://www.dvdjournal.com/reviews/c/citizenkane.shtml	en	The DVD Journal: Citizen Kane			[ "http://www.dvdjournal.com/reviewimgs/c/citizenkane.jpg", "http://www.dvdjournal.com/imgs/redstar.gif", "http://www.dvdjournal.com/imgs/redstar.gif", "http://www.dvdjournal.com/imgs/redstar.gif", "http://www.dvdjournal.com/imgs/redstar.gif", "http://www.dvdjournal.com/imgs/redstar.gif" ]	[]	[]	[ "Citizen Kane", "Orson Welles", "William Randolph Hearst", "RKO", "Warner Home Video", "D. K. Holm", "DVD", "The DVD Journal", "reviews", "commentary", "movies", "cinema", "film" ]	null	[]	null	Click here to read The DVD Journal's review of Citizen Kane.				null	Review by D. K. Holm "He was some kind of a man. What does it matter what you say about people?" Tanya, Touch of Evil "I've wasted the greater part of my life looking for money and trying to get along, trying to make my work from this terribly expensive paint box. I've spend too much energy on things that have nothing to do with making a movie. It's about two percent movie making and 98 per cent hustling. It's no way to spend a life." Orson Welles, quoted at the end of The Battle over Citizen Kane Thoughts on Citizen Kane, on the Occasion of its 60th Anniversary release on DVD, Considered as a Cinematic Statement on American Values of North v. South, of blah blah blah. Just what we need. Another bloated, self-regarding, possessive, academic essay on Citizen Kane, one more attempt to grapple with the complexities of what is not only arguably the greatest American movie, but one of modern art's great mysteries. Instead, the key thing to say about the appearance of Citizen Kane on DVD is that it's here, and it's great. Warner Home Video (Warner and Ted Turner owning the rights of what was originally an RKO movie) has (finally, some would say) issued a two disc set of Citizen Kane, allowing that perennial list topper (AFI; Sight and Sound's decade poll) to be a part of everyone's DVD library, and doing so in a spectacular new digital transfer that appears flawless. Personally, this reviewer couldn't even believe how good this transfer is. I doubted it, assumed that I was missing something, not detecting some flaw. So I showed the disc to a close colleague more expert in transfer technology. He, too, was stunned. We compared it to the old Criterion Laserdisc, the 50th anniversary release from 1991, and noted the damage on the source print but also how truly terrible the sound was for that disc. The improvements were startling. Citizen Kane, in a beautiful transfer, and with what the box calls "revitalized digital video audio from the highest quality surviving elements," has probably never looked or sounded so good. So go buy it. But that being said, the occasion of seeing Kane in a format that, mutatis mutandis, presents the film as close to the way it must have looked upon initial release does inspire some reflections on this masterpiece, a film that blends a great American story with the best of European stylistic influences. So protean is Citizen Kane that it is all things to all viewers. To Pauline Kael, it was a "shallow masterpiece," whatever that is (she never explained). To Martin Scorsese, "Kane was a picture that made you think anything was possible in film." To Jorge Luis Borges, it was a "labyrinth without a center." To Laura Mulvey in the BFI series, it's "anti-Hollywood." What Citizen Kane is, though, is one of the great puzzle kits of 20th century art. Like Ulysses and Pale Fire in literature, or the movies L'avventura, Pulp Fiction, The Usual Suspects, and Memento, Kane is a work of art that though the surface seems clear enough actually contains mysteries, allusions, references, and unexplained or inexplicable moments that turn it into a Chinese boxyou can pull it apart yet it stays together. All these works of art bear fascinating cruxes that both keep the academics working overtime and yet also delight us as we experience them. Citizen Kane as a movie movie Take the delightful surface of the film, and its tricks and in-jokes. Knowing that director Welles was best known at the time as a radio personality, it is utterly delightful that upon Kane's first physical appearance, within the newsreel at the start of the film, we don't hear his voice. Instead he is presented in an "excerpt" from a silent newsreel. That Welles should withhold his marvelous voice bespeaks a playfulness with the audience that is going to be maintained throughout the rest of the film (and the rest of his career). The first sentence we actually hear Kane speak is in another newsreel excerpt while talking to a young reporter. "Don't believe everything you hear on the radio," he says, which for the informed (and who at the time of the film's release in 1941 couldn't be informed) was a loving jab at the "War of the Worlds" contretemps that got Welles to Hollywood in the first place. Perhaps Mulvey is right. This is a film that is so unlike typical Hollywood movies that the title character is not actually truly introduced on the screen until 24 minutes into the picture, in a bravura moment climaxing a montage in which Kane, so to speak, steps from behind the curtain of a crushed-up newspaper. And then there are the succession of simply great visual moments, such as the stagehands offering their critique of Susan Alexander's singing at the end of a long (somewhat faked) crane shot. The dark, inky photography of Gregg Toland, which in many ways anticipated the noir look of the rest of the decade, is simply stunning, making the film as rich as ambrosia. As with the works of art listed above, the viewer can experience a delight so intense you don't know what to do with yourself, and you explode with ideas, observations, and emotions. One of the paradoxes at the center of the film is that Welles and Toland wanted to make a "realistic" film. According to Frank Brady's biography of Welles, "he wanted the audience to see the film as they would 'reality' and not as though they were looking at a movie He wanted the viewer to enter the film, become a part of it, and remain there to its conclusion." Welles's and Toland's challenge was how to "achieve the realism and intense detail demanded by the probing, relentless camera work within the practicalities of a limited studio budget." The paradox is that, yes, they did create a "more realistic" movie, but one that is heralded as among the most baroque in American film history. What they thought was going to be documentary style realism actually proved to be a cinematic technique that drew attention to itself. Yet the film is "realistic," much more realistic than any other non-documentary film at the time, and the reason is twofold, first by utilizing all that film can do to create the illusion of taking us into the consciousness of a human being, perhaps the one unique thing that cinema can do, but also by parodying accurately the media of the time (newsreels, radio, movies). The familiar makes us accept the strange. Who wrote Citizen Kane? The authorship of Kane has been a subject of academic debate at least since Kael, in her orchestrated surgical strike on the auteur theory, argued that Kane owed more to the snappy, reporter-influenced dialogue-heavy style of credited co-screenwriter Herman Mankiewicz than to Welles. A survey of the various books on Welles and Kane reveals little consensus. The most recent bio, the first of a Welles-hostile two-volume set by actor Simon Callow, takes the Kael line, laughing at the idea that Welles wrote a 300-page rough draft called John Citizen, USA, which Mankiewicz was suppose to work from. Callow notes that no one has ever seen this draft, suggesting that it is part of Welles's self-mythologizing (though it is certainly possible that Welles could have dictated a draft of his ideas for Mankiewicz). The most reliable account appears to be Robert Carringer's The Making of Citizen Kane, which goes into detail about who did what on the film, and notes when and where Welles has ceded authorship of parts of the film to Mankiewicz (the Rosebud trail, for example). And we forget now how much of Kane was taking from what was in the air, and some of the movies that may have influenced Kane that neither Welles nor Mankiewicz had anything to do with include Rebecca, Mad Love, Kitty Foyle (there's a snowball scene), The Power and the Glory, and the play, The Long Christmas Dinner. But it's likely that Mankiewicz didn't really understand what Welles had in mind for the film. The "solution" to the crux of authorship is really found in the early drafts of the screenplay that Mankiewicz wrote while drying out in the desert, baby-sat by Welles associate John Houseman. In these drafts exists an alternate version of Kane, when it was called American. If this version had been shot, the viewer would have experienced some of the following moments: "News on the March" footage of Kane's poor academic career, including expulsion from a German school with Jed Leland Newsreel footage of Kane burned in effigy for publishing stories that may have led to a presidential assassination Kane shown defrauded at the polls, not losing A visit by Thatcher and another man to Kane, living in Italy, on the occasion of his 25th birthday, and noting the debauchery in which he lives A scene between Kane and the editor of a rival paper A montage on the rise of the Inquirer A montage of his attacks on his wife's uncle, the President Kane showing his son how to set type Kane and his main competitor offering to buy each other out Kane reading a history of journalism for ideas Kane on his honeymoon Kane meeting the President Kane's wife telling him that she has known of his affair with Susan Alexander for a long time Kane running into his father, and his father's new wife, a much younger woman at the opera, then attacking the man back at his hotel room, only to be pulled off by Jed Leland Kane discovering Susan having an affair with a stable manager and having him killed An around-the-world trip with Susan on a yacht A Wild West costume ball at Xanadu And a sequence in which Kane's son is killed while attempting to seize an armory in Washington, D. C., under the sway of a fascist group. Too much! These scenes suggest that Mankiewicz was approaching the story as a conventional, and mediocre, biography, and also settling scores with the figure inspiring Kane, William Randolph Hearst. He seems not to have grasped that Welles was striving for an original shuffling of narrative segments that would rely on visuals more than dialogue, an approach that presented the story in a more condensed format. What seems most missing is the idea that Kane is observed from outside by others, that his story is told, with cunningly compiled distortions, by observers who in some ways didn't really know him at all. Citizen Kane is certainly one of the strangest films to come out of Hollywood. You could argue that it has a cold heart, that there's a lack at the center of the film, a missing female warmth, which we will get to in a second. However, Mankiewicz did come up with Rosebud. Which, paradoxically, takes us to In Defense of Rosebud On the Criterion Laserdisc, Peter Bogdanovich claims that "Orson didn't like the whole Rosebud thing. He felt it was the one element in the picture that would date it most quickly." Welles called Rosebud "dollar-book Freud." I disagree. The Rosebud theme is much richer, more subtle than anything the Viennese quack could have come up with, and instead of dating the picture, Rosebud glues it together for one generation after another. One of the key cruxes of the film is the question of what exactly Rosebud means. We ask this question even though we know that Welles & Co. were in part trying to show that you cannot reduce a man's mysteries to one thing. On the other hand, there is a solution to the "problem." It is actually found in Welles's next film, The Magnificent Ambersons. Throughout Welles's radio career, his most moving shows, such as his adaptation of "The Apple Tree," were about loss loss of a bucolic past, of a domestic happiness, of a quiet life. This theme doesn't seem to have anything to do with Welles's real life. It's just something he liked, though perhaps based on the loss of his mother at an early age. The Magnificent Ambersons is his most poignant realization of this theme in his work. Rosebud leads up to that film. Rosebud is The Magnificent Ambersons. The small-town values and mother's love that the snow-ball evoke which reminds Kane of his childhood home, and the sled called Rosebud are all explored in much more detail and presented with an additional dollop of aching loss, in Welles's second film. Rosebud is not a gimmick. As a narrative device, it is the holy grail of the film, the engine that drives the reporter Thompson to solve the mystery of Kane, and along the way we learn as much about Kane as the characters (and the undermining overvoice of the film itself) can tell us. But when we learn, from our privileged position as viewers of the film, what Rosebud actually is, even as it is being destroyed, we also learn that it is not a hoax, nor is it hokey. As Bernard Herrmann's beautiful music rises in the background, we feel both the unsealing of the envelope and the closing of a life. It's a beautiful moment, one of the most expressive in all cinema. And you know what? In a way, a man's life can be reduced to one thing, if that thing is the rich cluster of images and ideas that Rosebud contains. But as much as Mankiewicz contributed to the film, both in his screenplay organizing skills and in his knowledge of Hearst and his private life, Citizen Kane bears more in common with other Welles films than it does with other Mankiewicz scripts. The gay subtext in Citizen Kane Who wrote Kane? The answer is in the aspect of the film that everyone is afraid to mention, the gay subtext that appears in Kane and in many of Welles's other films. I'm not talking about his private life, in which, according to Simon Callow, Welles had a knack for attracting the support of older gay men such as Houseman, who were smitten with the youth's vivacity. Welles, a heavy drinker, was married three times and, like Marlon Brando and Warren Beatty after him, had ostentatious affairs with many women, among them Dolores Del Rio. None of this seemed to find its way into his films. Women don't figure that heavily in most of Welles's films, and rarely does sex truly enter. Love and passion are there, but often presented discreetly. Kane offers up something of a Madonna/whore contrast, while his next film shows dedicated woman in a soap-operaish oleo of unrequited, often even unexpressed, love. Although the aborted It's All True celebrated the passionate life of Latin America, Welles was really interested in the politics of the time. Subsequent films dealt with "great men" and their political lives. Welles played Othello as if he were really married to Iago. There is the suggested rape of a newlywed in Touch of Evil, and a nymphomaniac in The Trial. It's a shock to see footage from the unfinished The Other Side of the Wind in which actual lust is realized in the back seat of a car. But the combination of sex and women is not what we carry away from many of these films. Male friendship and its betrayals interested Welles, from one film to another, starting with Kane and lasting all the way to The Big Brass Ring, a screenplay credited to Welles but finally filmed by someone else. As in many films with a gay subtext, parts of Kane don't make sense unless you view them from a gay perspective. Why, exactly does Jed Leland feel so betrayed by Kane? It can't just be because Kane's political folly "put back the cause of reform 20 years." When Leland, the stooge friend, first learns of the political disgrace, he walks into a bar to drown feelings of... what? Leland, who elsewhere says he took ballet lessons with Kane's first wife and was "very graceful," has no female companions in the film, and his reaction to Kane's political "betrayal" far exceeds its actual weight. There's a love here that dare not speak its name. This gay subtext provides another indication of Welles's hand in the Kane screenplay. Welles's other great movie, Touch of Evil, has a similar relationship between a powerful man and a stooge, in which the powerful man is the love of the stooge's life: Welles's Quinlan and Joseph Calleia's Pete Menzies; only here, both men betray each other. And the totality of The Trial only makes sense if the film is viewed as really about the persecution of a gay man in a straight society. The gay subtext of Kane only adds to its mysteries and makes it a richer film. Mistakes in Kane There are three that I have been able to detect. There is the big one that Kael made famous, i.e., that there is no one in the film actually hears Kane say "Rosebud" on his deathbed. Raymond the butler says that he heard it "the other time," but there is no other time. And finally, Thompson the reporter is ostensibly throughout the film working for a newsreel company, but when he interviews Susan Alexander for the second time he says he works for a weekly magazine. Disc One: The Movie See above. Beautiful transfer, with inky blacks and brilliant whites. A remarkably clean soundtrack. That Pesky Second Disc In order to fully celebrate the release of Kane on DVD, Warner has added a second disc bearing Thomas Lennon and Michael Epstein's 1996 documentary made for PBS's The American Experience called The Battle over Citizen Kane. It's written by Lennon and Richard Ben Cramer and narrated by Cramer (who seems to be striving to sound like the voice of "News on the March"), and gives an adequate summary of the background of the film. The documentary seems to rely on the Simon Callow bio, and so takes a rather hostile view of Welles, and offers a surprisingly sympathetic (and not unwelcome) view of Hearst. It's skimpy stuff, so that actress Ruth Warrick, who plays Kane's first wife, will tell about arriving on the set to find that Welles and Toland had dug holes in the floor in order to lower the camera, but the film won't go on to say why Welles and Toland did this. Instead, it's just a jolly tale about the crazy nuts making this movie. Part of an anti-Welles backlash that erupted around that time, and which culminated with Tim Robbins's syphilitic Cradle Will Rock, the documentary has moving pictures and flashing lights and so holds the attention but pales in comparison with all the written material about the film. The transfer consists of every aspect of the original broadcast, so we get to see the opening and closing ads for Scotts lawn products. But then, that's the American experience. The Extras Not as hot as you'd think from looking at the list on the box. The first disc, single-sided and dual-layered (SS-DL), offers, besides the film, Dolby Digital mono and subtitles in English, Spanish, French, and Portuguese, along with closed-captioning. There are two audio commentary tracks. The first is by Peter Bogdanovich, who's been dining out on his friendship with Welles for decades. He knows a lot about Welles, and has directed films himself, but strangely does not come across as an expert, just another anecdotalist. The other audio commentary is by Roger Ebert. As a high-profile movie reviewer and practiced public speaker, Ebert seems a likely choice, and his commentary is keyed to the moment by moment experience of the movie, though he does tend to tell you what you are looking at. Sometimes he tells you what you are not looking at, such as in a dissolve associated with Joseph Cotten's Jed Leland in his dotage that is the exact opposite of what Ebert describes it as (he says the background dissolves away at a moment when the foreground of Leland is what's fading out). Ebert's comments are fine for beginners, as far as it goes, especially if the beginner keeps his eyes open, and Ebert does provide the occasional insight, such as noting the repetition of scenes in which Kane's fate is decided by others as he stands helplessly by, but one can't help thinking that there is another Chicago-based critic, named Jonathan Rosenbaum, who is an authority on Welles (and has actually met him) who would have contributed a detailed, Criterion-level track to the disc. But then, Rosenbaum is a noted critic of Hollywood and has a rather unique take on Welles (that Welles should be viewed not as a reckless youth destroyed by show biz but as a truly independent filmmaker bucking the Hollywood machine). The rest of the extras are fine, it not consistently overwhelming. There's the fascinating four-minute original theatrical trailer with footage different from the film which announces, more or less, how un-Holywood-like the end product is going to be. Also on board is newsreel footage of about one minute in duration from the New York premiere, in May, 1941, without narration. There is about three minutes' worth of a storyboards gallery, as well as a hard-to-read call sheets gallery (50 seconds), an 11-minute stills gallery with commentary by Roger Ebert, a one-minute or so gallery of material relating to a deleted scene set in a brothel called Georgie's, which was apparently filmed but deleted. In addition, there is a 90-second gallery of advertising and poster art, portions of the original press book in a 45-second gallery, and a gallery of stills and materials relating to the film's opening night. Printed material consists of a seven-screen bio of Welles, a 15-screen production history of Kane, six screens of "postscripts" on the post-Kane careers of several participants, two screens listing awards and honors for Kane, and a screen listing the cast and crew of Kane. The good thing about these extras is that they are at least actually about the movie, unlike so many supplements these days. The bad thing is that they are ultimately underwhelming and anyway, the transfer of the film is so good that half-assed extras really aren't necessary. It's just that DVD consumers demand them. The second disc doesn't have much on it in the way of supplements, mostly just a bunch of ads. It's a single-sided, single-layered disc (SS-SL) with Dolby Digital English 2.0, and English subtitles and closed-captioning. There's a Welles filmography, a Web link to PBS material about the documentary, an advertisement for a WGBH catalog, and ads for other WGBH documentaries. It all comes in a folding dual-DVD digipack and slipcase. Closing Thoughts Citizen Kane is the greatest American movie ever made. D. K. Holm Disc One: "Citizen Kane" Black and white Full frame (1.33:1) Single-sided, dual-layered disc (SS-DL) Dolby Digital mono (English) English, Spanish, French, Portuguese subtitles, and English closed-captioning Audio commentary by Peter Bogdanovich Audio commentary by Roger Ebert Four-minute theatrical trailer with footage different from the film Newsreel footage (one minute) from the New York premiere, in May, 1941 Storyboards gallery (three minutes) Call sheets gallery (50 seconds) Eleven-minute stills gallery with commentary by Roger Ebert One-minute gallery of material relating to a deleted scene Gallery of advertising and poster art (90 seconds) Original press book gallery (45 seconds) Gallery of stills and materials relating to the film's opening night (90 seconds) Seven-screen bio of Welles Fifteen-screen production history of Kane Six screens of "postscripts" on post-Kane careers of participants Two-screen list of awards and honors Cast and crew credits Animated, musical home menu with 31-chapter scene-selection Folding cardboard digi-pack in slip case Disc Two: "The Battle Over Citizen Kane"
7501	dbpedia	2	18	https://www.newyorker.com/magazine/2015/12/07/the-shadow	en	Orson Welles at a Hundred	https://media.newyorker.…51207_r27391.jpg	https://media.newyorker.…51207_r27391.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header.svg", "https://media.newyorker.com/photos/59097b73019dfc3494ea36d5/1:1/w_270%2Cc_limit/undefined", "https://media.newyorker.com/photos/5909726f1c7a8e33fb38ef54/mas...	[]	[]	[ "books", "centennials", "directors", "orson welles" ]	null	[ "Alex Ross", "Pauline Kael", "Sam Knight", "Condé Nast" ]	2015-12-07T00:00:00	Alex Ross on the actor-director of “Citizen Kane” fame, and on the biographies of him.	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/magazine/2015/12/07/the-shadow	The most popular Orson Welles video on YouTube, edging out the trailer for “Citizen Kane” and “The War of the Worlds” broadcast of 1938, is called “Orson Welles Drunk Outtake.” It shows him slurring his way through one of those ads in which he intoned, “Paul Masson will sell no wine before its time.” Whether he was drunk, experiencing the effects of medication (he suffered from diabetes and other ailments), or simply very tired is immaterial. What’s striking about the video is its popularity. This is largely how today’s culture has chosen to remember Welles: as a pompous wreck, a man who peaked early and then devolved into hackwork and bloated fiascos. The video points to a decades-old fissure in the reputation of Welles, whose centennial fell on May 6th. The film critic Jonathan Rosenbaum, the author of the 2007 book “Discovering Orson Welles,” observes that commentary tends to fall into “partisan” and “adversarial” categories—adversarial meaning a tendency to celebrate the early work while detecting portents of disaster. Pauline Kael’s long essay “Raising Kane,” which appeared in this magazine, in 1971, propagated that view: she praised “Kane” effusively but attributed many of its best features to the screenwriter Herman Mankiewicz and other collaborators. After that film, Kael wrote, Welles “flew apart, became disorderly.” A 1985 biography by Charles Higham condensed the standard story into its subtitle: “Orson Welles: The Rise and Fall of an American Genius.” The partisans, bemoaning the fixation on “Kane,” highlight later entries in the canon. Following Welles’s own preference, they often name the 1965 Falstaff film, “Chimes at Midnight,” as his greatest achievement. Like so many obsessives, they acknowledge one another with secret handshakes, making reference to obscure or nonexistent works: the radio show “His Honor the Mayor,” the TV pilot “The Fountain of Youth,” the work print of the unfinished nineteen-seventies film “The Other Side of the Wind,” the lost ending of “The Magnificent Ambersons.” A raft of new books in the centennial year, together with publications from the past decade, suggests that the partisans are slowly gaining ground. Enthusiasts and skeptics agree that Welles has a way of slipping from one’s grasp. On one hand, he spun tales of damaged power: a newspaper tycoon rises from poverty and ends in desolation; a cop fakes evidence in order to convict people he thinks to be guilty; a macho director secretly longs for the young male stars of his pictures. Truffaut once described Welles’s work as a meditation on the “weakness of the strong.” On the other hand, the movies take life from the margins, from the grotesques in the background. “Touch of Evil” becomes sublime at the moment when Marlene Dietrich saunters into view, as the proprietor of a Mexican brothel that echoes with skeletal player-piano music. The films are full of plays within plays, screens upon screens; an incessant flicker of shadows on walls reminds us that we are looking at projected images. All this comes to a head in the late-period masterpiece “F for Fake,” a study of hoaxes that itself turns out to be a hoax. Welles causes endless trouble because of his unstable place in the American cultural hierarchy of high and low. He loved tragedy and vaudeville, Expressionist cinema and boys’ adventure stories. He converted genre vehicles like “Touch of Evil” into surreal labyrinths; he made “Macbeth” look like Gothic horror. He was a subversive populist, a celebrity avant-gardist. He was also, frequently, a political artist, one who came of age during the heyday of the Popular Front and never ceased to roil the culture industry. Despite acres of commentary, much about him remains relatively unexplored: his identification with African-Americans, his investigation of sexual ambiguities. In a strange way, he is still active, still working; if, as is hoped, a completed version of “The Other Side of the Wind” soon emerges, he may confound us once again. The familiar part of the Welles saga, his rapid rise to the pinnacle of “Kane,” has been told many times, most stylishly in Simon Callow’s 1995 book, “Orson Welles: The Road to Xanadu”—the first of three biographical volumes to date, with a fourth to follow. But Patrick McGilligan’s “Young Orson: The Years of Luck and Genius on the Path to ‘Citizen Kane’ ” (HarperCollins), the product of years of meticulous research, may be the definitive account. It reveals, among other things, that Welles’s reputation as a self-mythologizer is itself a bit of a myth: quite a few improbable anecdotes turn out to be more or less true. Did Welles see Sarah Bernhardt perform in Chicago? Did he make his stage début as Sorrow, the child in “Madama Butterfly,” at the Ravinia Festival? Absolute confirmation is lacking, but the chronologies line up. (A detail from the Chicago Tribune: at a 1919 performance of “Butterfly,” an unnamed child of unusual heft substituted as Sorrow, causing giggles in the audience.) Welles was born in Kenosha, Wisconsin. His father, Richard, was a charming, dissipated inventor who worked for a manufacturer of bicycle lamps; his mother, Beatrice Ives Welles, was a pianist and an activist. Welles’s worldliness evidently stemmed from his father, his artistic gifts and radical tendencies from his mother. McGilligan, who has written biographies of Alfred Hitchcock, Fritz Lang, and Nicholas Ray, has combed through newspaper archives and unearthed many new details of Beatrice’s activities, which included suffragist campaigns and a stint on the Kenosha school board. Beatrice died in 1924, of hepatitis, just after Orson’s ninth birthday. Richard lived for six more years, his health ruined by alcoholism. Maurice Bernstein, a social-climbing Chicago doctor who had befriended the couple, became Orson’s guardian, shuttling him around while engaging in a flurry of high-profile affairs. Welles attended the Todd School for Boys, in Woodstock, Illinois, and the school’s headmaster, Roger Hill, became a father figure to him. In school plays, Welles directed, designed sets, made costumes, and acted a slew of roles, including Christ, Judas, and the Virgin Mary. Shortly after graduating from Todd, at the age of sixteen, Welles persuaded Bernstein to let him travel alone to Ireland, and soon made his professional acting début at the Gate Theatre, in Dublin. His success was reported in the New York Times, which called him “amazingly fine.” By 1934, when he was nineteen, he had made his Broadway début, as Tybalt in “Romeo and Juliet.” He had also married the actress Virginia Nicolson—the first of three less than happy marriages, yielding three not always happy daughters. His oldest child, Chris Welles Feder, records his inadequacies as a father in her affecting, forgiving 2009 memoir, “In My Father’s Shadow.” Welles’s almost overnight emergence as the boy genius of the American theatre is often attributed to luck. He himself said so, and “luck” appears in McGilligan’s subtitle. But the decisive factor was the cultural-political atmosphere of the mid-thirties. For the only time in American history, the government was generously funding the arts, by way of the Works Progress Administration, and radio networks and movie studios were cultivating “quality” or “prestige” projects. During this period, Toscanini became a star of NBC radio and several Thomas Mann novels became Book-of-the-Month Club selections. Neither Callow nor McGilligan does full justice to the New Deal underpinnings of Welles’s career; for that, you have to turn to Michael Denning’s 1996 book, “The Cultural Front,” which presents Welles as the “American Brecht,” or to James Naremore’s classic study “The Magic World of Orson Welles,” recently reissued by the University of Illinois. Welles’s entrée was the Federal Theatre Project, which tended to take a hard-left, Popular Front line, and pointedly boosted African-American theatre. The F.T.P.’s New York Negro Unit fell into the hands of the Romanian-born, British-educated producer John Houseman, who had admired Welles’s Tybalt. At the end of 1935, the idea arose of mounting an all-black “Macbeth,” and Houseman invited Welles to direct it. The Voodoo “Macbeth,” as it became known, set the template for Wellesian theatre: a displacing concept (the action was moved to a Caribbean island reminiscent of Haiti in the era of Henri Christophe); stark, eerie lighting; ruthless editing. Welles and Houseman subsequently formed an F.T.P. unit called Project 891, which launched Marc Blitzstein’s pro-union musical, “The Cradle Will Rock.” In 1937, as the F.T.P. came under political attack, Welles and Houseman founded the independent Mercury Theatre. Their first production, a “Julius Caesar” in a Fascist setting, was a sensation, and Welles soon landed on the cover of Time. By many accounts, the most electrifying moment in “Caesar” was the brief scene in which Cinna the Poet is mistaken for one of the conspirators and is set upon by a mob. Remarkably, the actor who played Cinna, Norman Lloyd, is still around, at the age of a hundred and one, and has vivid memories of his work with Welles. The staging of the scene was, typically, a last-minute improvisation, a conjuration out of chaos. Lloyd described to me the end result: “As the mob begins to move in very slowly, I don’t hear them. I look around, and I’m surprised: there are a lot of people around me. And what I played was, that I thought they wanted my poems. So I took the poem out and offered it to the lead guy. . . . And then Orson moved in as a director. He said, ‘Take it from him and hit him! _Throw ’em at him! Throw ’em at him! _’ I said, ‘No, I’m Cinna the Poet.’ Orson gave it its contour: the move around the stage—they’re following me, following me all the time—and my realization, finally, that this was death. I disappear in the crowd as they rush me down the ramp.” Lloyd concluded, “This scene reflected what was happening in the world at the time very much. The audience got it. This is Fascism on the streets.” In the same period, Welles achieved radio stardom as a hypnosis-inducing vigilante on “The Shadow.” Revenue from this and other radio appearances was funnelled into his F.T.P. shows, causing President Franklin Delano Roosevelt to joke that Welles was the “only operator in history who ever illegally siphoned money into a Washington project.” Welles pushed radio in a more artistically ambitious direction with his “Mercury Theatre on the Air,” adapting Shakespeare, Dickens, “Dracula,” and dozens of other literary properties. Bernard Herrmann joined Welles as house composer, and later followed him to Hollywood, becoming the magus of film music. The night before Halloween, 1938, Welles and his staff perpetrated the most notorious hour of radio in the history of the medium: “The War of the Worlds,” which dramatized the H. G. Wells novel as a breaking-news broadcast, and convinced a certain number of Americans that Martians had invaded. As A. Brad Schwartz shows in “Broadcast Hysteria: Orson Welles’s ‘War of the Worlds’ and the Art of Fake News” (Hill & Wang), the audience was duped largely by the pacing. Welles made the opening deliberately humdrum, stretching out a fake music broadcast by “Ramón Raquelo and His Orchestra”—Herrmann’s musicians, galumphing awkwardly. Then a voice broke in with reports of peculiar astronomical sightings and odd events in Grover’s Mill, New Jersey. A reporter described, in the manner of the Hindenburg-disaster broadcast, tentacled creatures crawling out of a crashed vessel. The announcer signed off; there was Chopin piano music; the announcer returned (“Ladies and gentlemen, am I on?”), but his voice was soon drowned out amid screams; there was six seconds of dead air; another announcer apologized for technical difficulties; Chopin tinkled on. It had the jagged rhythm of the real. Schwartz is not the first to point out that the legend of a nationwide panic is exaggerated. Only between two and four per cent of the radio audience tuned in that night, and only a fraction of those listeners went berserk. At the Welles archive at the University of Michigan, Schwartz studied more than a thousand letters related to “The War of the Worlds.” Supporters outnumbered critics ten to one; quite a few listeners admitted to being fooled but added that they had enjoyed the fright. One began by addressing Welles as “You horrible, terrible person” and ended by saying, “I must say it was marvelous.” Schwartz concludes that rumors of all-out panic were fanned by print commentators who wished to ponder the gullibility of the masses and the unreliability of the radio medium—much as pundits fret over the Internet today. “Bedlam did reign that night, but only in newsrooms across America,” Schwartz writes. For a few days, it seemed that Welles would be punished and that the F.C.C. would implement new restrictions. In the end, though, “The War of the Worlds” had the effect of rallying opinion against censorship. Many people defended Welles’s right to run amok: it was the American way. The Campbell Soup Company signed on as a sponsor, and R.K.O. Radio Pictures invited Welles to Hollywood. As Schwartz observes, this was an ironic outcome: corporate interests proved to be a vigorous censor of unorthodox ideas. “Kane” was not Welles’s first movie. Among several early attempts, the most notable were silent-film segments that he shot as a supplement to a Mercury production of William Gillette’s farce “Too Much Johnson.” The footage went unused because of logistical difficulties, and later disappeared. Inexplicably, it turned up a few years ago, at a warehouse in Pordenone, Italy. As Richard Brody has pointed out on newyorker.com, the film pays tribute to the slapstick of Mack Sennett and Harold Lloyd but also anticipates future Welles imagery: extreme low-angle shots frame Joseph Cotten against the Manhattan skyline. The footage undercuts the assumption that Welles’s cinematic style was formed under the tutelage of Gregg Toland, the virtuoso cinematographer of “Kane.” McGilligan ends his book just as Welles begins shooting “Kane,” but he gives a lucid account of the film’s origins, correcting the impression given in Kael’s “Raising Kane.” (In 1978, the scholar Robert Carringer dismantled the idea that Mankiewicz should be considered the sole author of “Kane,” but the notion has not died out.) Mankiewicz supplied the central conceit of a newspaper tycoon modelled on William Randolph Hearst, but many motifs are drawn from earlier Welles projects. A play called “Marching Song,” which he wrote with Roger Hill, is framed as a journalistic quest to understand a contradictory historical figure (in this case, John Brown); in an unfilmed script titled “The Smiler with the Knife,” a right-wing tycoon is introduced, as in “Kane,” with a newsreel. Mankiewicz invented vibrant characters and dialogue, but the first draft, titled “American,” meanders. Welles’s revision is a savagely deft feat of editing in which scene after scene comes alive through ingenious compression. In a famous sequence of cuts, Mr. Thatcher, Charles Foster Kane’s guardian, is seen exclaiming, “Merry Christmas . . . and a Happy New Year!” There is a jump of nearly two decades in the middle of the phrase. Members of the adversarial camp assert that, after “Kane,” Welles fell victim to self-indulgence. In late 1941 and early 1942, he filmed “The Magnificent Ambersons,” an ethereally melancholy story of a Midwestern family in decline. It should have been his magnum opus, but, we are told, Welles absconded to Brazil before he was done with it, frittering away money on “It’s All True,” an omnibus film emphasizing racial and cultural multiplicity in Latin America. The studio that financed Mercury Productions, R.K.O., lost patience and shut down the operation. “There was never a movie there, only an extravagant, self-destructive gesture,” David Thomson writes in his 1996 book, “Rosebud.” Meanwhile, “Ambersons” was drastically re-cut and re-shot without Welles’s participation. Catherine Benamou’s 2007 book, “It’s All True,” a masterpiece of scholarship, presents the Latin-American project as visionary filmmaking, austere in its technique and radical in its politics. It arose not from idle fancy but from a wartime imperative: the Roosevelt Administration was worried about Fascist incursions in South America, and kept a close eye on Getúlio Vargas, Brazil’s authoritarian President. Welles initially went to Brazil to film the Carnaval in Rio; R.K.O. and the Brazilian government expected a colorful entertainment, suitable for propaganda. But he became fascinated by the story of the jangadeiros—four raft fishermen, from the north of Brazil, who, the previous year, had sailed sixteen hundred miles along the coast to Rio, dramatizing the need for improved labor conditions. Welles also embraced Brazilian culture, becoming aware of the Afro-Brazilian origins of samba. He emerged with an ambitious plan for a musical-cultural-political overview of Brazilian life. Benamou gives a sense of what the samba sequences would have been like. In one, we see musicians in a favela playing “Se Alguém Disse”; then we cut to a high-class night club, where the same tune is heard in a polished, radio-ready version. Other scenes would have revolved around the song “Adeus, Praça Onze” (“Farewell, Square Eleven”), the hit of the 1942 Carnaval. It told of a plan to pave over a plaza in Rio that was beloved by samba players. Too much color footage is lost to permit a full reconstruction of these scenes. But in 1993 a documentary also titled “It’s All True”—initiated by Welles’s longtime associate Richard Wilson—presented rich-hued, shadow-drenched Technicolor shots of the Carnaval that are unlike the clean, bright palette of “The Wizard of Oz” and other early color films. This film essay on race, inequality, and gentrification failed to please R.K.O., whose strategy of making “prestige” pictures was foundering in wartime. An on-site R.K.O. representative named Lynn Shores was bothered by Welles’s habit of turning his cameras toward the darker, poorer faces of Brazil. According to one memo, Shores went around complaining that the “whole thing’s about a bunch of niggers.” Benamou establishes that Shores’s reports to R.K.O. misrepresented the filming schedule in order to portray Welles as irresponsible. By July, 1942, Mercury Productions had lost R.K.O.’s support, but Welles lingered in Brazil, stubbornly filming the jangadeiros sequence. That May, Jacaré, the charismatic leader of the fishermen, had drowned during filming; Welles, determined to honor him, carried on with Jacaré’s brother as a stand-in. Welles made do with a crew of five and a budget of ten thousand dollars. Lacking electricity on location, he worked in natural light. Far from being inhibited by these limitations, he thrived on them, extending the guerrilla mode of making pictures that he had tested with “Too Much Johnson.” In a funeral scene, long lines of figures wend their way along a hill, against a brilliant clear sky. In one shot, you see the trudging feet of mourners in the foreground while those on the ridge behind move in the opposite direction—the kind of visual counterpoint that makes Welles’s films an elemental joy to watch. Simon Callow is an actor-director-author whose polymath panache rivals Welles’s, and as his immense biography has inched forward it has undergone an evolution. The epic has been told with unstinting verve, but the first volume suffered from an admonishing tone, spotty acknowledgment of political context, and an overreliance on Houseman’s embittered testimony (the partnership ended in 1941). The second volume, “Hello Americans,” which appeared in 2006 and covered the years 1941 to 1947, highlighted Welles’s predicament as an engaged artist in an increasingly hostile environment. Notwithstanding Welles’s myriad flaws—his bombast, his temper, his disdain for the realities of money, and, most damaging, his habit of going into hiding when crisis loomed—Callow has come to see the latter part of the career as “a tale of heroism, not of self-destruction.” When Welles returned from Brazil, he was seething with political rage, and the fury endured until he went into European exile, in 1947. Popular Front values were in retreat, but Welles persisted in articulating them. His boldest statements came on a short-lived radio show called “Orson Welles Commentaries.” In early 1946, a black veteran named Isaac Woodard, Jr., had been beaten and blinded by the police chief of Batesburg, South Carolina. A few months later, Welles read aloud Woodard’s affidavit on the air and then addressed the sheriff, whose name was not yet known, in the manner of a Shakespearean comic-book avenger: “Wash your hands, Officer X, wash them well. Scrub and scour. You won’t blot out the blood of a blinded war veteran. . . . You’ll never wash away that leprous lack of pigment, the guilty pallor of the white man.” After several more broadcasts on this theme, the show was cancelled. Welles’s films took a turn toward the baroque, the circus-like. The storied fun-house shoot-out at the climax of “The Lady from Shanghai” (1947)—in which Rita Hayworth, Welles’s second wife, plays a luridly blond femme fatale and Welles her naïve Irish stooge—is an almost comically blatant assault on the Hollywood dream factory. Mirror images of the stars shatter as bullets fly. Welles’s film of “Macbeth” (1948) presents a calculatedly cold, vicious version of Shakespeare, with stagey whispers and bloodcurdling screams echoing in a cavernous acoustic space. During this period, Laurence Olivier was winning acclaim for his well-schooled adaptations of “Henry V” and “Hamlet.” As the scholar Michael Anderegg has observed, Welles’s unruly and anarchic Shakespeare was out of step with Cold War middlebrow culture. Scholars debate whether Welles’s departure for Italy, in the late forties, was impelled by the approaching McCarthyite storm. Most likely, the possibility of being called before the House Un-American Activities Committee played a role. Welles became a gypsy artist who never tied himself to one place or institution for long. More often than not, he financed projects with acting paychecks. He returned to America for brief periods—notably to make “Touch of Evil” (1958), his definitive denunciation of police brutality against minorities—but could not regain his footing in Hollywood. Callow’s latest book, “Orson Welles: One-Man Band” (Jonathan Cape/Viking), covers the gypsy years. The biographer summons his subject with easy authority, his descriptions poised between sympathy and skepticism: “One senses something archaic about him. He behaves like some great tribal chieftain, a warlord of art, riding roughshod over the niceties of conventional behavior, sometimes sulking in his tent, sometimes rousing his people to great heights, now making huge strategic decisions off the cuff, now mysteriously absenting himself.” As before, Callow is especially good at evoking Welles’s theatre work. There are lively pages on the 1955 production “Moby-Dick Rehearsed,” which depicted a nineteenth-century theatre troupe preparing a stage version of Melville’s novel, and on a 1950 Faust revue that featured Eartha Kitt as Helen of Troy, and music by Duke Ellington. Such projects veered between triumph and catastrophe, sometimes on the same night. Callow notes that at one performance of “King Lear,” in New York, Welles’s bellowing on the heath included the words “John! John!! John!!! Switch sixteen is not on!” There are many delights in Welles’s European films—the knotty whimsy of “Mr. Arkadin,” the florid weirdness of “The Trial”—but Shakespeare elicited his best. “Othello,” an unusually tortuous undertaking, which began in 1948 and was finished in 1951, somehow achieves a commanding stylistic unity, with airy, luminous vistas set against dank, claustrophobic interiors. Welles plays Othello, and the contained violence of the portrayal suggests a man hyper-conscious of how he is being seen, particularly as a black person in a white society. In “Chimes at Midnight,” Welles assumes the role of Falstaff, which he had first played in his youth. As Callow writes, it is one of Welles’s “richest, most detailed, most human performances.” The devastation that passes over his face in the rejection scene from “Henry IV, Part 2”—“I know thee not, old man: fall to thy prayers”—hints at Welles’s own humiliation by worldly authorities. But the most resonant scene is the Battle of Shrewsbury—a quick-cut barrage of mayhem that devolves into unsightly images of bodies twitching in mud. At the time, the Vietnam War was escalating, and the political message was clear: war has always been a quagmire. “Artists do their best work when they’re old or young,” Welles once told his younger colleague Peter Bogdanovich. “Middle age is the enemy of art.” Welles never got to have a full-fledged late period: in the twenty years after “Chimes,” he was unable to complete a feature-length narrative film. But you can see a late style emerging if you plunge into the trove that he left behind: “F for Fake” and other smaller-scale efforts; scripts in the Michigan archive; conjectural versions of several unfinished films, realized by Stefan Droessler, of the Munich Film Museum; and fragments of “The Other Side of the Wind,” which circulate among fans. The film historian Joseph McBride, in his 2006 book, “What Ever Happened to Orson Welles?,” calls Welles’s final decades a “period of great artistic fecundity and daring,” one that placed new emphasis on the disordering power of sexual desire. Welles was by then on his third marriage, to the Italian actress Paola Mori. (Their daughter, Beatrice, manages his estate.) He had also entered into a close relationship with the Croatian sculptor and actress Oja Kodar, who became his co-screenwriter and chief collaborator. Kodar helped to bring about a burst of sensuality in Welles’s work. The shift is first seen in “The Immortal Story,” an hour-long film based on an Isak Dinesen tale, which was shown on French television in 1968 and is now finally available on DVD and Blu-ray. The Wellesian baroque gives way to an aesthetic of long-held shots, nocturnal stillness, and softly glowing colors. The central sex scene, between characters played by Jeanne Moreau and the young British actor Norman Eshley, is never explicit, and yet it achieves a voluptuous intensity at its climax, with Eshley arcing his body upward and Moreau gasping. As so often in Welles’s work, the imagery is accented by the sound: amid the noise of writhing bodies, we hear an ostinato of crickets. The vortex of desire is at the center of “The Other Side of the Wind,” which occupied Welles from 1970 to 1976. Josh Karp’s “Orson Welles’s Last Movie: The Making of ‘The Other Side of the Wind’ ” (St. Martin’s) gives a dynamic account of the film’s making and eventual undoing. The principal character is Jake Hannaford, played by John Huston—a bigoted, reactionary director who is trying to ape the latest trends. His film-in-progress, also called “The Other Side of the Wind,” is a languid enigma in the manner of Antonioni, with Kodar cast as a Native American radical. Hannaford has a history of discovering, befriending, and discarding young male actors; the latest is an androgynous youth named John Dale (played by Bob Random), who is subjected to emasculating directorial insults while filming his sex scenes with Kodar’s character, and ends up walking off the picture. The plot unfolds on Hannaford’s seventieth birthday, as colleagues, critics, documentarians, and hangers-on—including a Bogdanovich-like younger director, played by Bogdanovich—gather to celebrate him. Before dawn, Hannaford dies in a mysterious car crash, as his unfinished movie plays at a deserted drive-in. The question of Hannaford’s sexuality smolders throughout. In one provisional sequence, Hannaford gay-baits Dr. Burroughs, an effete, elderly schoolmaster who once taught Dale. For a while, Burroughs holds his own, archly noting Hannaford’s own “personal interest” in the young man. Hannaford splutters with rage, his face blackened by shadow—a device familiar from “Kane.” With a sadistic grin, he invites Burroughs to go for a swim, and orders him to undress. “I suppose all schoolteachers are prigs,” the affronted teacher says. “I suppose,” Hannaford answers. “Prigs, or faggots.” Huston’s icy, raw, alcohol-fuelled performance exposes the psychological violence at the root of power. If Welles had pulled it off, “Wind” would have been a death-defying trick: a comeback picture about a doomed director who can’t finish his comeback picture. By 1975, he had shot the script and edited forty-two minutes of film; but, having spent hundreds of thousands of dollars of his own money, he needed additional funds to complete the job. That year, he received a Life Achievement award from the American Film Institute, and he showed a few scenes, hoping for offers of end money. None came—unsurprisingly, Karp notes, since the excerpts betrayed disdain for Hollywood. Meanwhile, Welles quarrelled with his producers, the Paris-based Astrophore company, which was headed by Mehdi Boushehri, a brother-in-law of the Shah of Iran. Four years later, the Shah was deposed, and the film entered legal limbo; at one point, representatives of Ayatollah Khomeini threatened to seize it. After Welles’s death, in 1985, Bogdanovich and other Welles associates made attempts to complete “Wind,” but disputes over rights and financing kept getting in the way. Finally, last year, a team led by Bogdanovich and the producers Frank Marshall and Filip Jan Rymsza secured the Astrophore interest and seemed to win agreement from Kodar and other parties. There have been further delays, but preparations continue. In the world of Welles, nothing ever goes according to plan. Even when work on “Wind” begins, daunting challenges will remain. In each of his films, Welles found a distinct editing tempo, suited to its themes. His “Wind” scenes suggest two tempos interwoven. The birthday party has a frenzied, scrambled energy; 16-mm. film, Super 8, video, and stills are interspliced, representing the different media eyes trained on Hannaford. The cutting is sometimes dizzyingly rapid, incorporating multiple takes. Gary Graver, Welles’s cinematographer in the later years, recalled him shouting, “Fast! Fast! Don’t bore anyone!” The film-within-a-film, shot in 35-mm. Kodak Eastmancolor, is more luxuriously paced. Although it was conceived as a parody, it contains wondrous images. A sex scene shot in a car, in which Random writhes with Kodar as rain streams down the windows, is among Welles’s most astonishing feats. No one can know exactly how he would have handled this interplay of rhythms, but even a speculative version will show a febrile creative imagination. On the evening of October 9, 1985, Welles spoke by phone with Roger Hill, his high-school mentor. He read aloud a letter that he had received from a theatrical manager fifty-three years earlier, concerning his and Hill’s play “Marching Song.” The letter said, “It’s a swell show. It makes good reading. . . . But that doesn’t matter. It won’t make money. It isn’t a commercial piece.” Welles then said to Hill, “Disappointments continue to affect my confidence—but never my resolve.” (A reconstruction of the conversation, drawn from Hill’s recollection, appears in Todd Tarbox’s absorbing 2013 book, “Orson Welles and Roger Hill.”) Toward the end of the call, Welles described himself as a “shipwreck . . . too busy to be destroyed, let alone sink.” He quoted “Cymbeline”: “Fortune brings in some boats that are not steered.” Then he said, “A phone is ringing. It’s a money call I must take.” He died a few hours later, alone, at his typewriter. Money bedevilled Welles to the end. He had terrible business instincts, alienating reliable investors while falling prey to hucksters. What’s remarkable, though, is how little money he ultimately spent. “Chimes” had a smaller budget, in unadjusted dollars, than “Kane,” released twenty-four years earlier. He rarely spent more than a million dollars per picture, even as inflation made this amount worth less and less. If one Welles myth deserves to die, it is that he was a wasteful filmmaker. His career is, in fact, a sustained demonstration of the art of making something from nothing. It might be time to stop imagining what might have been and instead to focus on what remains. As Jonathan Rosenbaum points out, no one goes around saying, “What happened to Kafka?” Making art is difficult, especially in a culture that has cooled on grand artistic ambitions. These tidy parables of rise and fall, of genius unrealized, may say more about latter-day America than they do about the ever-beleaguered, never-defeated Welles. If he left a testament, it is “F for Fake,” which anticipated the more personal documentary filmmaking of recent decades. Welles begins with a flurry of vignettes on the subject of hoaxes, drawing on footage shot by François Reichenbach: we see the debonair art forger Elmyr de Hory; his wily biographer, Clifford Irving, who proceeds to launch a hoax of his own, in the form of the diaries of Howard Hughes; and Welles himself, recalling the “War of the Worlds” uproar. To this is added an elaborate cinematic ruse, the nature of which should be withheld from those who haven’t seen it yet. What begins as a droll, breezy exercise becomes a magisterial meditation on art and life, truth and fiction. Welles seems to side with his bitterest critics by describing himself as a liar, a faker, a charlatan. But then he says, “What we professional liars hope to serve is truth. I’m afraid the pompous word for that is art. Picasso himself said it. Art, he said, is a lie, a lie that makes us realize the truth.” The alternative is grim. “Reality? It’s the toothbrush waiting at home for you in its glass, a bus ticket, a paycheck, and the grave.” ♦
7501	dbpedia	1	36	https://www.thehistoryreader.com/historical-figures/orson-welles/	en	Orson Welles: The Origins of Citizen Kane	http://www.thehistoryreader.com/wp-content/uploads/2016/04/720px-Welles-American-1938-Crop.jpg	http://www.thehistoryreader.com/wp-content/uploads/2016/04/720px-Welles-American-1938-Crop.jpg	[ "https://www.facebook.com/tr?id=1416684015254854&ev=PageView&noscript=1", "https://www.thehistoryreader.com/wp-content/uploads/2023/03/header-logo.svg", "https://www.thehistoryreader.com/wp-content/uploads/2023/03/THR-header-logo.svg", "https://www.thehistoryreader.com/wp-content/uploads/2016/04/703px-Orson_W...	[]	[]	[ "" ]	null	[ "hradmin" ]	2016-04-26T20:48:59+00:00	A History Blog from St. Martin’s Press	en	https://www.thehistoryre…3/03/favicon.png	The History Reader	https://www.thehistoryreader.com/historical-figures/orson-welles/	by Harlan Lebo Orson Welles: Asking for the impossible The creation of Citizen Kane is a story of many contrasts: it is a celebration of artistic vision and a disturbing account of corporate conspiracy. It is a drama that played out in the make-believe world of sound-stages in Hollywood as well as the real-life boardrooms of New York City and at a mountaintop palace high above the Pacific coast. It is the public story of a private witch hunt: how a media organization that claimed “genuine democracy” as its maxim sought to strangle the First Amendment, first by trying to suppress Citizen Kane and then by attempting to destroy it. But most of all, the creation of Citizen Kane is a story that continues to amaze—and confound—those who explore how it unfolded: a twenty-five-year-old who had never worked in Hollywood created as his first production a motion picture often called the best ever made. There is no formula for cinema excellence, but the journey to create it can be chronicled. This is the story of Orson Welles’ journey. * * * In 1939—the greatest year for movies among many great years—it may have seemed inconceivable that Orson Welles, then only twenty-four years old and without experience in Hollywood filmmaking, would one year later make a motion picture that would be acclaimed as the finest in screen history. Orson Welles’ arrival in Hollywood that year became another step in a career that can only be described as meteoric: it began on Broadway, expanded onto the radio airwaves, and then—literally overnight—burst into the world spotlight. “Were Welles’ 23 years set forth in fiction form,” Time magazine reported in 1938, “any self-respecting critic would damn the story as too implausible for serious consideration.” The often-told story of Orson Welles’ early years was indeed as improbable as one could imagine. Born in 1915 in Kenosha, Wisconsin, George Orson Welles was labeled a marvel from the moment he could speak—a youthful prodigy who has been described over the decades, with varying degrees of accuracy, as being able to read at two, discuss world affairs at three, and write plays before he was nine. “The word ‘genius’ was whispered into my ear at an early age, the first thing I ever heard while I was still mewling in my crib,” said Orson Welles. “So it never occurred to me that I wasn’t until middle age.” Welles’ rapid progress was so impressive that it became an endless source of jokes, even among those closest to him. When in 1940, publicist Herbert Drake asked Dr. Maurice Bernstein, Orson Welles’ onetime guardian and surrogate father, for details about his former ward’s childhood, Bernstein replied that little Orson “arrived in Kenosha on the 6th of May 1915. On the 7th of May 1915 he spoke his first words.… He said, ‘I am a genius.’ On May 15th he seduced his first woman.” Recognizing the many exceptional qualities in their son, Richard and Beatrice Welles provided him with a near bohemian upbringing filled with art, music, literature, travel, and theater. But his parents separated when Welles was four, and his father was an alcoholic. Young Orson’s unconventional lifestyle—which became still more independent after Welles’ mother died when he was nine years old, his father when he was fifteen—instilled in him an uncanny ability for creative expression early in his life. As a teenager, Orson Welles had the stage presence and free-spirited personality of an actor far beyond his years. While attending camp as a ten-year-old, Orson Welles produced a stage adaptation of Dr. Jekyll and Mr. Hyde. Later, at the Todd School in Woodstock, Illinois (the one structured educational influence of Orson Welles’ life), he starred and directed in some thirty school plays—all before his sixteenth birthday. His was not a perfect pathway to adulthood, however. With a lifestyle of his own choosing and without parents for guidance, young Orson was indulged by others without boundaries. He saw the unlimited possibilities in life but had no checks on his creative and personal appetites. “In some ways,” said Roger Hill, another father figure in Orson Welles’ life, “he was never really a young boy.” Still a teenager, Orson Welles traveled to Ireland to paint, but when his money dwindled, he visited Dublin and tried to convince Hilton Edwards and Micheál MacLiammóir, cofounders of the renowned Gate Theatre, that he was not a young vagabond but actually an experienced Broadway actor. (“I don’t know what possessed me to tell that whopper,” Orson Welles later admitted.) Neither Edwards nor MacLiammóir was duped, but they both recognized Orson Welles’ potential. Read more about Orson Welles 100 years after his birth here “I saw this brilliant creature of 16 telling us he was 19 and had lots of experience; it was obvious to us he had none at all,” said MacLiammóir. “But he was more than brilliant, and we said, ‘We simply must use that boy.’” Orson Welles was cast in Gate productions, in his first role (top billed at sixteen) as a nobleman in the stage version of Lion Feuchtwanger’s Jew Süss. Orson Welles then performed roles in Hamlet, Death Takes a Holiday, and more productions at the Gate and other theaters in Dublin before moving on to further adventures. (Two years later, Orson Welles would himself direct Edwards and MacLiammóir in summer stock productions in Illinois.) When Orson Welles returned to the United States, he put his natural charm and commanding physical presence to good use. Orson Welles advanced quickly: in July 1934, he was at the Todd School, producing local plays; five months later, he was appearing on Broadway. Still in his teens, Orson Welles was becoming a sought-after theatrical performer. But even in his early years, acting was not enough to satisfy Orson Welles’ unique creative yearnings, and he leveraged success as an actor into opportunities as a director. In 1934, he was noticed by producer John Houseman, who signed the nineteen-year-old to appear in his Phoenix Theatre production of Panic. The play survived only three performances, but the Houseman-Welles relationship continued in an alliance that was as professionally dynamic as it was emotionally explosive. On one day Houseman and Orson Welles would be praising each other and exchanging effusive messages, while on the next they would be embroiled in explosive arguments—including, later, one very public display in Hollywood that involved flaming projectiles. In spite of their frequent personality clashes, Orson Welles-the-director and Houseman-the-producer mounted vivid theatrical productions. In 1936, for the Works Progress Administration’s Federal Theatre Project (a New Deal–era program created to provide jobs for idle actors and production staff), Orson Welles and Houseman staged, among other plays, a version of Macbeth with an all-black cast in a stunning Haitian voodoo setting. The production was so enthusiastically received that it broke all records for the presentation of the play in New York City by a single company of actors. Orson Welles, not quite twenty-one, was a sensation. In 1937, Orson Welles and Houseman took the bold step of forming their own repertory company, calling it Mercury Theatre. It was a vibrant enterprise, with plans to mount innovative productions of classical drama. Mercury Theatre had its own “Declaration of Principles,” a statement vowing that the company would cater to patrons “on a voyage of discovery in the theater” who wanted to see “classical plays excitingly produced.” On a scant budget, Mercury Theatre produced several of the most inventive productions ever seen on Broadway. Mercury’s first production in the fall of 1937, a staging of Julius Caesar in modern dress and with a script shortened by Orson Welles, was an artistic success and a visual triumph: Orson Welles—only twenty-two—directed and appeared as Brutus, with the play performed on a stark platformed stage painted red, while the actors wore dark business suits or Fascist-style military uniforms dyed dark green. “The Mercury Theatre which John Houseman and Orson Welles have founded with Julius Caesar has taken the town by the ears,” said Brooks Atkinson, drama critic for The New York Times. “Of all the young enterprises that are stirring here and there, this is the most dynamic and the most likely to have an enduring influence on the theater.” Soon after Julius Caesar came The Shoemaker’s Holiday and The Cradle Will Rock—two more hits that crowned Mercury’s success. Each Mercury play, and Welles’ other projects, found him running the show in a twenty-hour-a-day creative whirlwind of writing, editing, and directing—ever disorganized and demanding, and immensely creative. “What amazed and awed me in Orson was his astounding and, apparently, innate dramatic instinct,” said Houseman. “Listening to him, day after day, with rising fascination, I had the sense of hearing a man initiated, at birth, into the most secret rites of a mystery—of which he felt himself, at all times, the rightful and undisputed master.” By age twenty-three Orson Welles had conquered New York theater, but it was his work in radio that brought him to the attention of most of the public. Orson Welles had a rich compelling voice that critic Alexander Woollcott described as “effortless magnificence.” While developing his stage projects, Orson Welles also performed in hundreds of radio programs. He soon became a broadcasting star, using both his natural voice and dozens of accents and affectations for character performances (Orson Welles recalled such a frantic performance schedule that he hired an ambulance to transport him from network to network). Of his radio roles, Orson Welles is perhaps best remembered as Lamont Cranston, the mysterious crime fighter better known as “The Shadow.” In a national poll conducted by the Scripps-Howard newspaper chain, Orson Welles was chosen as the nation’s favorite radio personality of 1938. The media found Orson Welles’ combination of talent, stardom, and youth irresistible. By then he had already been featured on the cover of Time magazine: the photo on the front of the May 9, 1938, issue showed Orson Welles, unrecognizable in old-age makeup for his role as the grizzled Captain Shotover in George Bernard Shaw’s Heartbreak House. To Time, Orson Welles was simply “Marvelous Boy.” With Orson Welles established as a radio star, he and Houseman expanded Mercury Theatre into broadcasting. In the summer of 1938, Orson Welles and Houseman created Mercury Theatre on the Air and produced a series of entertaining but low-rated weekly radio broadcasts. It was the Mercury program that aired October 30, 1938—a seemingly routine adaptation of a science-fiction story—that elevated Orson Welles to international celebrity status. Low rated though Mercury Theatre on the Air may have been, and despite commercial breaks and announcements that stated the program was fiction, the production of H. G. Wells’ The War of the Worlds convinced millions of Americans that Martians had landed in Grover’s Mill, New Jersey, and were massacring the human race. “Radio wasn’t just a noise in somebody’s pocket—it was the voice of authority,” Orson Welles said. “Too much so—at least, I thought so. I figured it was time to take the mickey out of some of that authority.” What began as a routine radio broadcast soon stimulated a national panic. With the attention of a nervous world fixed on the escalating international tensions that would touch off World War II ten months later, it is not difficult to understand why so many people believed that the world was being destroyed. But the real catalyst for the terror was the timing: millions of listeners tuned in to The War of the Worlds during commercials on other programs and did not hear the disclaimers. Instead, at that moment what they first heard was the quite realistic “news broadcast” of a reporter describing the opening of an alien spacecraft. Some studies estimated that thousands who changed stations to Mercury Theatre on the Air abandoned their homes in panic without listening long enough to hear the commercials and program announcements. By the time Orson Welles broke in late in the broadcast with his own urgent disclaimer (“This is Orson Welles, ladies and gentlemen, out of character to assure you that The War of the Worlds has no further significance than as the holiday offering it was intended to be”), it was too late. Orson Welles—who sought only to air a Halloween stunt—was stunned by the real-life hysteria and the resulting international front-page news inspired by The War of the Worlds. “The first inkling we had of all this while the broadcast was still on was when the control room started to fill up with policemen,” Orson Welles said. “The cops looked bewildered—they didn’t know how you could arrest a radio program—so we just carried on.” Did Orson Welles know in advance he would spark a nationwide scandal with his broadcast of The War of the Worlds? No one, not even an artist with an imagination as vivid as Orson Welles’, could have envisioned the combination of dramatic content and on-air timing that was needed to terrify millions. But once it was done, Orson Welles certainly capitalized on the opportunity. At a press conference the morning after the broadcast, Orson Welles was as sincere as a choirboy, answering questions with a furrowed brow, the gentlest of tones, and shocked surprise at what had occurred the night before. Orson Welles, a commentator said much later, “was masterful in his astonishment.” Orson Welles repeated over and over again how “deeply regretful” he was. However, he also carefully expressed his surprise that a radio drama could convince millions that the end of the world had come. “It would seem to me unlikely that the idea of an invasion from Mars would find ready acceptance,” Orson Welles told reporters. “It was our thought that people might be bored or annoyed at hearing a tale so improbable.” (Three years later, Orson Welles would send a less-than-subtle message in his first words during the newsreel in Citizen Kane: seen as an old man being interviewed on his return from Europe, Kane says, “Don’t believe everything you hear on the radio.”) By the next day, Halloween 1938, the international spotlight shined on Orson Welles. “At the moment he was shocked and dismayed, but he was also aware that suddenly his name was on the front page of every newspaper all over the world,” said daughter Chris Welles Feder sixty years later. “Overnight, he had become internationally famous as a result of this broadcast. I don’t think he was sorry about that.” And famous he was. After The War of the Worlds, Orson Welles was no longer solely a radio and Broadway star: the attention of the country was, for the moment, focused on this mildly amused twenty-three-year-old, whose Halloween prank had made him a sensation. Orson Welles would continue to work in theater and radio, but Hollywood was already beckoning.
7501	dbpedia	0	6	https://sco.wikipedia.org/wiki/Citizen_Kane	en	Citizen Kane	https://upload.wikimedia…/Citizenkane.jpg	https://upload.wikimedia…/Citizenkane.jpg	[ "https://sco.wikipedia.org/static/images/icons/wikipedia.png", "https://sco.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-sco.svg", "https://sco.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-sco.svg", "https://upload.wikimedia.org/wikipedia/sco/thumb/c/ce/Citizenkane.jpg/220...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2016-08-28T17:12:52+00:00			/static/apple-touch/wikipedia.png		https://sco.wikipedia.org/wiki/Citizen_Kane	Theatrical release poster Directit biOrson WellesProduced biOrson WellesScreenplay bi Herman J. Mankiewicz Orson Welles StarninMuisic biBernard HerrmannCinematographyGregg TolandEeditit biRobert Wise Production company Distributit biRKO Radio Pictures Release date 1 Mey 1941 ( ) (Palace Theatre) 5 September 1941 ( ) (United States) Rinnin time 119 minutes[1]KintraUnitit StatesLeidInglis Budget$839,727 Citizen Kane is a 1941 American meestery drama film bi Orson Welles, its producer, co-author, director an starn. The pictur wis Welles's first featur film. Nominatit for Academy Awairds in nine categories, it wan an Academy Awaird for Best Writin (Oreeginal Screenplay) bi Herman J. Mankiewicz an Welles. Conseedert bi mony creetics, filmmakkers, an fans tae be the greatest film o aw time, Citizen Kane wis votit as sic in five consecutive Sight & Sound polls o creetics, till it wis displaced bi Vertigo in the 2012 poll. It topped the American Film Institute's 100 Years ... 100 Movies leet in 1998, as well as AFI's 2007 update. Citizen Kane is pairteecularly praised for its cinematography, muisic, an narrative structur, which war innovative for its time.
7501	dbpedia	3	97	https://screenanarchy.com/2022/01/review-criterions-citizen-kane-the-citizen-kane-of-criterions.html	en	Review: Criterion's CITIZEN KANE, The Citizen Kane of Criterions	https://screenanarchy.co…00x200-84680.jpg	https://screenanarchy.co…00x200-84680.jpg	[ "https://screenanarchy.com/_theme/img/logo.png", "https://screenanarchy.com/mt/mt-static/support/assets_c/2014/11/Jim Tudor Lego-thumb-64x64-51693.jpg", "https://screenanarchy.com/assets_c/2022/01/Citizen Kane_cover-thumb-430xauto-84680.jpg", "https://screenanarchy.com/assets_c/2022/01/Citizen Kane_6-thumb-80...	[]	[]	[ "Citizen Kane", "Criterion", "Orson Welles", "Orson Welles", "Herman J. Mankiewicz", "John Houseman", "Joseph Cotten", "Dorothy Comingore", "Drama", "Mystery" ]	null	[]	2022-01-18T12:02:12-05:00	Orson Welles' celebrated masterpiece stars Joseph Cotton.			ScreenAnarchy	https://screenanarchy.com/2022/01/review-criterions-citizen-kane-the-citizen-kane-of-criterions.html	And, that’s a wrap. Not only on the quite full life of Charles Foster Kane -- billionaire, publisher, politician, recluse -- but also on many a Criterion Collection “holy grail” list. After all, if Criterion is “the Citizen Kane of physical media”, then it’s only proper that Citizen Kane is given the Criterion treatment. And, is it ever. Who was Orson Welles? So many -- too many -- journalists, historians, and/or documentarians have taken on that question. The answers have been varied if also generally consistent: Filmmaking master. Iconoclast. Cultural force. Erudite. Charlatan. Hustler. Glutton. Ladies’ man. Megalomaniac. Tragic underdog. Fighting liberal. "One man band." Indeed, all of those bases were at least touched upon throughout his long career as an independent filmmaker. That he was a point of cultural fascination was his saving grace, as he was able to parlay his own sense of showmanship and celebrity into a source of funding for his many self-financed projects. (Many of which never saw completion). But before that, there was Citizen Kane. His first and most famous effort was the result of his having grabbed one big brass ring of a studio contract. Welles entered the filmmaking fold on absolute top. His subsequent decent proved to be lifelong. He never stopped striving, pushing, or working to continue to be the empowered auteur that he was briefly, at age twenty-five, emboldened to be. Truly, without Kane in the mix, everything about Welles would be different. His reputation, his stature, his rise and fall… all of it. In that, much of moviemaking as we know it would also be impacted. What kind of man is capable of such massive ripples? Throughout this review, in consideration of the new Criterion Collection’s release of Citizen Kane, we will investigate different aspects of the film, and crucially, it’s maker. Many years ago, when DVDs were all the rage, a film school friend of mine stated that he wants a Criterion edition of Citizen Kane. “Who wouldn’t?,” I replied to his pie-in-the-sky impossible dream. “But it’ll never happen. Studios don’t license titles like that to boutique labels. It’s just not done.” “But that’s the version I want. I’m going to get the Criterion Citizen Kane,” he said, clearly not understanding the vital legality of these matters which I was getting at. “You’ll be waiting a loooong time,” I told him. As of late 2021, a mere 22 years since that exchange occurred, his wait is finally over. Now though, he needn’t settle for a mere DVD. With Criterion’s long-lusted-for version of Orson Welles' masterpiece, the one film to ever top the esteemed BFI Sight and Sound “100 Greatest Films of All Time” list multiple times, the illustrious label has seen fit to not only release Kane as a prestigiously packed three-disc Blu-ray edition, but also as an even more prestigious four-disc addition to the company’s new, long-in-coming line of 4K disc editions. Although this review only covers the Blu-ray edition, it’s important that film buffs who have been waiting so very long for this release understand their options. The 4K version contains everything in the Blu-ray package, but also a fourth disc containing a far-superior 4K transfer of the film. For fans equipped for it, the slight extra expense for the 4K edition is absolutely the way to go. That said, Blu-ray, when done right, is still pretty darn good. Another point of view ... It’s imperfect. Criterion’s Citizen Kane is imperfect. At least, when it came out in November of 2021, it was. How could this happen?? A mastering error tainting the long, long awaited and wished-for physical media holy grail… so disappointing. Send it back, send it back! Such was Criterion’s immediate instruction in its admission of the noticeable mistake with the Blu-ray pressing. The company, however, has already made right on this. We’ll come back to discuss this further. For now, let’s move on… Kane, like its namesake, wasn’t always a child of privilege. Unlike said namesake, however, the order of ascension is different. Famously, Welles, still in his early twenties and already a tremendous force in the world of theatre and on the grounds of his notorious 1938 War of the Worlds radio broadcast, was given complete creative filmmaking freedom at RKO Radio Pictures. The contract was unprecedented, particularly for a first timer. Jealousy of him festered throughout the industry. Not one to squander such an opportunity, Welles developed a bold, non-linear, fictionalized narrative mystery that was clearly a takedown of powerful newspaper magnate, William Randolph Hearst. (A bear you dare not poke). The film, of course, is Citizen Kane, a cinephile’s fever dream of impossible black and white deep focus visuals (or, as film historian and contemporary visual effects man Craig Barron calls it in his 2021 interview supplement, “hyper-focal distance,” courtesy of the amazing [and prominently credited] cinematographer Gregg Toland). With a screenplay co-authored by the celebrated Herman J. “Mank” Mankiewicz and a cast of first-time thespians from Welles’ Mercury Theater productions (including Joseph Cotton, Agnes Moorhead, Ray Collins, Ruth Warrick, Everett Sloane, and William Alland), Citizen Kane burst forth into a world not yet ready for it and an industry that didn’t know what to do with it. Young Welles, brimming with a defiant hubris that would never leave him, found his film targeted by Hearst (“Destroy the negative!!”) and himself resented by everyone else in the terminally envious town of tinsel. Citizen Kane failed to make much of a stir at the 14th Academy Awards ceremony, and quickly slid off the popular radar. Welles too would slide off, never to attain such a place of Hollywood prestige ever again. The notion of cinephilia as any kind of artistic or intellectual virtue was still a couple of decades away. In time, Citizen Kane would be extolled repeatedly as The Greatest Film Ever Made; a canonized staple that thoroughly earns its reputation. Not that the film’s delayed ascent would do Welles much good. Driven to self-financed independent filmmaking, the one-time coddled and worldly boy genius from Kenosha, Wisconsin spent the rest of his days chasing -- hustling -- in pursuit of realizing his cobbled-together cinematic passions. And just as the reputation of Citizen Kane would balloon into something of a cliché for all that cinema call be, Welles himself would balloon into a portly raconteur of the TV talk show and commercial circuit, plying his magician’s bombast in pursuit of a few dollars here, a few dollars there. Looking to a later bit of Orson Welles brilliance for summation, “He was some kind of a man. What does it matter what you say about people?” Welles? In a word? Storyteller. More words are of course required, but if pressed, “storyteller” will do. Then again, there’ve been many genius storytellers. But there was only one Welles. Protégé… Theatre impresario… Radio talent… Filmmaker. All of it comes into play throughout his entire career, but filmmaking will out as the focus. Filmmaking itself is about nothing if not shorthand. Welles, out of the gate, excelled at this. Tonal shifts and exquisitely placed moments roll off the press, one after another. The baroque, experimental opening moment? It’s weird, it’s fevered, and it’s death -- got it. That sudden musical number? It quickly tells us just how explosively popular Charles Foster Kane is, primarily with himself. Got it. And the reductive framing of Kane as a boy left literally out in the cold as adults decide his fate? We got that as well. In one of the set’s several bonus features concerning the making of Citizen Kane, the late cinematographer Allen Daviau comments that the movie is full of “so many breakthroughs evident in every area of the film.” In that statement, Daviau is at least partially correct. As others have said (and in fact some say right here on these discs), Citizen Kane is not so much a project debuting innovation, but a singular gathering of top-tier implementation of a great many of cinema’s techniques up to that point. In that, it’s terrific. From stunning and sometimes subtle use of visual effects, to the bold use of cinematic visual grammar, to Welles’ ingenious audio techniques (informed by his radio experience), Citizen Kane truly does bring it all together. Even animation with an unexpected bent makes an appearance: before Terrence Malick put computer-animated dinosaurs into his masterpiece The Tree of Life, Welles put silhouette flying dinosaurs into the deep background of the absurdly large picnic sequence in Citizen Kane. In a non-linear film full of mirrors and puzzles and different perspectives on the same individual, such implementations are as much curveballs as they are treats. Another thing about Welles… he was always multifaceted. Even when the dust of his bustling career settled on moviemaking, his interest in it spanned to every facet. He came to Hollywood knowing nothing of the form, but quickly rectified that. (Thanks, per legend, to back-to-back deconstructive viewings of John Ford’s Stagecoach). Welles absorbed all he could, and even set about trying to do as much as possible on set himself. Thankfully, this passed; though the man’s thorough commitment to high-bar effort has left us with no shortage of things to examine; things both about Kane, and beyond. Just as Kane itself is a monumental feat of monumental reward, so too is Criterion’s new edition. The label, without question, understands that going forward, this will be looked upon as the definitive release of Citizen Kane. Thus, they’ve pulled out as many stops as possible. With a sled-load of bonus features both new, old, and old-but-new to most folks, the label does not disappoint in its deep focus exploration into what has been repeatedly hailed as The Greatest Film Ever Made. (Although, perhaps oddly, the PBS American Masters’ “The Battle Over Citizen Kane” -- a mainstay on previous Kane disc releases from Warner Bros -- is not included). Criterion astutely divided this ample set across multiple discs, the final two entirely made up of bonus features. The penultimate disc focuses on the film itself and its many achievements, both technically and thematically. The last disc frees itself up from Citizen Kane somewhat to spotlight Welles himself- particularly his later years, when Kane was so often an inescapable, long-ago thorn in his side, the Nexus to which he could never return. The transfer itself is, as it frankly must be, a thing of widespread beauty. The film has been given a new 4K digital restoration, and is presented with an uncompressed monaural soundtrack, replicating the original mix replicating the original mix and ideally preserving Bernard Herrmann's magnificent score. (The 4K UHD edition presents the feature in Dolby Vision HDR). A major caveat is that collectors who’ve acquired the release in its early days got a flawed transfer, a noticeable momentary variation in picture grading. Blu-ray viewers will want to take advantage of Criterion’s exchange program to obtain a replacement. (The 4K disc is not affected). Although the error is an unfortunate cloud over an otherwise stunning spine #1104, it’s a cloud that’s already passing. Having already received the corrected Blu-ray, I can attest that all is now well, as originally intended. Here is the official list of bonus features: • Three audio commentaries: from 2021 featuring Orson Welles scholars James Naremore and Jonathan Rosenbaum; from 2002 featuring filmmaker Peter Bogdanovich; and from 2002 featuring film critic Roger Ebert • The Complete “Citizen Kane,” (1991), a rarely seen feature-length BBC documentary • New interviews with critic Farran Smith Nehme and film scholar Racquel J. Gates • New video essay by Orson Welles scholar Robert Carringer • New program on the film’s special effects by film scholars and effects experts Craig Barron and Ben Burtt • Interviews from 1990 with editor Robert Wise; actor Ruth Warrick; optical-effects designer Linwood Dunn; Bogdanovich; filmmakers Martin Scorsese, Henry Jaglom, Martin Ritt, and Frank Marshall; and cinematographers Allen Daviau, Gary Graver, and Vilmos Zsigmond • New documentary featuring archival interviews with Welles • Interviews with actor Joseph Cotten from 1966 and 1975 • The Hearts of Age, a brief silent film made by Welles as a student in 1934 • Television programs from 1979 and 1988 featuring appearances by Welles and Mercury Theatre producer John Houseman • Program featuring a 1996 interview with actor William Alland on his collaborations with Welles • Selection of The Mercury Theatre on the Air radio plays featuring many of the actors from Citizen Kane • Trailer • English subtitles for the deaf and hard of hearing • PLUS: Deluxe packaging, including a book with an essay by film critic Bilge Ebiri While all each of these inclusions are wonderful to go through, I want to give particular attention to the “new documentary featuring archival interviews with Welles”. Nestled away on the final disc, this hour-plus assembly of various talk show appearances (as well as his AFI Lifetime Achievement Awards speech) is a truly fun program. Rather than simply present the raw interviews in their entirety (an approach that no one would’ve thought to criticize, as Criterion serves up vintage “Dick Cavett” segments and the like this way all the time), special effort has been made to arrange them by subject. It’s a most interesting way of getting at Welles the raconteur, and his glowing penchant for outsized self-mythologizing. Sometimes, the piece even cuts between different versions of the same story told on different talk shows. Though all the appearances gathered here are of Welles decades after Kane, their thoughtful arrangement can’t help but reflect the structure of the movie that started it all. As far as the physical set itself goes, it too is well considered. The refined yet lovingly detailed slipcase packaging by Mike McQuade, though controversial to some for its über-simplicity, nonetheless stands as the correct approach. The single large-K on the black cover immediately evokes the film for anyone familiar with film’s striking opening title graphic. It’s an eyebrow-raising evocation that continues as one unfolds the symbolically multi-pronged inner packaging, revealing the subsequent A, N, and E. Inside, we also find a handsome essay book of Welles-ian girth, as far as such paperback inserts go. Citizen Kane, for all the pomp and circumstance that tend to surround it, ultimately perseveres not just for how it says what it says, but what it’s saying. Not everyone may agree with my own well-earned default opinion that Citizen Kane is in fact worthy of its mantle. In fact, of the three commentary tracks included (two vintage ones and one new one), only the late Roger Ebert (on one of the all-time great audio commentary tracks) agrees. The others -- the very recently departed Peter Bogdanovich (on his 2002 track) and new commentators James Naremore and Jonathan Rosenbaum -- each state that not only do they refuse bestow any crown upon Kane, but frankly opine that it’s not even Welles’ own best film. Fair enough; the man did leave behind an exceptional and truly diverse body of work. But none among these scholars refute the film’s vitality, its exceptionalism, and it’s go-for-broke (and Welles got there, all right) fearlessness. It is extraordinary to have these three solid commentaries at our fingertips. For all of Welles’s conspicuous consumption in his later years, his first film remains a rightly barbed volley in the face of aspirational American much-ness. It’s an age-old tale that money can’t buy happiness, but here, that denouement lands with enigmatic punctuation for the ages. The more successful and influential and wealthy Kane becomes, the more isolated and intolerant and delusional he also becomes. During one reporter’s ill-fated journey to define him via his reportedly last word (“Rosebud…”), we glimpse varied and fractal notions of this bigger-than-life lost cause of a person. It’s not just another sorry take of capitalism gone wrong, it’s an indictment of the materially warped “American dream”. If the purpose of great art is to ask questions, the Citizen Kane leaves us, even eighty-plus years later, with plenty to think about. The film, far more than just a cynical or cautionary yarn or a hyperbole unto itself, challenges us, even causes us, to strive towards betterment. This mission may or may not have been what Orson Welles was truly all about as an artist and as a person. But it’s the legacy he’s left us to puzzle through.
7501	dbpedia	3	78	https://www.thenation.com/article/culture/mank-welles-mankiewicz-kane/	en	‘Mank’ Recovers the Radical Roots of ‘Citizen Kane’	https://www.thenation.co…nk-getty-img.jpg	https://www.thenation.co…nk-getty-img.jpg	[ "https://www.facebook.com/tr?id=233793277040432&ev=PageView&noscript=1", "https://www.thenation.com/wp-content/uploads/2024/07/cover0824.jpg", "https://www.thenation.com/cdn-cgi/image/width=896,quality=80,format=auto/wp-content/uploads/2020/12/mank-getty-img.jpg", "https://www.thenation.com/cdn-cgi/image/widt...	[]	[]	[ "Academy Awards" ]	null	[ "Jeet Heer", "Steve Brodner", "John Nichols", "Laura Flanders", "Sasha Abramsky", "The Nation", "Mychal Denzel Smith", "www.thenation.com" ]	2020-12-18T15:56:49+00:00	The Nation Magazine	en	https://www.thenation.com/wp-content/themes/thenation-2023/images/favicon.ico?ver=3.0	The Nation	https://www.thenation.com/article/culture/mank-welles-mankiewicz-kane/	Long exalted as one of the greatest achievements of cinema, Citizen Kane has suffered the fate common to canonized art: It has become familiar and safe. To be sure, the lore around the film often fixates on how controversial it once was. As a filmic roman à clef about William Randolph Hearst, the film naturally angered the powerful press baron and his many allies in Hollywood, who spared no effort in trying to suppress it. Gossip columnists ran scurrilous stories designed to destroy director Orson Welles and others involved in the production. MGM mogul Louis B. Mayer even made a bid to buy all the prints with the goal of destroying them. But the personal spite of long-dead plutocrats is not necessarily relevant to contemporary audiences. More pertinent, but often ignored, is the fact that the movie was a product of the Popular Front culture of the 1930s and ’40s, the once-robust alliance between liberals and leftists to fight fascism. William Randolph Hearst, the onetime populist who in the 1930s devolved into a Red-baiting anti–New Deal reactionary, was the perfect target for Popular Front outrage. In Orson Welles’s voluminous FBI file, one agent made this critique of the movie: “Citizen Kane is nothing more than an extension of the Communist Party’s campaign to smear one of its most effective and consistent opponents in the United States.” As was its wont, the FBI was too quick to conflate communism with broader radicalism. But the law enforcement agency was right to note that Welles, while making the film, had been shaped by an energetic left-wing environment. This is a fact that later critics, who focused on the inventive film techniques in Citizen Kane, often ignored. As Michael Denning noted in his magisterial history The Cultural Front (1996), “Many of those who celebrate Citizen Kane as a film masterpiece distance Welles from the culture of the Popular Front. Formalist and auteurist critics have generally ignored Welles’s political aesthetic.” One of the singular virtues of David Fincher’s new movie Mank (now screening on Netflix) is that it recuperates the context that made Citizen Kane not just a venerable biopic about a vainglorious media mogul but also an urgent intervention against homegrown authoritarianism. Mank, about the travails of writer Herman Mankiewicz as he writes the first draft of Citizen Kane, is both an account of the making of Citizen Kane and an extended pastiche of Citizen Kane. Shot in black and white, with many off-kilter camera shots as a distancing device and moving back and forth in time, Mank mimics Orson Welles’s signature directorial style even as the narrative undercuts some of the Welles legend. Popular "swipe left below to view more authors"Swipe → Why Did “Furiosa” Flop? Why Did “Furiosa” Flop? Books & the Arts / Vikram Murthi Donald Trump Is Already Planting the Seeds of the Next Insurrection Donald Trump Is Already Planting the Seeds of the Next Insurrection Jeet Heer I Left Biden’s Campaign Over Gaza. Here’s How Harris Can Earn My Trust Again. I Left Biden’s Campaign Over Gaza. Here’s How Harris Can Earn My Trust Again. Amed Khan When Will the Biden Dead-Enders Admit They Were Wrong? When Will the Biden Dead-Enders Admit They Were Wrong? Joshua A. Cohen The least interesting part of Mank is its half-hearted litigation of the long-standing dispute over authorship of Citizen Kane, with collaborators Welles and Mankiewicz both claiming primary authorship. When the film won the Academy Award for best original screenplay in 1941, neither Welles nor Mankiewicz attended the ceremony. Mankiewicz said later that if he had been there to pick up the Oscar, he would have said, “I am very happy to accept this award in Mr. Welles’s absence, because the script was written in Mr. Welles’s absence.” Mank, following in the footsteps of Pauline Kael’s famous 1971 polemic “Raising Kane,” takes the same stance: Mankiewicz was a mistreated writer and Welles a credit hog. The truth is more complicated. Mankiewicz was crucial, not just because he wrote the first draft but also because he had been a longtime crony of William Randolph Hearst and his mistress Marion Davies. Throughout the 1930s, Mankiewicz had spent many an hour as a dinner guest at San Simeon, Hearst’s palatial estate. In writing the script, Mankiewicz drew not only on the vast journalism that surrounded Hearst but also an intimate awareness of Hearst and Davies in their daily life. Welles took Mankiewicz’s script and not only rewrote it but, more crucially, retold it with cinematic flare. New Yorker critic Richard Brody makes a judicious apportionment of credit when he argues, “Mankiewicz’s work was fundamental, and Welles’s revisions were transformative.” This sort of fair-mindedness is absent in Mank, where Welles, played with Mephistophelian aplomb by Tom Burke, is a fiendish, wheedling purchaser of souls. Unjust to Welles, Mank redeems itself with its rounded, multisided portrait of Mankiewicz, a full-bodied presence thanks to Gary Oldman’s performance. Although only 43 in 1940 while working on Citizen Kane, Mankiewicz already looks decades older, an alcoholic wreck of man. His quick wit, once the toast of Broadway, keeps Mankiewicz not only employed writing scripts but a guest much sought after by the rich and famous. Hence his standing invitation to dine with Hearst and Davies. But Mankiewicz keeps self-sabotaging himself with bilious quips. Even as he plays the clown, he has enough dignity to resent his status as a court jester to plutocrats. Even though Mankiewicz can make a ducal salary writing for the movies, he knows he doesn’t share the class interest of Hearst or the studio heads. When the Depression hits, Louis B. Mayer (Arliss Howard) quickly abandons his robust vulgarity and delivers an unctuous, smarmy speech to his MGM “family” asking them to take a rollback in pay (which he falsely claims will be returned to the workers in good times). The cynical Mankiewicz is cagey enough to roll his eyes at Mayer. But the contradictions in Mankiewicz’s own position come to a head when he sees Hearst and the Hollywood ruling class close ranks in 1934 and use every means fair and foul to destroy Upton Sinclair’s socialist bid to become governor of California. In particular, they use Hollywood magic to produce deceptive radio ads and newsreels, a precursor to disinformation of our own age. (David Fincher has a long-standing fascination with media manipulation, as seen in his best movie, The Social Network). During the election, Mankiewicz comes alive to his own complicity with the system and the fact that his preferred role as a clown is just another form of acquiescence to the status quo. It’s Mankiewicz’s awareness of, and discomfort with, his own status as the well-paid pet of the rich that fueled the writing of Citizen Kane. He was enough of an insider to write about the world of Hearst with authority—but enough of an outsider to see through its comforting lies and pernicious politics. Citizen Kane wasn’t the work of just one man—either Welles or Mankiewicz—but the product of a whole troupe of creators all shaped by the Popular Front. These creators all knew how theater and Hollywood worked, which made them sensitive to the fact that showmanship can often be used in the service of fascism. There’s a peculiar kind of critical empathy in Citizen Kane: The movie peers inside Charles Foster Kane’s soul even as it exposes his political foulness.
7501	dbpedia	1	98	https://sbiff.org/citizen-kane/	en	Citizen Kane			[ "https://sbiff.org/wp-content/uploads/citizen-kane-1080x675.jpg", "https://sbiff.org/wp-content/uploads/citizen-kane-1080x675.jpg 1080w, https://sbiff.org/wp-content/uploads/citizen-kane-980x653.jpg 980w, https://sbiff.org/wp-content/uploads/citizen-kane-480x320.jpg 480w" ]	[]	[]	[ "" ]	null	[ "Sean Pratt" ]	null		en			https://sbiff.org/citizen-kane/	Dear Cinephiles, Thatcher: “You always used money to buy things.” Kane: “If I hadn’t been really rich, I might have been a really great man.” “Citizen Kane” (1941) never gets old. When I first started teaching at Santa Barbara City College seventeen years ago, I would make my students sit and watch it. Semester after semester I joined them immersing myself in it, and I always find something new. I remember one particular student who told me he was intimidated about the idea of seeing it. “I heard it’s old and dense,” he commented. It was rewarding to hear from him afterword that it was surprisingly entertaining, “and so good.” You will get a chance to soon watch David Fincher’s “Mank” (2020) when it premieres on Netflix – and although your appreciation of it is not dependent on you having seen “Citizen Kane,” I would strongly recommend it. Fincher’s work focuses on Herman Mankiewicz’ writing of the script for what’s considered by many critics to be the greatest movie of all time. Orson Welles’ masterpiece was a perfect coalition of talent. Besides Mankiewicz’ groundbreaking narrative, Welles found himself working with one of the greatest cinematographers — Gregg Toland — whose work in deep focus photography is essential – so rich. Robert Wise – who will go on to have a celebrated career of his own as a director (“West Side Story,” “The Sound of Music”) was the editor – and alone his editing of the dinner sequence where we watch the deterioration of Kane’s marriage throughout the years in condensed time is still awe-inspiring. And Welles gave his first scoring job to one of the best music composers of all time, maestro Bernard Hermann (“Vertigo”). Hollywood had been trying to lure Welles after his innovative theatrical productions (a legendary modern dress “Julius Caesar” on Broadway that became an anti-fascist statement) and acclaimed radio work (“The War of the Worlds”). RKO Pictures offered him the greatest contract ever given to a filmmaker – made even more spectacular by the fact that he was an untried film commodity. He was given full creative control. The script plays out like a detective story. Who was Charles Foster Kane? A newsreel at the top of the film gives us the highlights of his very public life, but although everybody knew of the famous publishing tycoon – nobody really knew his private side. A reporter – Jerry Thompson – who becomes the audience’s stand in – is assigned to find out what Kane’s last dying word means. This is where the narrative is spellbinding. Each person that he interviews tells a varying opinion concerning his character. We see the points of view from Thatcher – who was the guardian of the young millionaire Kane — and from his business manager, Bernstein. Jedediah Leland who is now in a retirement home and was Kane’s closest friend gives the most personal account, but it’s still his subjective side of the tale. We also hear from Susan Alexander – one of his former wives, a tragic amateur singer. And finally from a butler who took care of the Hearst Castle-like Xanadu where he lived. It all becomes circular – and you start getting a complex – a cubist (think Marcel Duchamp “Nude Descending a Staircase”) cinematic approach to what this man was like. The question — What is Rosebud? — is a MacGuffin. We do find out its literal meaning – but it is much bigger than that. It’s like the green light that Gatsby was looking at from across the water. Unlike other movies where we see the rags to riches arc of someone’s career – Kane is unbearably rich from the get go. This is a riches to personal dissatisfaction sweep. We watch what somebody does with absolute power from the start. The composition and lighting are tremendous. In every frame there’s a foreground, a midground and a background – and everything is in focus. Now – things are all carefully arranged to bring out the theme of the movie. For example, watch the scene where young Kane’s destiny is decided – where the mother signs the papers handing stewardship to Thatcher. In the center of the frame – in the background – you can see through the window young Charles playing in the snow – the windowpane keeping us from him. That’s what Rosebud is all about. In every scene you can find what Rosebud means – if you look close enough at the symbolic arrangement of things. Toland uses black and white, and deep shadows for expressiveness. It’s all very interpretative – suggesting dark motives, mood shifts and the loneliness of the soul. I could go on and on. Don’t even get me started on the editing by Wise Welles’s genius wasn’t that he created anything new, it is that he synthesized all of these great innovations in cinema and found a story to visually encapsulate them. Leland: “All he wanted out of life was love, but he lost it.” Love, Roger Citizen Kane Available to HBO Max and to rent on Microsoft, Google Play, YouTube, iTunes, Vudu, FandangoNOW, Redbox, Apple TV and DIRECTV. Original Screenplay by Herman J. Mankiewicz and Orson Welles Directed by Orson Welles Starring Orson Welles, Joseph Cotten, Dorothy Comingore, Everett Sloane, Ray Collins, George Coulouris, Agnes Moorehead, Paul Stewart, Ruth Warrick, Erskine Sanford and William Alland 119 minutes Bringing “Citizen Kane” to the Screen In 1939, Herman J. Mankiewicz was a forty-two-year-old screenwriter, acclaimed in Hollywood not only for the lines of dialogue he wrote for movies but for the ones he delivered in life. In nearly a decade and a half in the business, he’d found success at Paramount working with Josef von Sternberg and with his friends the Marx Brothers, and at M-G-M writing on “Dinner at Eight” and, briefly, “The Wizard of Oz,” where he had the idea of filming Kansas in bleak black-and-white and Oz in Technicolor. But he was best known as one of the great personalities in the film business. He’d migrated to Hollywood from New York City, where he’d been The New Yorker’s first theatre critic and a member of the famed Algonquin Round Table, and he carried that group’s spirit of cynical candor and acerbic bravado to the movie community. In commissaries and at cocktail parties, he was known for his learned insights and his unpredictable politics (he wrote, at great risk, an anti-Hitler script in 1933, yet he was opposed to American involvement in the Second World War, and even called himself an “ultra-Lindbergh”) as well as for the style with which he delivered them. He was also habitually drunk and wildly impolitic, known for the scenes that he made and the insults that he flung. His work habits were notoriously dubious: a compulsive gambler, he spent ample studio time placing bets and listening to horse races; a social whirlwind, he talked the day away in person and by phone. He lampooned and defied his bosses, and got fired from every job he didn’t quit. By the summer of 1939, he was unemployed, which is how he found himself desperately available when a twenty-four-year-old newcomer to Hollywood by the name of Orson Welles offered him a job. Welles, prolific and precocious, had become a stage star at sixteen, a major theatre director at twenty, and, in 1937, the co-founder (with John Houseman) of the Mercury Theatre company; he’d become a radio star at twenty-three, and become infamous, in 1938, for the radio broadcast “War of the Worlds,” the tale of an invasion from outer space, told in the form of faux news bulletins, which many listeners mistook as real. He’d also made two independent films on the side. The week of his twenty-third birthday, he had been featured on the cover of Time magazine. But whereas Mankiewicz was a Hollywood insider, Welles was despised by the movie industry in advance, resented and derided for his youth, his fame, his intellectualism—and his contractually guaranteed freedom. He had signed a contract with R.K.O. studio to produce, write, direct, and act in two movies, for which he, alone among Hollywood studio filmmakers, would be allowed final cut. He initially brought Mankiewicz on to ghostwrite radio programs, but their collaboration soon shifted, and Welles recruited him as a co-writer of the first film. Their collaboration, and the film that resulted from it—“Citizen Kane”—was hailed, even before its release, as one of the greatest movies ever made. A drama about a young heir who turns himself into a newspaper mogul and national figure, building and destroying an empire of his own, it became a marker of an aesthetic and generational shift in the history of cinema, and it made Welles—and what Welles represented—the cynosure of world cinema. Welles and Mankiewicz won an Oscar for the screenplay (the only one that the movie earned, though it was nominated in nine categories), but that award itself was the culmination of a bitter dispute, only one of the many that the movie sparked: Mankiewicz’s contract with Welles had explicitly denied him writing credit, yet Mankiewicz, whose career badly needed the jolt, wanted it—and, after a struggle both in the press and behind the scenes, ultimately succeeded in securing it. Yet today, Welles remains legendary, while Mankiewicz, who died in 1953, is unknown to all but the most attentive movie buffs. (newyorker.com) About Co-Screenwriter Herman Mankiewicz Mankiewicz was the son of German immigrants. He grew up in Pennsylvania, where his father edited a German-language newspaper, and moved with his family to New York City in 1913. He graduated from Columbia University in 1917. Serving briefly in the Marine Corps, Mankiewicz held a variety of jobs, including work for the Red Cross press service in Paris. He returned for a short time to the United States, married, and then worked intermittently in Germany as a correspondent for a number of newspapers. He returned once again to New York City in 1922 and, among other activities, collaborated on two unsuccessful plays. He also became a member of the celebrated group of American critics, writers, and miscellaneous wits who met at the Algonquin Hotel and were known as the Algonquin Round Table. One of them, Alexander Woollcott, said that Mankiewicz was the funniest man in New York. Mankiewicz worked at The New Yorker magazine until he was hired by Paramount Publix Studios in Hollywood, Calif. He began by writing titles for silent movies, and he was responsible for a distinct change in their tone. He is credited with the authorship or co-authorship of a number of sound motion pictures—including “The Royal Family of Broadway” (1931), “Dinner at Eight” (1933), “It’s a Wonderful World” (1939, with Ben Hecht), “Pride of the Yankees” (1942), and “Citizen Kane” (1941, with Orson Welles). He took much of the story for “Citizen Kane” from his personal experience with William Randolph Hearst, whose guest he had been on many weekends during the 1930s. The screenplay won an Academy Award. Mankiewicz also produced, wrote, or doctored a number of scripts, some of them uncredited. He was involved, for example, in the Marx brothers’ “Monkey Business” (1931) and “Horse Feathers” (1932). Plagued by alcoholism, he wrote his last film, “The Pride of St. Louis,” in 1952. His brother Joseph was also a screenwriter and director. (britannica.com) About Director and Co-Screenwriter Orson Welles Welles was born to a mother, Beatrice Ives, who was a concert pianist and a crack rifle shot, and a father, Richard Welles, who was an inventor and a businessman. Welles was a child prodigy, adept at the piano and violin, acting, drawing, painting, and writing verse; he also entertained his friends by performing magic tricks and staging mini productions of William Shakespeare’s plays. Welles’s parents separated when he was four years old, and his mother died when he was nine. In 1926 Welles entered the exclusive Todd School in Woodstock, Illinois. There his gifts found fertile ground, and he dazzled the teachers and students with stagings of both modern and classical plays. His father died in 1930, and Welles became the ward of a family friend, Chicago doctor Maurice Bernstein. In 1931 he graduated from Todd, but, instead of attending college, he studied briefly at the Art Institute of Chicago before traveling to Dublin, where he successfully auditioned at the Gate Theatre for the part of the Duke of Württemberg in a stage adaptation of Lion Feuchtwanger’s novel “Jew Süss.” Welles remained in Ireland for a year, acting with the company at the Abbey Theatre as well as at the Gate; he also designed sets, wrote a newspaper column, and began directing plays. In 1932 Welles left Dublin and tried to get work on the stages of London and New York; unsuccessful, he instead traveled for a year in Morocco and Spain. In 1933 in the United States, he was introduced to actress Katharine Cornell by author Thornton Wilder and was hired to act in Cornell’s road company, playing Mercutio in Shakespeare’s “Romeo and Juliet,” Marchbanks in George Bernard Shaw’s “Candida,” and Octavius Barrett in Rudolf Besier’s “The Barretts of Wimpole Street.” In 1934 Welles organized a summer drama festival at the Todd School, where he played Svengali in an adaptation of George du Maurier’s “Trilby” and Claudius in “Hamlet.” At the end of the festival, he made his first film, the short “The Hearts of Age.” With Todd School headmaster Roger Hill, he prepared “Everybody’s Shakespeare” (1934), editions for performance of “Twelfth Night,” “The Merchant of Venice,” and “Julius Caesar,” with introductions by Hill and Welles and illustrations by Welles. He made his New York debut as Tybalt in Cornell’s production of “Romeo and Juliet” in December 1934. When Welles was performing in “Romeo and Juliet,” he met producer John Houseman, who immediately cast him as the lead in Archibald MacLeish’s verse play “Panic,” which premiered in 1935 for Houseman’s Phoenix Theatre Group. They then moved on in 1936 to mounting productions for the Works Progress Administration’s (WPA’s) Federal Theatre Project. Their first effort, for the Federal Theatre’s Negro Division, was “Macbeth,” with an all African American cast and the setting changed from Scotland to Haiti. They began 1937 with Christopher Marlowe’s “The Tragicall” History of Doctor Faustus (starring Welles). Their most (in)famous effort was Marc Blitzstein’s proletarian musical play “The Cradle Will Rock.” WPA guards shut down the theatre the night before its opening. (The shutdown was ostensibly for budgetary reasons; however, the political nature of the play was considered too radical.)…That same year they formed the Mercury Theatre, which presented a renowned modern-dress version of Shakespeare’s “Julius Caesar.” In 1938 the Mercury Theatre presented William Gillette’s comedy “Too Much Johnson.” Welles shot three short silent films to precede each act of the play; however, the films were never finished. (“The Too Much Johnson” footage was believed to have been destroyed by fire in 1970; however, it was rediscovered, restored, and premiered in 2013.) At the same time, Welles was making inroads in radio. His radio career began early in 1934 with an excerpt from “Panic.” In 1935 he began appearing regularly on “The March of Time” news series, and subsequent radio roles included the part of Lamont Cranston in the mystery series “The Shadow.” In 1938 the Mercury players undertook a series of radio dramas adapted from famous novels. They attained national notoriety with a program based on H.G. Wells’s “The War of the Worlds;” the performance on October 30, using the format of a simulated news broadcast narrated by Welles, announced an attack on New Jersey by invaders from Mars. (However, contemporary reports that the program caused a nationwide panic were exaggerated.) The national coverage that resulted from his theatre and radio work brought Welles’s name before Hollywood. In 1939 he signed an extraordinary contract with RKO that guaranteed him near-total autonomy and final cut on any film he made. For his first film, Welles chose Joseph Conrad’s “Heart of Darkness,” which was to be filmed entirely from the point of view of the narrator Marlow. However, despite months of preparation, the film never got off the ground. Welles narrated “Swiss Family Robinson” (1940) while waiting for another project to evolve. “Citizen Kane” (1941) is arguably the greatest movie ever to come out of Hollywood, and it is surely one of the most-impressive debuts by any director. Welles also produced and co-scripted the film with Herman J. Mankiewicz…Shot with an array of classic and experimental techniques by Gregg Toland, evocatively scored by Bernard Herrmann, and edited brilliantly by Robert Wise, “Citizen Kane” was a masterpiece of moviemaking. It was also the last time Welles made a Hollywood movie that reached the screen intact. Although it initially received rave reviews, “Citizen Kane” was not a financial success. RKO found the film—with its complex flashback structure and lack of an appealing protagonist—difficult to market, and its box office was also hindered by the Hearst newspapers’ using their power to hamstring its commercial prospects. Nevertheless, “Citizen Kane” received nine Academy Award nominations, of which Welles received three (best actor, director, and original screenplay), but only the screenplay won an Oscar. “The Magnificent Ambersons” (1942) was produced, written, and directed by Welles, and to some critics it represents the peak of his artistry—even though it was taken out of his hands by RKO after poor test screenings. It was heavily reedited by Wise (44 minutes were cut), and a new ending was tacked on…The Magnificent Ambersons was nominated for a best picture Oscar. Even while Wise was cutting “The Magnificent Ambersons,” Welles was in South America filming his quasi-documentary “It’s All True,” an anthology of three short films: “The Story of Samba (Carnaval),” about Rio de Janeiro’s annual Carnival; “My Friend Bonito,” about bullfighting; and “Four Men on a Raft,” about four humble fishermen who become national heroes after a daring voyage. RKO canceled the project midway, leaving Welles stranded in Rio. (The legendary project, never released, resurfaced when the mostly extant footage from “Four Men on a Raft” was assembled by Richard Wilson, Bill Krohn, and Myron Meisel as part of the documentary “It’s All True: Based on an Unfinished Film by Orson Welles” [1993].) Welles had started work on “Journey into Fear” (1943) before leaving for Brazil, and he returned to find that RKO had begun meddling with it, as it had with “The Magnificent Ambersons.” This time, though, Welles was able to intercede and restore at least some of the brutal editing, but it was released at 69 minutes, having been cut down from 91. “Journey into Fear” was officially credited to Norman Foster, a director who also assisted Welles on “It’s All True,” but it was produced, co-scripted, and acted in by Welles, who played the supporting part of Colonel Haki of Turkish intelligence. The hand of Welles is clearly evident, although Welles later said that he “designed the film but can’t properly be called its director.”… “Journey into Fear” starred Welles’s then paramour, Dolores Del Rio, as the mysterious Josette, and “Citizen Kane” veterans Cotten (who co-wrote the screenplay), Warrick, Moorehead, and Sloane enhanced the production. However, RKO was unimpressed, and its new executives kicked Welles and his Mercury Productions off the lot. Welles spent the rest of 1943 making two radio series, entertaining American troops fighting in World War II with a touring magic show with the assistance of Rita Hayworth (whom he married), Marlene Dietrich, Cotten, and Moorehead, giving speeches on behalf of the war effort, and even substituting for Jack Benny on his radio show. He also played the mysterious Rochester in Robert Stevenson’s “Jane Eyre” (1943) opposite Joan Fontaine. But none of the studios was rushing to sign him as a director. He starred opposite Claudette Colbert in Irving Pichel’s melodrama “Tomorrow Is Forever” (1946) before finally being given a chance by producer Sam Spiegel. “The Stranger” (1946) was a thriller about a Nazi, Franz Kindler (Welles), who is hiding out as a schoolteacher in a small New England town. His impending nuptials with a fellow teacher (Loretta Young) are interrupted when a war-crimes investigator (Edward G. Robinson) tracks him down and then waits for Kindler to give himself away. Welles was not happy with his work—he was trying to adhere to a strict schedule and budget to repair his reputation and so could ill afford any of his trademark flourishes—and “The Stranger” was thus his most-conventional film. Heavily in debt from the failure of a colossal stage version of Jules Verne’s “Around the World in Eighty Days,” Welles began shooting the film noir “The Lady from Shanghai” in 1946 for Columbia Pictures…Today “The Lady from Shanghai” is regarded as one of Welles’s masterpieces, a triumph of style especially in its climactic shoot-out in a hall of mirrors, even though Welles was unable to oversee its final, heavily truncated cut. In 1947 Welles then made a loose but strikingly original film adaptation, “Macbeth” (1948), which he shot in 23 days at genre factory Republic Pictures. He had prepared for the low-budget shoot by directing a stage production in Salt Lake City, Utah, with most of the cast…After finishing shooting “Macbeth,” Welles went to Italy, where he acted as the 18th-century charlatan and magician Cagliostro (and directed a few scenes) in Gregory Ratoff’s “Black Magic” (1949). He starred in other films, including Henry King’s “Prince of Foxes” (1949), as a colourful Cesare Borgia, and most famously Carol Reed’s classic thriller “The Third Man” (1949), as the amoral Harry Lime. Welles would spend much of the next 25 years in Europe. Welles next played a 13th-century warlord in Henry Hathaway’s “The Black Rose” (1950). He had begun shooting “Othello” in 1948 in Venice. Over the next three years, Welles fitfully continued filming it on location in Italy and Morocco and in a Rome studio, stopping whenever funds ran low to take on another acting assignment. Since the actors were not always all available, some scenes of conversations were edited together out of close-ups shot years apart. The result was finally shown at Cannes in 1952, winning the top prize… “Mr. Arkadin” (1955; also called “Confidential Report”) was based on an original story by Welles and was financed by European investors, who removed him from the film during editing…During Welles’s lifetime the film circulated in at least three versions, each with slightly different material, and it was not until 2006 that a “comprehensive version” was assembled. As with so many of Welles’s later works, the picture’s merits wrestle fiercely with its production deficiencies. In 1955 Welles also began shooting “Don Quixote,” a contemporary reworking of the Miguel de Cervantes tale that he also produced, narrated, and co-scripted. He worked on and off on “Don Quixote” until his death. At one point he even said the film would be called “When Are You Going to Finish Don Quixote.” The film was never completed. A fragmentary form of “Don Quixote” was assembled by Spanish filmmakers Patxi Irigoyen and Jesús Franco in 1992… Welles accepted many film acting assignments in England, France, and Italy. He made two series of short documentaries for British television, Orson Welles’ “Sketch Book” and “Around the World with Orson Welles” (both 1955), and that same year he also produced “Moby Dick” …American audiences saw him as Father Mapple in John Huston’s “Moby Dick” (1956) and as the imposing Varner in Martin Ritt’s “The Long, Hot Summer” (1958). He then returned to Hollywood for the first time in 10 years to make… “Touch of Evil”…Welles delivered a rough cut to Universal and then went to Mexico to shoot some scenes for Don Quixote. When he returned, Universal had added some footage and cut it down to 93 minutes. Welles wrote an extensive memo detailing his preferred changes. He was ignored, but in 1998 Universal released a 111-minute cut following Welles’s memo. “Touch of Evil” was Welles’s last Hollywood film. Welles acted in such films as Huston’s “The Roots of Heaven” (1958) and Richard Fleischer’s “Compulsion” (1959). He also used his famous mellifluous baritone in narrating films, such as Fleischer’s “The Vikings” (1958) and Nicholas Ray’s “King of Kings” (1961). He made “The Trial” (1962) in Europe…Casting himself as Shakespeare’s buffoon Sir John Falstaff…Welles assembled an impressionistic and often moving tribute to the grandeur of “Shakespeare in Chimes at Midnight” (1965; also called “Falstaff”)…After roles in René Clément’s “Is Paris Burning?” (1966), Fred Zinnemann’s “A Man for All Seasons” (1966), and the James Bond spoof “Casino Royale” (1967), Welles made “Histoire immortelle” (1968; “The Immortal Story”), an hour-long film for French television based on an Isak Dinesen novella. He also shot the thriller “The Deep” between 1967 and 1969; however, the film was never completed. Many more acting appearances followed, including roles in Huston’s “The Kremlin Letter” (1970), Mike Nichols’s “Catch-22” (1970, as “General Dreedle”), and Brian De Palma’s “Get to Know Your Rabbit” (1972). From 1970 to 1976 Welles also shot and partially edited “The Other Side of the Wind,” a satire about the movie business set on the last night of the life of director Jake Hannaford (played by Huston), a renowned filmmaker struggling to find his place in the New Hollywood of the 1970s…However, money ran out before post-production was completed, and the film was caught in a legal battle that lasted long after Welles’s death. A version of the movie was released in 2018 using Welles’s edited footage and notes. “F for Fake” (1973) was an “essay film” (as Welles called it) about the nature of truth in art… “F for Fake” was probably his most-intricate film and required one year of editing to complete. Welles returned to the United States in 1975. His final completed film was Filming “Othello” (1979), made for West German television about the making of his “Othello.” In addition to acting in and providing voice-over narration for many films and television programs, in his final years Welles shot footage for several projects, including Filming “The Trial,” about the making of that film; “The Dreamers,” based on two short stories by Dinesen; Orson Welles Solo, an autobiographical film; and “The Magic Show,” with Welles performing magic tricks. (britannica.com)
7501	dbpedia	1	20	https://www.cottagegroveor.gov/library/page/classic-movie-citizen-kane-1941	en	Classic Movie: Citizen Kane (1941)	https://www.cottagegrove…pg?itok=Vh6xfbSN		[ "https://www.cottagegroveor.gov/sites/all/themes/aha_compass/logo.png", "https://www.cottagegroveor.gov/sites/default/files/styles/full_node_primary/public/imageattachments/library/page/15461/images.jpg?itok=Vh6xfbSN", "https://www.cottagegroveor.gov/sites/all/modules/print/icons/print_icon.png", "https://www...	[]	[]	[ "" ]	null	[]	null		en			null	When a reporter is assigned to decipher newspaper magnate Charles Foster Kane's (Orson Welles) dying words, his investigation gradually reveals the fascinating portrait of a complex man who rose from obscurity to staggering heights. Though Kane's friend and colleague Jedediah Leland (Joseph Cotten), and his mistress, Susan Alexander (Dorothy Comingore), shed fragments of light on Kane's life, the reporter fears he may never penetrate the mystery of the elusive man's final word, "Rosebud."
7501	dbpedia	3	39	https://www.jdsupra.com/legalnews/wendy-and-jen-wreck-the-movies-citizen-6023687/	en	Wendy And Jen Wreck the Movies – Citizen Kane (1941) Or Deposit Money, Not Children, in the Bank	https://jdsupra-static.s…og.16011_531.jpg	https://jdsupra-static.s…og.16011_531.jpg	[ "https://www.jdsupra.com/img/logo/logo-jdsupra-opt.svg", "https://www.jdsupra.com/img/client_headers/RivkinRadler/Header.jpg", "https://www.jdsupra.com/img/arrow-redblock-down.gif", "https://jdsupra-static.s3.amazonaws.com/profile-images/og.16011_531.jpg", "https://jdsupra-static.s3.amazonaws.com/authors/61...	[]	[]	[ "" ]	null	[]	null	“Legendary was the Xanadu where Kubla Kahn decreed his stately pleasure dome.” Legendary too were the colossal errors made by Mary Kane in this celebrated classic movie which follows a...	en	/img/fav-jdsupra.ico	JD Supra	https://www.jdsupra.com/legalnews/wendy-and-jen-wreck-the-movies-citizen-6023687/	“Legendary was the Xanadu where Kubla Kahn decreed his stately pleasure dome.” Legendary too were the colossal errors made by Mary Kane in this celebrated classic movie which follows a journalist as he tries to uncover the meaning of Charles Foster Kane’s last words. Jim Kane and Mary Kane ran a Colorado boarding house in the late 19th century. A defaulting boarder paid his bill with the deed to an abandoned mine thought to be worthless. The Kanes’ fortunes quickly turned when gold was discovered in the mine. Presumably to give her son a better life, Mary Kane decides to sign guardianship of the Kanes’ five-year-old son, Charles Foster Kane, to Walter Parks Thatcher and an unnamed bank. Thatcher tells Mr. and Mrs. Kane that “The bank’s decision in all matters concerning his education, his place of residence and similar subjects will be final.” The bank will also assume full management of the mine, paying $50,000 annually to Jim and Mary or their survivor for their lifetime. The principal and all money earned will be administered by the bank in trust for Charles Foster Kane until his 25th birthday, when the principal and accrued income will be turned over to him. Charlie gets the money, spends wildly, and invests heavily in the newspaper business. He initially enjoys meteoric success but later finds his empire bankrupt. Thatcher ultimately regains control of Charlie’s assets. Charlie goes on to live a life of material excess, divorcing twice and leaving human wreckage in his wake. Charlie dies alone, clutching a snow globe and muttering the word “Rosebud.” (You didn’t think we would give away the secret, did you?) A devastating story. What should have happened One blustery snowy day, Jim Kane arrived for a scheduled consultation with Wendy & Jen. Mr. Kane advises that he and his wife, Mary, recently came into some money unexpectedly. They rented out a room in their house during a recent ski tournament, and the renter paid his bill with a pair of old k2 skis and the deed to an abandoned mine thought to be worthless. To their surprise, the mine was a literal “gold mine” and they are now millionaires. Mary, however, is unable to handle the responsibility of this sudden change of fortune. She wants to sell the mine (worth $30 million, generating net annual income of $2 million) and the boarding house (worth $800,000, generating $30,000 net annual income) to a bank. Jim sheepishly admits that Mary wants to give their son Charlie to the bank as well. It seems that Charlie is a handful, and Mary somehow believes that a financial institution can stand in for a parent’s love and discipline. After a theatrical double-take, Wendy & Jen question Jim about what he wants. Jim confirms that he loves his son, and the pair spend hours riding sleighs, playing soldiers, and having snowball fights. Jim is befuddled by his wife’s plan and explains that she offered him $50,000 a year to sign some papers. Jim tells Wendy & Jen that Mary started taking advice from a man named Thatcher who showed up after their good fortune was plastered on the local news station. Wendy & Jen immediately tell Jim that they are not family law attorneys and advise him to seek the guidance of one to address the marital and custody matters. Jim shows Wendy & Jen the papers Mary presented him, which were drafted by Thatcher. The first document is a private annuity contract which contemplates Jim and Mary paying Thatcher$1.5 million in exchange for a joint immediate-pay annuity which would pay a combined $50,000 a year to them or their survivor for the rest of their lives. However, the documents state that the annuity will terminate if Jim and/or Mary ever speak with or attempt to see Charlie ever again. In another document, Jim and Mary transfer the gold mine and the boarding house to a trust. The trust names Thatcher as trustee and directs him to pay out as much of the principal and income as the trustee deems necessary for Charlie’s health, education, maintenance, and support. The trust fully distributes to Charlie outright when he reaches the age of 25. The trust terms state that Thatcher is entitled to an annual commission, which is determined by an undisclosed proprietary formula. There are also documents which grant Thatcher irrevocable guardianship of Charlie’s person and property, and wherein Jim gives up all rights, title and interests he may have in the gold mine and boarding house (while retaining all tax liability for the anticipated transfer). Wendy & Jen strongly admonish Jim to not sign any of these documents because the Thatcher Papers are beyond inappropriate and may even be illegal. Focusing specifically on the proposed trust, Wendy & Jen advise Jim that the trust, as drafted, will create a gift tax and give Charlie a significant carried-over basis in the gold mine (because they received it in exchange for satisfaction of a $30 debt) and the boarding house (which is valued at $0 due to some questionable income tax deductions). With this exceptionally low basis, there will be a huge capital gains tax due when Charlie or the trustee eventually sell the gold mine and/or the boarding house. If the assets are not sold (and assuming 25-year-old future Charlie doesn’t blow through the trust), when Charlie dies, the remaining value will be included in his estate and taxed at the future estate tax rate. After Wendy & Jen patiently explain the so-called “Thatcher Papers,” Jim smartly refuses to sign any of the documents and swiftly files for divorce from Mary. It is later revealed that Thatcher is a notorious conman, also known as Slugworth, who is wanted by the FBI in connection with defrauding marijuana dispensaries and CBD lounges in the tri-state area. Thatcher/Slugworth was last seen in a hot air balloon in the New Mexico vicinity heading south. Jim is awarded full custody of Charlie, and Mary’s parental rights are terminated, in part because she tried to sell her son. Jim and Mary come to a property settlement where Mary takes title to the boarding house, and Jim takes title to the gold mine and funds a commercial annuity guaranteeing Mary an annual income for her life. At the divorce party, Jim asks Wendy & Jen about estate tax planning. Wendy & Jen tell Jim about Grantor Retained Annuity Trusts (GRATs) and Charitable Retained Annuity Trusts (CRATs), which can be used to gift highly appreciated assets (like the gold mine which was received for $30 and is now worth $30 million) in trust with reduced gift tax liability. The calculation and term of the annuity payments are tailored and can be crafted to fit his individual situation and needs. Wendy & Jen also tell Jim about irrevocable life insurance trusts (ILITs), whereby Jim can create a trust which purchases insurance on his life. Upon Jim’s death, the proceeds from the policy will be excluded from Jim’s estate and can provide cash and liquidity that Charlie may need to pay the taxes on the estate. As part of these planning discussions, Wendy & Jen introduce Jim to their partner, Lou Vlahos, author of the TaxSlaw blog. Together they help Jim create a balanced estate plan which reduces his estate tax liability and provides for Charlie. Lou also helps Jim restructure the mining company. Jim later meets and marries Candace O’Hara (after they sign a binding pre-nuptial agreement). Jim and Candy raise Charlie in a loving family. Charlie graduates college and spends several years as a professional snowboarder. He later opens Candy-Kane Enterprises with his snowboard winnings and some seed money Jim loaned him. Candy-Kane Enterprises builds state-of-the-art sleds, skis, and snowboards. The Rosebud motel proves so successful that Charlie uses the profits to open the lucrative and deeply philanthropic candy company, Jim Dandy Inc. Jim and Candy live long and fulfilling lives on their large estate indulging in perpetual home renovations, with Charlie and his family as neighbors. In Jim’s honor, Charlie creates a private foundation which supports young families and teaches financial literacy. Life is sweeter when you save the drama for the movies.
2073	dbpedia	2	7	https://learning.hku.hk/ccch9051/group-24/collections/show/12	en	Famous Chinese Calligraphers · Chinese Calligraphy	https://learning.hku.hk/…9b95f3f17a56.jpg		[ "https://learning.hku.hk/ccch9051/group-24/files/theme_uploads/f1fb02c44532452e443bf3c454f84075.jpg", "https://learning.hku.hk/ccch9051/group-24/files/square_thumbnails/2a90c91c24edcd9c18079b95f3f17a56.jpg", "https://learning.hku.hk/ccch9051/group-24/files/square_thumbnails/d9a109e3046b23260e3a505b66aa799c.jpg"...	[]	[]	[ "" ]	null	[]	null		en			null	Collection Items Huang Tingjian (黃庭堅) Huang Tingjian (黃庭堅) was a Chinese artist, scholar, government official, and poet of the Song dynasty. He is predominantly known as a calligrapher and is also admired for his painting and poetry. He was a younger friend of Su Shi (蘇軾) and influenced… Mi Fu (米芾) Mi Fu (米芾) was a Chinese painter, poet, and calligrapher best known for his calligraphy works. He was also regarded as one of the four greatest calligraphers during the Song Dynasty period. Mi Fu was once noted as an eccentric and called as "Madman… Su Shi (蘇軾) Su Shi (蘇軾) was known as a great scholar with an unstable career. Ever since he got falsely accused of Wutai Poem Incident (烏台詩案) and exiled to Huangzhou (黄州), he was left in poverty. That time, he experiences a turning point of his life, and he… Ouyang Xun (歐陽詢) Ouyang Xun (歐陽詢) was a cultured scholar and a calligrapher born on early Tang Dynasty (唐朝) in a family of government officials. Xun famous for his regular script known as "Ou style" and regarded as one of the Four Great Calligraphers of the Early… Yan Zhenqing (顏真卿) Yan Zhenqing (顏真卿) was a notable calligrapher and a governor of the Tang Dynasty (唐朝). He mastered Regular script (楷書) as well as Cursive script (草書) but was famous for his "Yan" writing style and the only calligrapher who is paralleled with the… Wang Xizhi (王羲之) Known as the greatest Chinese calligrapher in history, Wang Xizhi (王羲之) is regarded as one of the Four Talented Calligraphers (四賢). He mastered every writing form and style, especially running script (行書). It is also said that some of Xizhi's… Zhao Mengfu (趙孟頫) Zhao Mengfu (趙孟頫) was one of the imperial descendants of the Song Dynasty (宋朝). He served as a part of the Mongols, being a court official. His artistic talent is admired by Mongol emperors, including Kublai Khan, until he was offered a position in… Zhang Zhi (張芝) He was a pioneer of the modern cursive script, and was traditionally honored as the Sage of Cursive Script (草聖). Furthermore, he is known as one of the Four Talented Calligraphers (四賢) in Chinese calligraphy. Zhong Yao (鍾繇) Zhong Yao, also referred to as Zhong You, courtesy name Yuanchang, was a government official and calligrapher who lived during the Three Kingdoms period of China. He served in the state of Cao Wei during the Three Kingdoms period. His calligraphy was… Wang Xianzhi (王獻之) Wang Xianzhi (王獻之), courtesy name Zijing (子敬), was a famous Chinese calligrapher of the Eastern Jin dynasty. He was the seventh and youngest son of the famed Wang Xizhi. Wang inherited his father's talent for the art. His style is more fluid than his… View all 10 items
2073	dbpedia	1	58	https://www.nybooks.com/articles/2012/04/05/fu-baoshi-master-shadows/	en	A Master in the Shadows \| Jonathan D. Spence	http://www.nybooks.com/wp-content/uploads/2012/03/spence_1-040512.jpg	http://www.nybooks.com/wp-content/uploads/2012/03/spence_1-040512.jpg	[ "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=360", "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=652", "http://www.nybooks.com/wp-content/uploads/2012/03/spence_1-040512.jpg", "http://www.nybooks.com/wp-content/uploads/2012/03/spence_2-040512.jpg", "https://www...	[]	[]	[ "" ]	null	[ "JONATHAN D. SPENCE" ]	2012-04-05T00:00:00	How should one assess the best ways to survive in a revolution? What exactly is the tipping point between obedience and outright sycophancy? When does one	en	https://www.nybooks.com/wp-content/themes/nyrb_2020/img/favicon.ico	The New York Review of Books	https://www.nybooks.com/articles/2012/04/05/fu-baoshi-master-shadows/	How should one assess the best ways to survive in a revolution? What exactly is the tipping point between obedience and outright sycophancy? When does one try to hold on to the values that gave meaning to one’s upbringing, and when is it best to just let it all go? When does moral commitment trump personal survival? Such questions do not always have self-evident answers, and especially not in the case of China, where revolutions of many different kinds swept their turbulent way throughout the country for over a century. During that long period, bloodless coups and the most violent upheavals alternated and overlapped, sometimes combining with local forces to overthrow incumbent regimes, at others invoking the claims of various foreign powers for special treatment and territorial control. The Chinese were confronted by a sea change of options, ranging from imperial rule to republican experiments in governance, from progressive to parafascist militarism, from Japanese occupation to elitist single-party control from the right and the left, or the self-induced chaos of domestic mass movements. The Chinese artist Fu Baoshi, who lived from 1904 to 1965 and is the subject of the elegantly structured and biographically rich exhibition and catalog now at the Metropolitan Museum, provides us with a range of entry points into the China of his time, many of which have been only partially explored. Yet the title of the show, “Chinese Art in an Age of Revolution,” though certainly broad, still does not quite catch the full richness and ambiguity of the materials presented here. Cumulatively, these details of Fu’s hopes and experiences provide us with nothing less than a variety of new perspectives through which to explore an unusual life in a time of opportunity and challenge. Fu Baoshi was born in the waning years of the Qing dynasty, to a farming family in the prosperous city of Nanchang. The city was the capital of Jiangxi province in central China, and in the later nineteenth century had been the base of operations for a number of innovative national administrators, some of whom had been especially involved in exploring the cultural currents from the West. Because of his father’s repeated bouts of illness and the family’s poverty, Fu received no formal schooling until 1917, when he was thirteen, but this experience of hardship seems to have had certain advantages for the family. Fu’s father moved to the city and worked at various nonfarming jobs, one of which was as an umbrella mender, and Fu himself as a child brought some money into the family by working as an apprentice in a ceramics shop. From this experience he grew fascinated with the designs that were used as the decoration on fine porcelain, and that in turn stimulated an interest in drawing and carving, so that by the age of seven or eight he had learned to draw and also to write some of the classical characters on his own. That experience, in its turn, led Fu to an interest that was to stay with him all his life, the art of seal carving. This was an extraordinarily demanding art form, in which the carving of the small stone seals—stamps bearing names or epithets and often used as signatures on paintings and official documents—depended on the artist’s detailed knowledge of the materials, along with a piercing eye and intense manual dexterity. Fu’s talents in this difficult work aroused local interest, and the chance to make more money by carving seals on commission. With support from a member of the gentry who was active in a local cultural association, Fu was permitted to attend—on an informal basis—private classes on the Chinese classical literary and artistic traditions. News of the boy’s unusual skills spread, and in 1917 he was admitted to the First Normal School of Nanchang. The death of Fu’s father in 1921 did not prevent Fu from advancing to the high school level, which was designed to help boys prepare for a teaching career. Fu briefly selected the English language as his major field, but soon switched to majoring in art. He continued to carve seals on commission, and on occasion he also forged seals or paintings of earlier masters. As Anita Chung, one of the main organizers of this exhibition and the author of a lengthy and detailed essay on Fu, remarks, when Fu’s teachers learned of these teenage forgeries, “not only did the school not punish him, [but] the principal encouraged him to develop his individual style. To the young art student, this was perhaps an important lesson concerning authentic artistic creativity.” Several of Fu’s seals are included in the exhibition, including one particularly exquisite piece whose six-character impression reads “Plucking the pollia on a flat island” and on three sides of which, covering an area of less than five square inches, are engraved the 2,765 characters of Qu Yuan’s poem “On Encountering Sorrow.” By good fortune, four of Fu’s early hanging landscape scrolls, dated by their inscriptions to the year 1925, survived, and were preserved in a Tokyo museum. Displayed here, in the first room of the show, they demonstrate Fu’s great abilities as he turned twenty-one, and provide a striking way to open the exhibition. These landscapes are meant to show exemplary styles of the past, about which Fu comments at the top of each painting—admiring, for instance, the “vigorous style” and “dry brushstrokes” of the seventeenth-century masters Gong Xian and Cheng Sui. Referring to the eleventh-century painter, poet, and calligrapher Mi Fu, Fu wrote, “Later artists…could only pile up the ink dots without imparting openness and closeness. The result was not satisfactory.” Upon Fu’s graduation in 1926, the school appointed him to teach in the primary school, and in 1929 he was promoted to the junior high school division. Those three years were among the most violent in China’s modern history. Shanghai was torn by colossal strikes that brought most industries to a halt, until Chiang Kai-shek ordered his armies—which had marched north from Canton in 1926—to smash the major unions and banish the Communist Party from Shanghai and other cities. It was also during 1927 and 1928 that the Communists retreated from the last major urban centers they had once controlled, and that Mao attempted to build a new set of revolutionary bases in the mountainous countryside around Hankou. This indeed was an “age of revolution,” but Fu stayed in the Nanchang region, teaching Chinese painting theory, Chinese art history, seal carving, landscape painting, and flower-and-bird painting. During this period, too, Fu finished the draft of two books: one, with material drawn from his own teaching, painting, and research experience, titled An Outline History of the Transformation of Chinese Painting, was published in 1931; the second, Studies in Seal Carving, was compiled between 1926 and 1929. The partially typeset version of this second book was destroyed in early 1932, during the heavy Japanese bombing and shelling of Shanghai that occurred during the short, violent conflict of this period, and it was not until 1934 that the book finally came out in revised and expanded form. During these years of the early 1930s, Japanese troops had also been expanding their power in Manchuria, which was rapidly becoming effectively a Japanese colony—Korea had already been a Japanese colony since 1910, and Taiwan a Japanese colony since 1895. The near destruction of Fu’s manuscript coincided with the period of his greatest affection for, and involvement with, Japan and Japanese scholars. As several of the essays in the exhibition catalog make clear, in the late 1920s and early 1930s a complex but different kind of intellectual and aesthetic struggle was being waged among many Chinese and Japanese writers and scholars. It was a battle in which the Chinese cultural legacy in East Asia was being subjected to intense scrutiny, and was very much in doubt. The guardians of China’s artistic traditions—among whom Fu himself could now be seen as a junior member—were working and living on the margins of survival. Western aesthetic categories dominated most of the world’s arts and historical records. To unsympathetic observers, the traditional categories of Chinese art—decorated porcelain, seals, calligraphy, and paintings in ink—were static and outmoded, incapable of further creative development in their current forms. Oil painting, together with new forms of expression and spectacular technical achievements, dating back to the Renaissance, had simply passed China by. The ink landscapes in the literati tradition—paintings by scholar-bureaucrats in a simple style and inscribed with poems—that Fu celebrated in both his scholarship and his own painting were especially, in the words of the catalog entry on Fu’s 1933 landscape in the style of the fourteenth-century painter Wang Meng, “criticized as backward, conservative, and stagnant…the antithesis of individualism.” Japan’s position in these culture wars was a pivotal one. Chinese students had been flocking to Japan since around 1900 (just before Fu was born), and to France from 1920 onward. With skills honed overseas, the Chinese students came back to a China that had been shattered by Japanese military and economic assaults, and had also been weakened by Western territorial aggression. It is only from such a dark perspective that we can now understand the historical logic that lay behind the 1931 visit to Fu Baoshi made by one of China’s most celebrated painters, Xu Beihong. Xu himself had just returned to China from eight years of study and painting at the École des Beaux-Arts in Paris, and was currently teaching and working in the art department of the National Central University of Nanjing, not far from Nanchang. When he encountered Fu, Xu was deeply impressed by Fu’s abilities as a painter and seal carver, and by his determination to recapture ancient Chinese purities of line and texture. Xu asked the military governor of the Nanchang region to grant Fu a stipend to study in France, backing his request with a gift of one of his own celebrated horse paintings. Fu tried to clinch the bargain by giving the governor two of his seals. Since there was still not enough money for Fu to go to France, Xu narrowed his requests for funding to the support of Fu in Japan, and to the deepening of his skills in ceramics, which happened to be one of the most profitable products in Jiangxi. This somewhat hasty lobbying by the two Chinese painters led, perhaps to their surprise, to Fu’s residence in Japan, from September 1932 to June 1933, and from August 1933 to June 1935. During this period, once his Japanese language skills reached a high level, Fu was formally enrolled in the advanced graduate programs offered in Tokyo by the distinguished professor of fine arts Kinbara Seigo, by whose study of Chinese aesthetic concepts going back to the early third century Fu had been greatly impressed. Fu translated several works by Kinbara into Chinese, studied a wide range of historical texts on the earlier Chinese and Japanese artistic traditions, and held a successful one-man show of his own paintings and seal carvings in Tokyo in May 1935. This Japanese experience was transformative for Fu, and gave him a new sense of China in a global setting, and of the nationalist significance of China’s past traditions to China’s own history. As summarized by the authors of the catalog, what Japan did for Fu was that “specifically, it heightened his sense of national and cultural consciousness, which would add a political dimension to his art historical writing and art making.” Among many opportunities that now became available to Fu, perhaps the most important was that he developed a deeper understanding and admiration for the brilliantly talented so-called “eccentric” Chinese painters such as Shitao, a member of the royal house who narrowly escaped death and was forced to live in hiding during the disintegration of the Ming dynasty in the seventeenth century—a political circumstance in which Fu found solace and inspiration during a time of foreign aggression and perceived national decline. In her biographical essay, Anita Chung writes that Fu perceived Shitao “as a yimin, or ‘leftover subject’ of the fallen Ming dynasty, who witnessed the country’s tragic fate.” Fu summarized his view of Shitao’s importance in a 1936 essay: “His art is not only a harmonious symphony but also the saddest tune of the human world…. For an artist living under foreign invasion, only autumn and winter scenes could symbolize suffering and depression.” These studies became more difficult in June 1935, when Fu learned that his mother was seriously ill and returned to Nanjing, where he also taught Chinese art history and painting theory at the National Central University. In the summer of 1937 full-scale war between Japan and China broke out, and led to disastrous defeats for China: Shanghai was lost, Nanjing was ravaged, Beijing was occupied, and the main Chinese armies retreated deep inland to the city of Chongqing. Fu joined the exodus, undertook propaganda work for the Nationalist forces, continued his research into the creative worlds of Shitao, and spent what time he could with his growing family of five children. His painting grew in power and originality, and in 1940, refusing to join Chiang Kai-shek’s Guomindang, he ceased Nationalist propaganda work altogether and devoted his energies to a series of one-man shows in and near Chongqing. When the Japanese war ended in 1945 Fu took no governmental posts, but neither does he seem to have done any undercover work for the Communists during the ensuing civil war, though at least one of his close friends definitely did so. When, in late 1948, the Nationalist forces crumbled under the final Communist assaults, Fu was offered the chance to retreat to Taiwan with Chiang Kai-shek’s surviving forces, but he declined to go. Once again, the revolution swirled its destructive winds around him, but he himself remained unscathed, as far as we can tell. For many visitors to this exhibition, the Communist years will come as something of a letdown, even though Fu could still conjure up tempestuous visions, and some of his battle scrolls are stupendous. Also, Fu grasped the pictorial and personal opportunities offered by the publication of Mao Zedong’s poetry, and shrewdly saw how the act of studying and illustrating the poems—as in the painting of Mao swimming in the Yangzi River in the exhibition—could be used to shelter himself and his family from various forms of criticism. Fu was allowed to keep his former university position, but it must have been a major blow to him when a university-wide “curriculum adjustment” committee canceled his classes on Chinese painting theory, calligraphy, seal carving, and art history, all of which were dropped from the class rosters. Fu continued to receive prestigious commissions, including working on an enormous landscape for the newly built Great Hall of the People, and he was invited to take part in two major delegations, one to Eastern Europe and one to the former Manchu regions bordering on North Korea. The catalog includes a remarkable painting of the Prague Castle, with a foreground of trees and foliage drawn, as the catalog puts it, with “dancing movements of the brush [that] enliven the architectural forms.” But he was obliged to make many “self-criticisms,” and it became necessary for him to modify his dark and sundered landscapes, so that he could not be accused of anti-proletarian pessimism in early–Mao era crackdowns on free expression such as the Five-Anti campaign and the repression following the Hundred Flowers movement. Fu Baoshi died, apparently of a heart attack, in September 1965, just before the awful force of the Cultural Revolution could destroy him and his family. He would surely not have lasted long once the Red Guards learned the details of his propaganda work for the Guomindang, his long residence in Japan, and his passion for China’s ancient art, with its seals and its calligraphy and its purist admiration for the past. As it is, we can note how, in his last paintings, he felt it wise to decorate his swirling mists and distant vistas with ever brighter washes of pink, orange, and red. That way no one could accuse him of slighting the revolution, the one he lived through as well as the one that he made.
2073	dbpedia	3	41	https://www.abebooks.co.uk/9787540115241/Fu-Calligraphy-Collection-PaperbackChinese-Edition-7540115246/plp	en	Mi Fu Calligraphy Collection (Chinese Edition)	https://pictures.abebook…540115241-uk.jpg		[ "https://pictures.abebooks.com/isbn/9787540115241-uk.jpg", "https://assets.prod.abebookscdn.com/cdn/shared/images/Ajax/loading.gif", "https://assets.prod.abebookscdn.com/cdn/shared/images/Ajax/loading.gif", "https://pictures.abebooks.com/isbn/9787540115241-uk.jpg", "https://pictures.abebooks.com/inventory/4...	[]	[]	[ "" ]	null	[ "CHEN PEI ZHAN", "Bai Li Xian" ]	2011-08-27T00:00:00	Mi Fu Calligraphy Collection (Chinese Edition) by Bai Li Xian - ISBN 10: 7540115246 - ISBN 13: 9787540115241 - Henan Fine Arts Publishing House - 2011 - Softcover	en			https://www.abebooks.co.uk/9787540115241/Fu-Calligraphy-Collection-Chinese-Edition-7540115246/plp	Synopsis Mi Fu was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the ""Mi Fu"" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. "synopsis" may belong to another edition of this title.
2073	dbpedia	0	14	https://www.flickr.com/photos/32357038%40N08/13589924493	en	Mi Fu (1051-1107) - 1100c. Poem Written in a Boat on the Wu River (Metropolitan Museum of Art, New York City)	https://live.staticflick…3f3d5450d8_b.jpg	https://live.staticflick…3f3d5450d8_b.jpg	[ "https://live.staticflickr.com/7375/13589924493_3f3d5450d8.jpg", "https://live.staticflickr.com/7375/13589924493_3f3d5450d8.jpg" ]	[]	[]	[ "ink", "paper", "traditional", "chinese", "painter", "calligraphy", "scroll", "metropolitanmuseumofart", "1100", "12thcentury", "1100s", "mifu", "poemwrittenonaboatonthewuriver" ]	null	[ "Flickr", "Milton Sonn" ]	2024-08-30T19:39:23.376000+00:00	Handscroll; ink on paper; 31.1 x 556.9 cm. Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, 1051–1107)[1] was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. As a personality Mi Fu was noted as an eccentric. At times they even deemed him "Madman Mi" because he was obsessed with collecting stones and even declared one stone to be his brother. Hence he would bow to his "brother" rock in a display of the filial devotion given to older brothers. He also was known as a heavy drinker. His son, Mi Youren, would also be a famous painter in his father's artistic style. Unlike his father Mi Youren lived to be quite elderly, dying at the age of 79. <a href="http://en.wikipedia.org/wiki/Mi_Fu" rel="noreferrer nofollow">en.wikipedia.org/wiki/Mi_Fu</a>	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/32357038@N08/13589924493	Handscroll; ink on paper; 31.1 x 556.9 cm. Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, 1051–1107)[1] was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. As a personality Mi Fu was noted as an eccentric. At times they even deemed him "Madman Mi" because he was obsessed with collecting stones and even declared one stone to be his brother. Hence he would bow to his "brother" rock in a display of the filial devotion given to older brothers. He also was known as a heavy drinker. His son, Mi Youren, would also be a famous painter in his father's artistic style. Unlike his father Mi Youren lived to be quite elderly, dying at the age of 79. en.wikipedia.org/wiki/Mi_Fu
2073	dbpedia	3	16	https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/mi-fei	en	Encyclopedia.com			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Mi FeiThe Chinese painter", "calligrapher", "and critic Mi Fei (1051-1107) created the \"Mi style\" of ink-wash landscape painting. He was one of the four greatest calligraphers of the Sung dynasty and among the most influential art critics in Chinese history." ]	null	[]	null	Mi FeiThe Chinese painter, calligrapher, and critic Mi Fei (1051-1107) created the "Mi style" of ink-wash landscape painting. He was one of the four greatest calligraphers of the Sung dynasty and among the most influential art critics in Chinese history. Source for information on Mi Fei: Encyclopedia of World Biography dictionary.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/mi-fei	Mi Fei The Chinese painter, calligrapher, and critic Mi Fei (1051-1107) created the "Mi style" of ink-wash landscape painting. He was one of the four greatest calligraphers of the Sung dynasty and among the most influential art critics in Chinese history. Mi Fei, also called Mi Fu, was born in Hsiangyang, Hupei Province. He was known as a man of Wu, that is, the south-central region of China called Chiang-nan, "South of the (Yangtze) River." During the reign of Emperor Shentsung (1068-1086), Mi's mother served the future empress, and young Mi was therefore granted special "protégé appointment" to the civil service. For the next 10 years Mi served in a variety of minor provincial posts, probably devoting most of his energy to the study of calligraphy and the collections of art his travels enabled him to see. During this period he began the connoisseur's notes on painting and calligraphy which would later be published as Hua shih (Painting History) and Shu Shih (Calligraphy History). While he did not begin to paint until years later, he was already a brilliant calligrapher. Literati Esthetics In 1081 Mi Fei met Su Shih, the great poet, calligrapher, and art theorist. This was the beginning of the formation of a circle of some of the most brilliant artists in history. Other members were Li Kung-lin, painter and antiquarian; Huang T'ing-chien, poet and calligrapher; and Chao Ta-nien, painter and art collector. Su Shih's cousin, the bamboo painter Wen T'ung, who had died in 1079, was also a key figure through his art and his influence on Su Shih. Out of this association came the theory and practice of wen-jen-hua, or literati painting, which in all its manifestations has continued until the present to be the most dynamic and creative branch of the art. In place of the long-dominant view that painting was a public art, subject to public standards, scholar-painters held to the view expressed by Li Kung-lin: "I paint, as the poet sings, to give expression to my nature and emotions, and that is all." Artists' Appreciation The T'ang poet Tu Fu, now universally regarded as "China's greatest poet," was largely ignored until discovered by these 11th-century scholars. The two greatest scholar-painters of earlier centuries, Ku K'ai-chih and Wang Wei, were rescued from obscurity and lifted to the eminence and esteem they have ever since enjoyed. It is thus scarcely possible to overestimate the esthetic and critical impact of the late Northern Sung literati on the fate of the three greatest arts of Chinese civilization. Indeed, the poetry of Su Shih, the figure painting of Li Kung-lin, and the calligraphy of Mi Fei became standards against which men would be judged for the next 500 years. Crucial to an understanding of the flavor of life and art in this great age is an appreciation of the quality of personal relationships within this artistic and intellectual circle. Art was nothing without personality, and personality was almost an art—not, however, in the sense of deliberate eccentricity, but as a nourishing of the innate qualities of strength of character, will, honesty, creativity, mental curiosity, and integrity. When Su Shih and Mi Fei met again later in their lives, they were well aware that they were cultural heroes. They took pride in this knowledge and found the keenest creative stimulation in it. Mi's Figure Painting Mi said that he did not begin to paint until 7 years before his death, but it is possible that he had tried landscape painting slightly earlier. At the time, the T'ang figure painter Wu Tao-tzu was universally praised as the "standard for all time," and his followers were legion. Mi Fei rejected this image, in no small part doubtless because it was so popular, and declared that he admired only the "lofty antiquity" of the long-neglected first master of figure painting, Ku K'ai-chih. Mi Fei claimed to paint only the "loyal and virtuous men of old." Vigorous precedent for this view had come in 1060, when Su Shih had written a poem after looking at paintings by Wu Taotzu and Wang Wei. Wu Tao-tzu, he wrote, while heroic beyond compare, could finally be judged only in terms of the craft of painting, that is, by technique and formal likeness. Wang Wei, in contrast, "was basically an old poet" who "sought meaning beyond the forms." To these men anything that smacked of mere craft, divorced from personal expression, was to be rejected. Their most obvious foils were the imperial academicians and professional painters who commanded a large popular audience. Mi Fei, a caustic and relentless critic, generally described their art as "fit only to defile the walls of a wine shop." He even accused the academy of murdering one of its members who had been too gifted and original and thus had threatened the status quo. At an opposite extreme were the "untrammeled" masters of the 9th and 10th centuries, who had broken every rule and defied every classical model in their quest for artistic freedom, even going so far as to paint with their hair and hands, or their naked bodies. The "untrammeled" masters won the admiration of Mi Fei and his friends but were far too uncontrolled and eccentric to be emulated. Instead, it was the "primitive" and forgotten masters of the orthodox heritage to which they turned. The only remnant of Mi Fei's figure painting, of which he was so proud, is an engraving on the "Master of the Waves" cliff at Kuei-lin, Kuang-hsi. It is said to be a 13th-century copy of Mi's self-portrait and is a strangely archaic, boldly and simply conceived image as if from centuries past, and quite possibly intended to evoke Ku K'ai-chih. His Landscape Painting It was Mi's landscape painting, however, for which he was so admired in later centuries. In it, too, he displayed his utter rejection of dominant tendencies and his dependence upon neglected older innovations. In the late 11th century the influence of the brilliant 10th-century landscape master Li Ch'eng was at its peak. Mi Fei criticized Li Ch'eng for achieving "more ingenuity than a sense of reality" and displayed only contempt for his followers. He advocated, instead, the "natural and unassertive" qualities of the all but forgotten 10th-century master Tung Yüan. It is highly significant that Mi Fei, who was a man of Chiang-nan, turned back to the two greatest native masters of Chiang-nan, Ku K'aichih and Tung Yüan, for inspiration. Regional pride and identity were major issues. The landscape style that Mi Fei developed from Tung Yüan placed emphasis on the misty, amorphous aspect of nature that created "inexhaustible mystery." His technique is described as "Mi dots." Starting with very pale ink, he began painting on a slightly wet paper or silk, amassing clusters of shadowed forms, then adding darker ink gradually, building up amorphous, drifting mountain silhouettes bathed in wet, cloaking mist. The style is best seen in a large hanging scroll, the Tower of the Rising Clouds. On the painting is an inscription: "Heaven sends a timely rain; clouds issue from mountains and streams." This manner had an incalculable effect on later painters. From the 14th century on, every painter worth his salt could create a Mi Fei-style landscape at the slightest provocation. A more difficult manner is seen in several paintings attributed to Mi, including Spring Mountains and Pine Trees. Archaism, as in Mi's figure painting, is the dominant mode. The mountains are conceived in the primeval state as three triangles side by side, just as the word "mountain" was written as triangles on the oracle bones of the 2d millennium B.C. The pines are similarly conceived, as roots growing into the earth, trunk and branches stretching into the sky. In such works, Mi Fei appears to be attempting to free himself of all cliché and mannerism and to paint as if no one had ever painted before him. Mi Fei's eldest son, Mi Yu-jen, was also an excellent painter and continued his father's tradition. Further Reading
2073	dbpedia	3	57	http://jameelcentre.ashmolean.org/collection/6980/10292/0/11485	en	Ashmolean − Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art	http://jameelcentre.ashmolean.org/static/amead/img/favicon/favicon.png	http://jameelcentre.ashmolean.org/static/amead/img/favicon/favicon.png	[ "http://jameelcentre.ashmolean.org/static/shared/img/base/logo-print.png", "http://jameelcentre.ashmolean.org/media/2/exhibitions/cpg_chinese_landscapes_banner.jpg", "http://jameelcentre.ashmolean.org/media/collection/w425/Collections/Single_Objects/EA/EA_1963/EA_1963_0000/EA_1963_2-a-L.jpg", "http://jameelce...	[]	[]	[ "Eastern Art", "Asian Art", "Islamic Art", "Indian Art", "Chinese Art", "Japanese Art", "Himalyan Art", "Ashmolean Museum", "Oxford", "Ceramics", "Textiles", "Sculpture", "Iznik", "Pottery", "Paintings", "arabesques", "Metalwork" ]	null	[ "Ashmolean Museum", "University of Oxford" ]	null	Welcome to the Yousef Jameel Online Centre, making the Eastern Art collections at the Ashmolean Musem available online. Discover art from the Islamic Middle East, China, Japan, Southeast Asia, India, and the Himalayas.	en	http://jameelcentre.ashmolean.org/static/amead/img/favicon/favicon.png		null	Wu Qingyun was from Nanjing, but lived and worked mostly in Shanghai, and also spent some time in Japan. He is considered by some to have developed Western stylistic features in his paintings, most evident in his use of chiaroscuro. This, however, might instead be the influence of the early Qing dynasty (1644-1911) painter Gong Xian (1618-1689) from Nanjing. Wu Qingyun is known for imitating the works of Mi Fu (1051-1107), the master calligrapher and landscape painter from the Song dynasty (AD 960-1279). Mi Fu's landscapes always depict the cloudy and misty hills of the Jiangnan region in South China through large wet dots of ink. In this painting, the artist inscribes how he is ‘Imitating the brushwork of Mi Fu’.
2073	dbpedia	0	5	https://learning.hku.hk/ccch9051/group-24/items/show/25	en	Mi Fu (米芾) · Chinese Calligraphy	https://learning.hku.hk/…f3c454f84075.jpg		[ "https://learning.hku.hk/ccch9051/group-24/files/theme_uploads/f1fb02c44532452e443bf3c454f84075.jpg", "https://learning.hku.hk/ccch9051/group-24/files/fullsize/d9a109e3046b23260e3a505b66aa799c.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			null
2073	dbpedia	1	62	https://ink-and-brush.com/cai-jing/	en	Cai Jing’s Calligraphy	https://ink-and-brush.co…ed-2-1-32x32.png	https://ink-and-brush.co…ed-2-1-32x32.png	[ "https://ink-and-brush.com/wp-content/uploads/2023/09/cropped-Ink-Brush-logo.png", "https://ink-and-brush.com/wp-content/uploads/2023/09/cropped-Ink-Brush-logo.png", "https://ink-and-brush.com/wp-content/uploads/2023/10/Cai-Jing-in-Listening-to-the-Qin-619x1024.jpg", "https://ink-and-brush.com/wp-content/uplo...	[]	[]	[ "" ]	null	[ "Ink & Brush", "Ink & Brush" ]	2023-11-07T00:03:42+00:00	Cai Jing is a hated figure in Chinese history. However, he was clearly a first-rate calligrapher. Does his bad political reputation outshadow his artistic one?	en	https://ink-and-brush.co…ed-2-1-32x32.png	Ink & Brush -	https://ink-and-brush.com/cai-jing/	Can we appreciate art by hated people? This question is asked a lot in modern times. It has long haunted the history of Chinese calligraphy, too. Cai Jing is perhaps the best example of it. It’s even been argued that he is one of the four great Song dynasty calligraphers, but isn’t listed because of his reputation. Brief biography Cai Jing (蔡京 [Cài Jīng]) (1047 – 1126 AD), literary name Yuan Zhang, was born in Xinghua, Fujian Province during the late Song dynasty (960 – 1279 AD). The Song dynasty can be divided into two distinct periods: The Northern Song (960 – 1127 AD) The Southern Song (1127 – 1279 AD) The Northern Song is seen as the high point of the dynasty, when it controlled most of China. The Southern Song came about once the north of the empire was taken over and occupied by the Jurchen-ruled Jin dynasty (1115 – 1254 AD). The distinction between these two periods is important in discussions of Cai Jing. This is because many at the time, and still today, claim he significantly contributed to the Northern Song state’s failure. Prime minister and reformist During his career, Cai served as an official under the Song emperors Shenzong (r. 1067 – 1085 AD), Zhezong (r. 1085 – 1100 AD), and Huizong (r. 1100 – 1126 AD). He was the Prime Minister of the Song dynasty and a chief counsellors under Huizong. In these roles, he was given great power. Cai claimed to be the successor of the famous reformer Wang Anshi (1021 – 1086 AD), whose work a few decades before had made a big impact on many aspects of the Song state. He used his power to draw up lists of ‘crooked scholars’ and other officials he disliked – namely, those that opposed his reforms. As a result, hundreds of officials were both demoted and banished far away from the Song court. The effect, perhaps unsurprisingly, was negative. There were less checks on Cai’s policies and the power of the government itself declined steeply. He also collaborated with the infamous eunuch Tong Guan (1154 – 1126 AD). Not all of Cai’s policies were implemented. For example, in 1102, his proposal to stop using the imperial examination system to select officials failed. (He also considered abolishing the system itself). Artistic adviser to the emperor Cai gave Huizong both political and artistic counsel. Along with Su Shi and Mi Fu, Cai is said to have advised the Emperor on the famous collection of art Catalogue of Art in the Xuanhe Era (1120) (Xuanhe Huapu). This work contained 6,396 paintings and biographies of 231 different artists. Another interesting collaboration between the emperor and Cai appears in the painting Listening to the Qin (ca. 1102). The emperor painted Cai here (this detail features at the top of this article) and Cai also wrote a calligraphic piece of it (detail cropped below). Downfall and death In the 1120s, the Northern Song state struggled against the Jurchen Jin state to its north. (The Jurchens were ancestors of the Manchus, who would rule China’s last dynasty, the Qing (1644 – 1912)). Throughout Chinese history, the Emperor Taizong has been generally labelled a weak emperor. He was a talented poet, painter and calligrapher, but many say this as a sign that he wasn’t spending enough time on the affairs of the state. As the Northern Song state started to decline, Cai and a number of other reformist officials (known collectively as ‘The Six Bandits’) were held responsible for the Song state’s peril. They were sent into exile, along with their families – altogether twenty-three sons and grandsons, in Cai’s case. the 80-year-old Cai had already retired, but this did not save him. Just ten days into his journey south to exile, he passed away. It is claimed that he was so hated that along the way no one would help him, which caused him to starve to death. Cai Jing’s calligraphic style Unfortunately, likely owing to his bad reputation, not much of Cai Jing’s calligraphy survives today. However, from what remains, his style is considered to be similar to those of Mi Fu and (to a slightly lesser extent) Su Shi. Like these calligraphers, his style was also influenced by Jin and Tang dynasty calligraphic styles. Critics have pointed to a flaw in his work: he appears to have sometimes deliberately aimed to make his calligraphy look disorderly. This often gives his work a rushed appearance. Either way, elsewhere, his characters are well-formed and fit nicely in a wider scheme of a pieces. This shows he certainly was talented and capable of producing elegant, vigorous pieces. Cai Jing, Cai Xiang and the four great Song dynasty calligraphers ‘The four great Song dynasty calligraphers’ is a category that refers to four Northern Song calligraphers. They are Su Shi (or Su Dongpo) (1037 – 1101 AD), one of the most famous artists and intellectuals in all of Chinese history Huang Tingjian (1045 – 1105 AD), a friend and ‘disciple’ of Su Shi’s art Mi Fu (1051 – 1107 AD), an eccentric but brilliant calligrapher and artist Cai Xiang (1012 – 1067 AD), a poet, politician and calligrapher Cai Jing and Cai Xiang were cousins (in fact, Cai Xiang first taught Cai Jing calligraphy.) So, their surname is the same character: 蔡 (Cài). This could lead to some uncertainty when the four great song calligraphers are listed by surname in Chinese. The Ming dynasty art collector Zhang Chou (1577 – 1643 AD) claimed: 宋人书例称苏黄米蔡者，谓京（蔡京）也，后世恶其为人，乃斥去之而进君谟（蔡襄）书焉。君谟在苏黄前，不应列元章后，其为京无疑矣。京笔法姿媚，非君莫可比也。 During the Song, people listed Su, Huang, Mi, and Cai – Cai as in Cai Jing. Later generations removed Cai Jing because he was a bad person and replaced his name with Cai Xiang. And Cai Xiang was born before Su and Huang, so should not be listed after them. There can be no doubt that it was Jing! Jing Cai’s calligraphy is beautiful, you can’t compare Cai Jing’s to it. – Zhang Chou The first part of this argument (that later generations felt Jing was evil so replaced him with his cousin, Cai Xiang) has a fairly sound reasoning to it, but no evidence. The second part (that the naming order proves this replacement has taken place) is only half correct – Yes, Cai Xiang should be listed before Su Shi if the ordering is by birth, but Cai Jing was born before Mi Fu, too, so the ordering still is not correct. And finally, the third statement (that Jing’s calligraphy is better than Xiang’s), reveals Zhang’s preference. Had he thought the opposite, his faith in his first argument first argument would at least been clearer! Conclusion Separating art from the artist is difficult to do. In Chinese calligraphy, this is particularly in the case of Cai Jing. Cai Jing’s attempted reforms during the Northern Song dynasty have been considered a leading factor in its downfall for centuries This reputation has cast a long shadow on his calligraphy. Not much of his work remains, but it’s evident that his style was notably influenced by renowned calligraphers of his time. Debates surrounding Cai Jing’s work reveal that he remains at the very least a notably figure in the history of calligraphy. And his cousin Cai Xiang’s position in the canon of great calligraphers will no doubt mean Cai Jing’s name is never forgotten. In the end, he at least left behind something good attached to his name: his calligraphy.
2073	dbpedia	3	94	https://artvee.com/dl/landscape-after-mi-fu/	en	Landscape after Mi Fu by Min Zhen	https://mdl.artvee.com/sftb/53208as.jpg	https://mdl.artvee.com/sftb/53208as.jpg	[ "https://artvee.com/imgs/logob-4.svg", "https://artvee.com/imgs/logob-4.svg", "https://mdl.artvee.com/sftb/53208as.jpg", "https://mdl.artvee.com/ftmp/53209as.jpg", "https://mdl.artvee.com/ftmp/53214as.jpg", "https://mdl.artvee.com/ftmp/53211as.jpg", "https://mdl.artvee.com/ftmp/53213as.jpg", "https://...	[]	[]	[ "" ]	null	[]	null	View Landscape after Mi Fu by Min Zhen and other Artworks on Artvee	en	https://artvee.com/sacon…icon-350x350.png	Artvee	https://artvee.com/dl/landscape-after-mi-fu/	Landscape after Mi Fu (1788) Standard, 1156 x 1800px JPG, Size: 1.67 MB Max Size, 4315 x 6720px JPG, Size: 19.69 MB License: All public domain files can be freely used for personal and commercial projects. Why is this image in the public domain?
2073	dbpedia	3	82	https://www.cityu.edu.hk/lib/about/event/ch_calligraphy/cursive_eng.htm	en	Categories of Calligraphy	http://lbms03.cityu.edu.hk/event/ch_calligraphy/images/draft_script_02_small.jpg		[ "http://lbms03.cityu.edu.hk/event/ch_calligraphy/images/header_eng_01.png", "http://lbms03.cityu.edu.hk/event/ch_calligraphy/images/content_02.png", "http://lbms03.cityu.edu.hk/event/ch_calligraphy/images/content_03.png", "http://lbms03.cityu.edu.hk/event/ch_calligraphy/images/content_04.png", "http://lbms0...	[]	[]	[ "Calligraphy", "Cursive Script", "Wang Xizhi", "Sun Guoting", "Zhang Xu", "Huai Su", "Zhao Mengfu", "Wen Zhenming", "Autobiography Model Calligraphy" ]	null	[]	null	Categories of Calligraphy - Cursive Script				null	Origin and Development of Categories of Calligraphy and Appreciation and Analysis of Calligraphy Chinese calligraphy consists of five categories of seal script,ãclerical script,ãcursive scriptã running script and regular script,. Cursive script Xu Shen, philologist of the Eastern Han dynasty (date of birth and death unknown) says, âHan rises and cursive script emerges.â The âcursive scriptâ according to him refers to semi cursive script. Semi cursive script, spurred by the need for speed writing in clerical script, is a form of calligraphy facilitating writing with ease and speed. It preserves the feature of the wild gooseâs tails of clerical script while changing the angular turning point into a round one. In terms of layout, each word is independent with no coherence between each other. There is a belief that Zhang Zhi of the late Han dynasty (during the reigns of Emperor Ling and Emperor Xian of Eastern Han dynasty) took away traces of clerical script from semi cursive script, turning the wild goose tails as a strokeâs finish that echoes with the characterâs interior. Between characters in upper and lower positions run the power of the brush. Typefacesâ size and shape grow at their own wish. As such, the so-called âcursive scriptâ came into being. The simple figure of cursive script allows the lines to express their vitality in greater informality. This linear momentum is an important aesthetic aspect in the appreciation of cursive script. Cursive script has received strong attention from calligraphers since its birth. The Configuration of cursive script has been completely developed, particularly following the development of the Jin dynastyâs literati, including the father-and-son of Wang Xizhi (321-379, another saying is 303-361) and Wang Xianzi (344-386), setting the standard for cursive script. After the Jin dynasty, the mode of cursive script basically was bound by the system of Wangâs father-and-son. Apart from Wangâs, there are major cursive script calligraphers in each dynasty, including Zhi Yong of the Sui dynasty (date of birth and death unknown), Sun Guoting (date of birth and death unknown) , Zhang Xu (date of birth and death unknown) , Huai Su ï¼725-785ï¼of the Tang dynasty, Mi Fu ï¼1051-1107ï¼, Huang Tingjianï¼1045-1105ï¼, Zhao Mengfuï¼1254-1322ï¼, Zhang Yuï¼1283-1350ï¼, Zhu Yunmingï¼1460-1526ï¼, Wen Zhenmingï¼1470-1559ï¼, Fu Shanï¼1606-1684ï¼and Wang Zhuanï¼1623-1709ï¼. *Selected Works Yuan Huan Tie. Wang Xizhi, Jin dynasty Yuan Huan Tie demonstrates a handsome use of brush. Mightiness runs through the whole text while the relaxing mood is able to be maintained. Wits over manipulating the size and weight of characters are observed. The brushes form the structural skeletons which lay out spaces of varying degrees of compactness. This work expresses the fluidity and grace which characterize Wangâs calligraphy. Books of Calligraphy. Sun Guoting, Tang dynasty Books of Calligraphy is Sun Guotingâs master work, well received in the flow of history, which also crystallizes his theory on calligraphy. Of the over three thousand and five hundred characters in the whole text, not a single one is indolent, which is indeed a relfection on the substantiality of Sunâs basic training; the whole text is an orchestra of climaxes and falls which are in turn connected by one force; and, the beginning and the end are tied in a circle. This work appears as a matter of spontaneity, nevertheless, it has not gone astray from the right track. Monologue Model Calligraphy. Zhang Xu, Tang dynasty Zhang Xu was born to enjoy wine. There is story about him always writing when drunk, soaking his hair in ink, thus, he is known to the world as âZhang the lunatic.â Zhangâs cursive script is best known for its âwildnessâ. The âwildnessâ is realized in the unrestrained and uncontrolled state of his mind and countless variations in his use of the brush, the combination of words and the handling of layout, as well as his expressive power with a potential for exaggeration and wild wandering. The masculine high power of Monologue Model Calligraphy generates an uninhibited running of spirit, allowing Zhang to attach his heart to his work, evoking overwhelming emotions. The Autobiography Model Calligraphy. Huai Su, Tang dynasty Huai Su was also greatly interested in wine. His inspiration came when he was drunk and then he put down his art quickly. He was known to his contemporaries as âwild monkâ. And the names of mad cursive script and Zhang Yu go along hand in hand. His most highly acclaimed work is The Autobiography Model Calligraphy, an essay in which Huai Su narrated his achievement over the learning of calligraphy. Throughout the whole piece runs an air of dignity and passion as well as wildness. He used his brush with ease. It seems that the rise and fall of Huaiâs emotion in moving his brush can be felt. This style of ultimate freedom and self-consciousness became the icon for cursive script. Calligraphy on Calligraphy. Mi Fu, Northern Song dynasty Mi Fuâs behavior was driven by his self-centeredness. He is known as âeccentric Mi.â Nevertheless, he invested a lot of hard work in studying the calligraphy of ancient times. Brushes of Mi Fu exert great strength. Calligraphy on Calligraphy is Miâs commentary on cursive script. He argued that cursive script by people of the Jin dynasty is the best while those of the Tang show inadequacy. The style of this piece inherits that of one of the father-and-son of Wang Xizhiâs , fully showing Mi Fuâs theory and practice. Scented by Fragrance Model Calligraphy. Huang Tingjian, Northern Song dynasty Huang Tingjianâs cursive script followed Zhang Xu, Huai Su, etc. His cursive script shows ambition and radiates outward in full scale; the combination of words changes without prediction and strikes in outrageous pose; condensed rigidity glides along his lines which fly. Scented by Fragrance Model Calligraphy is Huangâs representive piece of wild cursive script. His use of the brush is applied with strength and his ink is applied in a spectrum of effect of richness, moistness and aridness. This is an exceptional piece. Copying Seventeen Model Calligraphy. Zhao Mengfu, Yuan dynasty Zhao Mengfu was adept at every style of calligraphy.. A great amount of his work circulated with his running script circulating the most. And quite unexpectedly, pure cursive scripts became rare. His cursive script was modeled after Wang Xizhiâs Seventeen Model Calligraphy. This Copying Seventeen Model Calligraphy shows his supreme mastery over the calligraphic style of Wang. At the same time, it carries the elegance of Zhaoâs calligraphy and aesthetic view about the revival of ancient calligraphy. Miscellaneous Calligraphic Poems Model Calligraphy. Zhu Yunming, Ming dynasty Zhu Yunmingâs wild cursive script draws particularly great attention. His works have artistic charm. The ever restless brushes, rebellious typefaces and layout arranged in complementary use of sparse and dense spacing, come together to form a piece reminding one of a passionate musical score. His work is in line with Zhang Yu, Huai Su and Huang Tingjian.
2073	dbpedia	1	74	https://books.google.com/books/about/Mi_Fu_on_Ink_stones.html%3Fid%3D9htLAQAAIAAJ	en	Google Books			[]	[]	[]	[ "" ]	null	[]	null					https://books.google.com/	Search the world's most comprehensive index of full-text books. My library
2073	dbpedia	0	38	http://shanxi.chinadaily.com.cn/taiyuan/2022-03/18/c_334256.htm	en	Taiyuan			[ "http://subsites.chinadaily.com.cn/shanxi/taiyuan/att/3007.files/i/article-logo2.jpg" ]	[]	[]	[ "" ]	null	[]	2022-03-18T00:00:00	Taiyuan has a special geographical position and plays the unique role bestowed by its natural environment.	en			null	Population: 5.39 million (2021) Geographical location Taiyuan has a special geographical position and plays the unique role bestowed by its natural environment. First of all, Taiyuan is located in the heart of the Shanxi section of China's Loess Plateau, an early cradle of Chinese civilization. Surrounded by martial barriers and strategic passes, it can be a vital military position that is easy to defend but difficult to attack. Secondly, Taiyuan was for a long time in the center of China's political power as Chinese civilization evolved and different regimes came and went. It had long been in line with the Chinese political center, each relying on the other, and coexisting with the capital in "death and rebirth". It directly or indirectly affects the political structure of China. Thirdly, Taiyuan had long been in the transitional zone where farming civilization and grassland civilization confront and integrate with each other; people there have embraced two different ways of production and life. The interaction between the two civilizations has to varying degrees affected the rise and fall and the governance of the Central Plains dynasties and the northern nomadic regimes. From the perspective of economic geography, Taiyuan, a city rich in both natural resources and economic strength, can be regarded as one of the most important economic development regions in ancient China. Firstly, it has been an important agricultural area in China since ancient times. The Taiyuan Basin is situated inside the Fenhe Valley in the middle reaches of the Yellow River, the second largest river in Asia, with flat terrain and fertile soil. The area is very suitable for agricultural production as the Fenhe River and Jinshui River flow through it, which facilitates irrigation. Secondly, Taiyuan is seated in an alternative area for agriculture and grassland farming, and the animal husbandry industry is also very developed. The mountainous and hilly areas on the east, west and north sides of the Taiyuan Basin provide an ideal pasture with flourishing ancient vegetation and abundant water and grass. Thirdly, the Taiyuan Basin, rich in natural mineral resources, was the base of the handicraft industry in ancient China. As early as the Spring and Autumn Period (BC770-476), the copper smelting industry in Taiyuan was very developed, as were the manufacturing industries like jade and bone artifacts and horse carriage making. Taiyuan played a vital strategic and political role in ancient times because of its solid material foundation, which stemmed from proper measures simultaneously promoting agriculture, animal husbandry and fisheries as well as its favorable economic geographical environment supportive of handicrafts and business. Culture and history Taiyuan is a city with a long history and profound cultural heritage. Since ancient times, literati have gathered there. In the Eastern Jin Dynasty (317-420), there was a painter called Wang Ji and novelist Guo Chengzhi. In the Tang Dynasty (618-907), there emerged famous poets Wang Han, Wang Zhihuan and Bai Juyi. In the Song Dynasty (960-1279), Taiyuan was home to artist Wang Duan, Wang Shen, Mi Fu and Mi Youren, who played important roles in the history of Chinese painting. There was also a famous poet called Li Fen born in the Jin Dynasty (1115-1234) and a protagonist named Qiao Ji living in the Yuan Dynasty (1271-1368). Taiyuan was also the hometown of the great novelist Luo Guanzhong, who wrote The Romance of the Three Kingdoms, the first two of the "Four Great Classical Novels" of Chinese literature. Luo lived at the end of the Yuan Dynasty and the beginning of the Ming Dynasty (1368-1644). In this ancient land of Taiyuan, there are rich historical and cultural relics above and beneath the ground, examples of the Taiyuan people's brilliant and splendid culture and art works in music, dance, painting, calligraphy, sculpture, and drama from many dynasties of Chinese history. Some of the cultural relics unearthed are the chimes and stone bells from the Spring and Autumn Period, the dance figurines from the Tang Dynasty, and the tomb murals from the Northern Qi Dynasty (550-577). Taiyuan has preserved many historic sites including the Tianlongshan Grottoes built during the Eastern Wei Dynasty (534-550), and the Longshan Grottoes, which are China's largest Taoist grottoes and were built during the Yuan Dynasty. The painted sculptures and the iron man statue built during the Song Dynasty in the Jin Memorial Hall, the painted sculptures built during the Ming Dynasty in the Chongshan Temple, the Ming Dynasty mural transcripts, the "Baoxiantang Model of Calligraphy" inherited from the Ming Dynasty and the ancient theaters scattered in downtown and suburban Taiyuan are all valuable cultural heritages of the city. Natural resources Taiyuan has abundant mineral deposits of metal ores such as iron, manganese, copper, aluminum, lead and zinc, and non-metallic minerals of coal, sulfur, gypsum, vanadium, saltpeter, refractory clay, quartz, limestone, dolomite and Shimei sand. Taiyuan is seated in the middle of China's "coal sea", a nickname for Central China's Shanxi province that is rich in coal resources. The coal deposit in Taiyuan, geologically known as Taiyuan coal, is a major component of Shanxi's coal resources; its reserves rank seventh in the province. Iron ore reserves in Taiyuan are also abundant and widely distributed; although the city's ferrous manganese ore reserves are relatively small. Gypsum ranks third in Taiyuan's mineral products, and is well known for its texture. The Taiyuan flora contains seed plants, ferns, mosses, lichens, algae and fungi. It is characterized by abundant plant resources, ancient plant origins, and a large number of monotypic genus plants. Taiyuan has plenty of wild animal resources. There are 16 animal species, 37 families and 173 species of birds in Taiyuan. Four of the bird groups are protected at the national level, 27 are protected at the national secondary level and eight are protected at the Shanxi provincial level. There are 80 kinds of migratory birds protected by China and Japan. There is one animal species protected at the national level, five kinds of national secondary protected animals, and three groups of animals mainly protected at the provincial level. Economic development Industry Taiyuan was one of the important industrial bases in the early days of China's founding. During the "First Five-Year Plan" period (1953-1957), Taiyuan, a key industrial center of North China along with Beijing and Tianjin at that time, made great contributions to China's economic construction. Since the end of the 20th century, Taiyuan, as a capital city, has insisted on the road to new industrialization and shouldered the arduous responsibility of taking the lead in the adjustment and upgrading of industry structure as Shanxi province built new energy and industrial bases. The advantageous industries represented by the stainless steel production base, the new equipment manufacturing industrial base and the magnalium processing and manufacturing base have been developing well. After more than 50 years of construction, Taiyuan has formed a complete industrial system with energy, metallurgy, machinery and chemical industry as the pillars, and support from textiles, light industry, medicine, electronics, food, building materials and precision instruments industries. Taiyuan is an academic center with many scientific research institutions, colleges and universities, and also has the advantage of being a commercial material supply center. Its national economy maintains rapid, coordinated and healthy development. Agriculture Suburban-modeled rural economy has developed rapidly in Taiyuan, where agricultural production has been continuously transformed into a new type with high yield, high quality and high efficiency. In recent years, Taiyuan has made major breakthroughs in agricultural industrialization and a number of leading enterprises have continued to grow there. New rural construction has started well, and the rural economy is experiencing comprehensive development with a good momentum. During the "Eleventh Five-Year Plan" (2006-2010) Taiyuan determined to coordinate urban and rural development, promote the new rural construction with socialist characteristics, and vigorously develop modern agriculture, especially green agriculture that is ecologically efficient. The city should further optimize the agricultural allocation, transform the agricultural growth pattern, and improve the standard of agricultural industrialization. In this way, Taiyuan strives to build a new pattern of rural economic development based on urban modernized agriculture, led by green industry and supported by featured cities and towns.
2073	dbpedia	1	23	https://www.wikiwand.com/en/Mi_Fu	en	Wikiwand articles	https://upload.wikimedia…%B3%E8%8A%BE.jpg	https://upload.wikimedia…%B3%E8%8A%BE.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/c/ce/%E7%B1%B3%E8%8A%BE.jpg/360px-%E7%B1%B3%E8%8A%BE.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important...	[]	[]	[ "" ]	null	[]	null	Mi Fu was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty. He became known for his style of painting misty landscapes. ...	en			https://www.wikiwand.com/en/articles/Mi_Fu	Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, also given as Mi Fei, 1051–1107 CE)[1] was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty. He became known for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry was influenced by Li Bai and his calligraphy by Wang Xizhi. Quick Facts Chinese name, Chinese ... Mi FuChinese nameChinese米芾 or 米黻 TranscriptionsStandard MandarinHanyu PinyinMǐ FúWade–GilesMi FuYue: CantoneseJyutpingMei5 Fat1Middle ChineseMiddle ChineseMieiB Pjwǝt Korean nameHangul미불 TranscriptionsMcCune–ReischauerMi Bul Japanese nameHiraganaべいふつ TranscriptionsRomanizationBei Futsu Close Mi Fu is regarded as one of the four greatest calligraphers of the Song dynasty, alongside Su Shi, Hung Tingjian and Cai Xian. His style is derived from calligraphers in earlier dynasties, although he developed unique traits of his own. His son, Mi Youren, also became a well known painter. He followed his father's artistic style, adopting his use of large dots of wet ink, a technique later nicknamed "Mi Dots".[2] As a personality, Mi Fu was noted as an eccentric; including a mania of cleanliness.[2] At times, he was deemed "Madman Mi" due to his obsession with collecting stones. He was also known to be a heavy drinker. His son, Mi Youren, also became a well known painter following in his father's artistic style. According to Yao Weiyuan, Mi Fu was a fifth-generation descendant of Mi Xin, a Later Zhou and early Song dynasty general from the Kumo Xi tribe that descended from the Xianbei.[3][4] However, according to other scholars, his family probably was of distant Muslim Sogdian heritage.[5][6][7][8][9] His surname "Mi" is of Sogdian origin,[10] and he was born after a long period in which the Sogdians intensively migrated deep into China and established flourishing communities there, and he referred to himself as "descendant of huozheng," "fire priest" (according to Jiang Boqin), having a seal with this inscribed on it. However, other Chinese scholars reject Jiang's interpretation, saying that huozheng referred to "Fire virtue" and was related to the Zhao family, and that he had other seals claiming different things.[11] Mi Fu showed early signs of interest in arts and letters, as well as unusual memory skills. His mother worked as a midwife and later as a wet-nurse, looking after the Emperor Shenzong. Due to his familial connections to the imperial family, Mi Fu was allowed the privilege of living in the royal palaces. Here, he began his career as Reviser of Books, Professor of Painting and Calligraphy in the capital, Secretary to the Board of Rites, and Military Governor of Huaiyang. He openly criticized conventional regulations of the time, causing him to move between jobs frequently. Mi Fu collected old writings and paintings as his family wealth gradually diminished. Over time, the value of his collection grew. He also inherited some of the calligraphy in his collection. His collection was arranged in two parts, one of which was kept secret (or shown only to a select few) and another which would be shown to visitors. In his later years, Mi Fu became very fond of Holin Temple (located on Yellow Crane Mountain (黃鶴樓)). He later asked to be buried at its gate. Today the temple is gone, but his grave remains.[12] After the rise of landscape painting, creative activities followed which were of a more general kind and included profane, religious figure, bird, flower and bamboo paintings besides landscapes. It was all carried out by men of high intellectual standards. To most of these men, painting was not a professional occupation but only one of the means by which they expressed their intellectual reactions to life and nature in visible symbols. Poetry and illustrative writing were in a sense even more important to them than painting and they made their living as more or less prominent government officials if they did not depend on family wealth. Even if some of them were skilled at ink painting and calligraphy, they avoided the fame and position of professional artists and became known as "gentleman-painters." Artistic occupations such as calligraphy and painting were seen as leisure activities from official duties or practical occupations. Nevertheless, the foundation of their technical mastery was in writing and calligraphy, which allowed them to transmit their thoughts with the same easiness in symbols of nature as in conventional characters. Their art became therefore a very intimate kind of expression, or idea-writing as it was called in later times. The beauty of this art was indeed closely connected to the visible ease with which it was produced, but which after all could not be achieved without intense training and deep thought.[citation needed] Mi Fu was one of the highly gifted gentleman-painters. His talent for artistic observation, his sense of humor, and his literary ability helped him establish a prominent place for himself among Chinese art historians. His contributions to the field remain in high regard due to their basis in direct, first-hand observation as opposed to relying on what he had heard or learned from his forerunners.[clarification needed] Mi Fu would often express his own views even when they differed from prevailing beliefs or official opinions. Art historians still maintain interest in his notes on painting and calligraphy–these writings are believed to be spontaneous expressions of his own observations and independent ideas which aid in the characterization of Mi Fu and the other artists he would write about.[citation needed] Mi Fu is considered one of the most important representatives of the Southern School (南宗畫) of landscape painting. Presently, many works are attributed to Mi Fu and most of them represent a type or pictorial style which also existed in later centuries. The accuracy of their attribution remains in question due to difficulties in verification. Mi Fu is now remembered as a skilled calligrapher and an influential art critic and writer rather than a skilled landscape painter.[citation needed] For Mi Fu writing or calligraphy was intimately connected with the composing of poetry or sketching. It required an alertness of mind and spirit, which he thought was best achieved through the enjoyment of wine. Through this he reached a state of excitement rather than drunkenness. A friend of Mi Fu, Su Shih (蘇軾) admired him and wrote that his brush was like a sharp sword handled skillfully in fight or a bow which could shoot the arrow a thousand li, piercing anything that might be in its way. "It was the highest perfection of the art of calligraphy", he wrote.[citation needed] Other critics claimed that only Mi Fu could imitate the style of the great calligraphers of the Six Dynasties. Mi Fu's son testified that his father always kept some calligraphic masterpiece of the Tang or the Qin period in his desk as a model. At night he would place it in a box at the side of his pillow.[citation needed] According to some writings,[which?] Mi Fu did most of his paintings during the last seven years of his life, and he himself wrote that "he chose as his models the most ancient masters and painted guided by his own genius and not by any teacher and thus represented the loyal men of antiquity."[citation needed] Paintings currently attributed to Mi Fu represent ranges of wooded hills or cone-shaped mountain peaks rising out of layers of mist. Bodies of water and clusters of dark trees may appear in the foreground of his compositions. One of the best known examples of the "Mi Fu style" is a small picture in the Palace Museum known as Spring Mountains and Pine-Trees. It is in the size of a large album-leaf and there is a poem at the top that was said to be added by Emperor Gaozong of Song.[citation needed] Some paintings attributed to Mi Fu are likely imitations. They may be from Southern Song period, or possibly from the Yuan period, when some of the leading painters freely utilized the manner of Mi Fu for expressing their own ideas. It is likely that many are from the later part of Ming period when a cult of Mi Fu was started, its followers viewing him as the most important representative of the Southern School. Mi Fu himself had seen many imitations and he saw how wealthy amateurs spent their money on great names rather than on original works of art. He wrote that they "place their pictures in brocade bags and provide them with jade rollers as if they were very wonderful treasures, but when they open them one cannot but break out into laughter."[citation needed] Mi Fu's own manner of painting has been characterized by writers who knew it through their own observation or through hearsay. It is said[who?] that he always painted on paper which had not been prepared with gum or alum (alauns) instead of silk, and he never painted on the wall. In addition to using a brush when painting with ink, Mi Fu also utilized paper sticks or sugar cane from which the juice had been extracted or a calyx (kauss) of a lotus.[citation needed] Mi Fu was principally a landscape painter, though he also created portraits and figure paintings. It is likely that he spent more time studying samples of ancient calligraphy and paintings than he spent producing work of his own.[citation needed] His book, Huashi ("History of Painting"), contains practical hints as to the proper way of collecting, preserving, cleaning and mounting pictures.[13]
2073	dbpedia	0	18	https://www.bluemountainbooks.com/products/author/(Mi%2520Fu).%2520Vandier-Nicolas,%2520Nicole.	en	Author: (Mi%20Fu).%20Vandier	https://c2.bibtopia.com/…08239249.0.x.jpg		[ "https://www.bluemountainbooks.com/assets/images/block/logo.gif", "https://c2.bibtopia.com/h/249/239/1608239249.0.x.jpg", "https://www.bluemountainbooks.com/assets/images/block/home.gif", "https://www.bluemountainbooks.com/setcookie/dBaidiHiwDSQxpLHhiXU2bujqrKav9oGACu0OJQX", "https://stats.secure-chrislands...	[]	[]	[ "(Mi%20Fu).%20Vandier-Nicolas", "%20Nicole." ]	null	[ "(Mi Fu). Vandier-Nicolas" ]	null	List of Items by ＂(Mi%20Fu).%20Vandier-Nicolas,%20Nicole.＂	en	/themes/panel/img/favicons/defaultfavicon.ico	Blue Mountain Books & Manuscripts, Ltd.	null	© 2024 Blue Mountain Books & Manuscripts, Ltd. All Rights Reserved. -
2073	dbpedia	1	0	https://en.wikipedia.org/wiki/Mi_Fu	en	Wikipedia	https://upload.wikimedia…%B3%E8%8A%BE.jpg	https://upload.wikimedia…%B3%E8%8A%BE.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-10-09T02:08:26+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Mi_Fu	Chinese artist (1051–1107) Mi FuChinese nameChinese米芾 or 米黻 TranscriptionsStandard MandarinHanyu PinyinMǐ FúWade–GilesMi FuYue: CantoneseJyutpingMei5 Fat1Middle ChineseMiddle ChineseMieiB Pjwǝt Korean nameHangul미불 TranscriptionsMcCune–ReischauerMi Bul Japanese nameHiraganaべいふつ TranscriptionsRomanizationBei Futsu Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, also given as Mi Fei, 1051–1107 CE)[1] was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty. He became known for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry was influenced by Li Bai and his calligraphy by Wang Xizhi. Mi Fu is regarded as one of the four greatest calligraphers of the Song dynasty, alongside Su Shi, Hung Tingjian and Cai Xian. His style is derived from calligraphers in earlier dynasties, although he developed unique traits of his own. His son, Mi Youren, also became a well known painter. He followed his father's artistic style, adopting his use of large dots of wet ink, a technique later nicknamed "Mi Dots".[2] As a personality, Mi Fu was noted as an eccentric; including a mania of cleanliness.[2] At times, he was deemed "Madman Mi" due to his obsession with collecting stones. He was also known to be a heavy drinker. His son, Mi Youren, also became a well known painter following in his father's artistic style. Biography [edit] According to Yao Weiyuan, Mi Fu was a fifth-generation descendant of Mi Xin, a Later Zhou and early Song dynasty general from the Kumo Xi tribe that descended from the Xianbei.[3][4] However, according to other scholars, his family probably was of distant Muslim Sogdian heritage.[5][6][7][8][9] His surname "Mi" is of Sogdian origin,[10] and he was born after a long period in which the Sogdians intensively migrated deep into China and established flourishing communities there, and he referred to himself as "descendant of huozheng," "fire priest" (according to Jiang Boqin), having a seal with this inscribed on it. However, other Chinese scholars reject Jiang's interpretation, saying that huozheng referred to "Fire virtue" and was related to the Zhao family, and that he had other seals claiming different things.[11] Mi Fu showed early signs of interest in arts and letters, as well as unusual memory skills. His mother worked as a midwife and later as a wet-nurse, looking after the Emperor Shenzong. Due to his familial connections to the imperial family, Mi Fu was allowed the privilege of living in the royal palaces. Here, he began his career as Reviser of Books, Professor of Painting and Calligraphy in the capital, Secretary to the Board of Rites, and Military Governor of Huaiyang. He openly criticized conventional regulations of the time, causing him to move between jobs frequently. Mi Fu collected old writings and paintings as his family wealth gradually diminished. Over time, the value of his collection grew. He also inherited some of the calligraphy in his collection. His collection was arranged in two parts, one of which was kept secret (or shown only to a select few) and another which would be shown to visitors. In his later years, Mi Fu became very fond of Holin Temple (located on Yellow Crane Mountain (黃鶴樓)). He later asked to be buried at its gate. Today the temple is gone, but his grave remains.[12] Historical background [edit] After the rise of landscape painting, creative activities followed which were of a more general kind and included profane, religious figure, bird, flower and bamboo paintings besides landscapes. It was all carried out by men of high intellectual standards. To most of these men, painting was not a professional occupation but only one of the means by which they expressed their intellectual reactions to life and nature in visible symbols. Poetry and illustrative writing were in a sense even more important to them than painting and they made their living as more or less prominent government officials if they did not depend on family wealth. Even if some of them were skilled at ink painting and calligraphy, they avoided the fame and position of professional artists and became known as "gentleman-painters." Artistic occupations such as calligraphy and painting were seen as leisure activities from official duties or practical occupations. Nevertheless, the foundation of their technical mastery was in writing and calligraphy, which allowed them to transmit their thoughts with the same easiness in symbols of nature as in conventional characters. Their art became therefore a very intimate kind of expression, or idea-writing as it was called in later times. The beauty of this art was indeed closely connected to the visible ease with which it was produced, but which after all could not be achieved without intense training and deep thought.[citation needed] Mi Fu was one of the highly gifted gentleman-painters. His talent for artistic observation, his sense of humor, and his literary ability helped him establish a prominent place for himself among Chinese art historians. His contributions to the field remain in high regard due to their basis in direct, first-hand observation as opposed to relying on what he had heard or learned from his forerunners.[clarification needed] Mi Fu would often express his own views even when they differed from prevailing beliefs or official opinions. Art historians still maintain interest in his notes on painting and calligraphy–these writings are believed to be spontaneous expressions of his own observations and independent ideas which aid in the characterization of Mi Fu and the other artists he would write about.[citation needed] Art [edit] Mi Fu is considered one of the most important representatives of the Southern School (南宗畫) of landscape painting. Presently, many works are attributed to Mi Fu and most of them represent a type or pictorial style which also existed in later centuries. The accuracy of their attribution remains in question due to difficulties in verification. Mi Fu is now remembered as a skilled calligrapher and an influential art critic and writer rather than a skilled landscape painter.[citation needed] For Mi Fu writing or calligraphy was intimately connected with the composing of poetry or sketching. It required an alertness of mind and spirit, which he thought was best achieved through the enjoyment of wine. Through this he reached a state of excitement rather than drunkenness. A friend of Mi Fu, Su Shih (蘇軾) admired him and wrote that his brush was like a sharp sword handled skillfully in fight or a bow which could shoot the arrow a thousand li, piercing anything that might be in its way. "It was the highest perfection of the art of calligraphy", he wrote.[citation needed] Other critics claimed that only Mi Fu could imitate the style of the great calligraphers of the Six Dynasties. Mi Fu's son testified that his father always kept some calligraphic masterpiece of the Tang or the Qin period in his desk as a model. At night he would place it in a box at the side of his pillow.[citation needed] According to some writings,[which?] Mi Fu did most of his paintings during the last seven years of his life, and he himself wrote that "he chose as his models the most ancient masters and painted guided by his own genius and not by any teacher and thus represented the loyal men of antiquity."[citation needed] Paintings currently attributed to Mi Fu represent ranges of wooded hills or cone-shaped mountain peaks rising out of layers of mist. Bodies of water and clusters of dark trees may appear in the foreground of his compositions. One of the best known examples of the "Mi Fu style" is a small picture in the Palace Museum known as Spring Mountains and Pine-Trees. It is in the size of a large album-leaf and there is a poem at the top that was said to be added by Emperor Gaozong of Song.[citation needed] Some paintings attributed to Mi Fu are likely imitations. They may be from Southern Song period, or possibly from the Yuan period, when some of the leading painters freely utilized the manner of Mi Fu for expressing their own ideas. It is likely that many are from the later part of Ming period when a cult of Mi Fu was started, its followers viewing him as the most important representative of the Southern School. Mi Fu himself had seen many imitations and he saw how wealthy amateurs spent their money on great names rather than on original works of art. He wrote that they "place their pictures in brocade bags and provide them with jade rollers as if they were very wonderful treasures, but when they open them one cannot but break out into laughter."[citation needed] Mi Fu's own manner of painting has been characterized by writers who knew it through their own observation or through hearsay. It is said[who?] that he always painted on paper which had not been prepared with gum or alum (alauns) instead of silk, and he never painted on the wall. In addition to using a brush when painting with ink, Mi Fu also utilized paper sticks or sugar cane from which the juice had been extracted or a calyx (kauss) of a lotus.[citation needed] Mi Fu was principally a landscape painter, though he also created portraits and figure paintings. It is likely that he spent more time studying samples of ancient calligraphy and paintings than he spent producing work of his own.[citation needed] His book, Huashi ("History of Painting"), contains practical hints as to the proper way of collecting, preserving, cleaning and mounting pictures.[13] See also [edit] Poetry portal Chinese art Chinese painting Culture of the Song dynasty History of Chinese art Citations [edit] General references [edit] Barnhart, R. M. et al. (1997). Three Thousand years of Chinese Painting. New Haven, Conn.: Yale University Press. ISBN 0-300-07013-6. p. 373. Rhonda and Jeffrey Cooper (1997). Masterpieces of Chinese Art. Todtri Productions. ISBN 1-57717-060-1. p. 76. Xiao, Yanyi, "Mi Fu". Encyclopedia of China (Arts Edition), 1st ed.
2073	dbpedia	1	15	https://pantheon.world/profile/person/Mi_Fu	en	Mi Fu Biography	https://pantheon.world/api/screenshot/person?id=2866681	https://pantheon.world/api/screenshot/person?id=2866681	[ "https://pantheon.world/images/icons/icon-nav.svg", "https://pantheon.world/images/logos/logo_pantheon.svg", "https://pantheon.world/images/icons/icon-search.svg", "https://pantheon.world/images/profile/people/2866681.jpg", "https://pantheon.world/images/ui/profile-w.svg", "https://pantheon.world/images/u...	[]	[]	[ "" ]	null	[]	null		en	/images/favicon.ico		null	Mi Fu Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, also given as Mi Fei, 1051–1107 CE) was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty. He became known for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush . Read more on Wikipedia
2073	dbpedia	0	9	https://www.pinterest.com/pin/mi-fu-10511107-ce-was-a-chinese-painter-poet-and-calligrapher-who-was-born-in-taiyuan-during-the-song-dynasty-di-2024--850195235935380049/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2024-02-07T15:43:48+00:00	7-feb-2024 - Mi Fu (1051–1107 CE) was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty.	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://it.pinterest.com/pin/mi-fu-10511107-ce-was-a-chinese-painter-poet-and-calligrapher-who-was-born-in-taiyuan-during-the-song-dynasty-2024--850195235935380049/
2073	dbpedia	3	20	https://www.denverartmuseum.org/en/object/2014.171	en	Landscape in the Manner of Mi Fu	https://d26jxt5097u8sr.c…avicon-32x32.png	https://d26jxt5097u8sr.c…avicon-32x32.png	[ "https://www.denverartmuseum.org/themes/custom/damweb/logo.svg", "https://d26jxt5097u8sr.cloudfront.net/s3fs-public/2020-07/scfd_h%20black.svg", "https://d26jxt5097u8sr.cloudfront.net/theme_assets/images/logo.svg" ]	[]	[]	[ "" ]	null	[]	null	Asian Art Association funds in Honor of Ronald Otsuka Nakabayashi Chikuto Japanese, 1776-1853 Landscape in the Manner of Mi Fu About 1850, Edo period Ink on paper Asian Art Association funds in honor of Ronald Otsuka 2014.171	en	https://d26jxt5097u8sr.c…e-touch-icon.png		https://www.denverartmuseum.org/en/object/2014.171	Nakabayashi Chikuto Japanese, 1776-1853 Landscape in the Manner of Mi Fu About 1850, Edo period Ink on paper Asian Art Association funds in honor of Ronald Otsuka 2014.171 In this landscape painting, Nakabayashi Chikuto uses short, horizontal brushstrokes referred to as "Mi dots" to form the mountains and trees of his composition. The term acknowledges a painting technique associated with the Chinese painter Mi Fu. In his writings, Chikuto advocates fidelity to earlier Chinese styles and denounces the naturalism and realism favored by other Japanese painters of his time.
2073	dbpedia	1	39	https://www.hisour.com/mi-fu-15972/	en	Mi Fu – HiSoUR – Hi So You Are	https://www.hisour.com/w…d-logo-32x32.jpg	https://www.hisour.com/w…d-logo-32x32.jpg	[ "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/gb.png", "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/gb.png", "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/es.png", "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/de....	[]	[]	[ "" ]	null	[]	null		en	https://www.hisour.com/w…d-logo-32x32.jpg		https://www.hisour.com/mi-fu-15972/	Originally posted 2017-08-18 06:22:53. Mi Fu (Chinese: 米芾 1051–1107) was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the “Mi Fu” style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers of the Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. Mi Fu calligraphy and painting into a family, dead wood bamboo, landscape painting unique style features. In the calligraphy is also quite accomplished, good seal, Li, Kai, line, grass and other books, longer than the ancient calligraphy, to achieve the degree of chaos. The main works are “more King House poem” “Rainbow County Poetry” “Yan Shan Ming” “” worship Zhongyue Postscript “and so on. calligraphy Style features Mi Fu Ping calligraphy hard work, the achievements of the book as the largest. Since the Southern Song Dynasty famous posts, the majority of its law books, widely broadcast, the impact of far-reaching, in the “Northern Song Dynasty four book home”, can be second to none. Kang Youwei said: “Tang Yan structure, Song Shangyi interest.” Meaning the Song Dynasty calligrapher exaggerated interest and personality, and Mi Fu in this regard is particularly prominent. Mi Fu study books, claiming to be “set ancient words”, although some people think that laughing stock, there are praise that “Tianzi Yuan 轹 not boast, set the ancient end of self-reliance” (Wang Wenzhi). This explains to some extent the reason why Mickey’s calligraphy succeeds. According to Mi Fu readme, in listening to Su Dongpo study before the book, you can generally see that he was the most affected by five Tang people: Yan Zhenqing, Ouyang, Chu Suiliang, Shen Shixia, Duan Ji show. Yuanfeng five years (1082 years later), he began to find Jin Fu Fete, got Wang Xianzhi’s “Mid-Autumn Post”. This ancestors of the big order (Wang Xizhi seventh son, the official order to the book, known as “Wang Da”), had a tremendous impact on him. But the nature of unruly Mi Fu is not satisfied with the word Wang Xianzhi, as early as Shao Sheng shouted the “old slaves do not change the goose”, “a wash two kings”. Despite this, this time Mi Fu calligraphy and no stereotypes, he Yuanyou three years (1088 years) to write “Tiaoxi posts” “Yin Ling name Tuo Temple monument Postscript” “Shu Su posts”, although written within a half months , The style has a greater difference, not completely out of the threshold of ancient words. Yuan You six years (1091 years), the rice Fu Bu Habitat Haiyue Temple, and learned Yang Xin calligraphy. Until the “both old and home, people see, I do not know why” when the final completion of the establishment of their own style, probably after the age of 50. In the stereotypes of calligraphy works, because Mi Fu is too uninhibited, blindly “potential”, even if the small Kai as “to the Queen Mother” is also true. This “potential” solid is the advantage, but at the same time became his flaw. “Eventually with a partial loss”, Huang Tingjian evaluation of praise, should be more objective and fair. Song of the Huang Changrui comment on his calligraphy, “but can book, is not the grass”, then the so-called “positive”, and no means that is not necessarily today’s “positive”, if the seal, it is appropriate. Mi Fu seal, not really work, cursive also written flat. He later on the Tang Chinese cursive negative attitude, but also confined to the knowledge of Jin grass, the results of flat natural inevitable. Mi Fu to calligraphy, if the body of the horse, it is undoubtedly the first. Proof of its calligraphy, twenty-four-year-old Lin Guilong hidden rock Ming Ming cliff, slightly imposing momentum, no self-contained shadow; thirty years old “step chariot map” inscriptions, also makes people feel talented The 30 years old when the official in Changsha, had seen Yuelu Temple monument, the following year went to Lushan visit Donglin Temple monument, and are the name of the name. Yuan You two years (1087 years) also used Zhang Xuan painting six, Xu Hao Shu two posts and Shi Yi Geng for Li Yong’s “more heat to Ge Feng posts.” Writing techniques Mi Fu book very seriously, unlike some people imagine that, without hesitation and waved. Mi Fu himself said: “I write” Haidai poetry “, three or four times to write, between a word is good, letter book is also a difficult” (Ming Fan Mingtai “Mi Xiangyang foreign mind”). A poem, wrote three or four times, only one or two words of their own satisfaction, which is not a bit in the hands of experts can not say, but also see his creative attitude of rigorous. Mi Fu has a lot of special strokes, such as “door” word right corner of the round, vertical hooks and crab claws, etc., are set from the line of the book; shape startled the body, when the imitation from the European word, And keep a long period of time; Shen scholar’s face or similar to Chu Sui-liang; Mi Fu large school section of the quarter show, “unique four sides”, “brush word” may come from this; Chu Sui-liang’s pen the richest Change, the body is also the most vivid, Mi Mi’s spleen and stomach, has praised the word, “such as cooked Yu tactical horse, moving with people, and do not have a kind of pride.” Mi Fu on the distribution of calligraphy, structure, pen, with his unique experience. Requirements “stable and good, the insurance does not blame, the old is not dry, run not fat,” probably Jiang Kui recorded in the “no ditch, no go” is also intended. That is, the requirements of the unity in the change, the wrapped with possession, fat and thin, sparse and dense, simple and complex and other rivalry factors, that is, “bone, flesh, fat Ze, Aeolus, The Tuanfa, attention to the overall strength, taking into account the details of the perfect, into the bamboo in the chest, writing process with the change, Mi Fu’s pen features, mainly good at the side, Yan Yang, to the back, turning, setbacks in the formation of elegant ultra-Mai momentum, calm and happy style. The words of the pen is often quite heavy, slightly lighter to the middle, when the tip of the tip of the twist turned straight down. There are also a lot of changes in the pen, the focus of the pen sometimes in the pen, sometimes in the pen, sometimes in the middle of a pen, for a long horizontal painting there are twists and turns. Hook is also full of characteristics. Mi Fu’s calligraphy often have a roll of the body, want to left first right, want to Yang Xianxiu, are in order to increase the ups and down grace of grace, vigorous flying air to decades of ancient words of the rich foundation for the premise, So out of innocence naturally, never artificial. Learn Mi Fu who, even if the water station, such as those who can not help but “arduous”. Song and Yuan dynasties, on the Mi Fu law book, probably can be divided into two kinds of attitude: one is praise and not derogatory, highly respected; one is praise and derogatory, and praise the majority of the composition. Hold the first attitude, you can Su Shi as the representative. Stressed that in temperament, interest and other aspects of the distinction between the two strictly “(Ruan Pu” Su Shi’s literati painting view “). His so-called” new ideas in the program, send a wonderful reason out of bold, “” In the same way, is the old tradition, the new interest. The same is the ancestral painting of the ancestors of the Mi Fu But also disdain in such a reconciliation, Mi Fu’s success lies in a Mexican attitude and motif selection to achieve his recognition of the literati fun.Mi Fu realized to change the traditional painting programs and technical standards to achieve the purpose of new fun The Mi Fu claiming to “brush the word”, clear and self-modest point to the essence of the Department, “brush”, reflecting his quick and hard to use the pen, dedication to make every effort. His calligraphy works, as large as the poem, as small as the slips, inscriptions have a happy dripping, 欹 longitudinal changes, fresh and fresh features. From the world’s nearly sixty meters Mi Fu’s handwriting point of view, “brush” this word is the word of God’s God live off to show it. painting Mi Fu as the famous painter of the Northern Song Dynasty, in a mature era of literati painting, the painting theme is very wide, people, landscapes, turquoise, plum, blue, bamboo, chrysanthemum unpredictable; Mi Fu in landscape painting achievements, He does not like the dangerous peaks of the towering, overlapping peaks of the northern landscape, but also appreciate the Jiangnan water fast changing “smoke clouds”, “naive plain”, “do not pretend” style; so Mi Fu in the artistic style of the pursuit of Is natural. He created the “Mickey Yunshan” are written by the letter, clouds set off. Mi Fu’s painting originated from Dong Yuan. Dong’s painting to write Jiangnan mountains, Mi Fu has been the review from the overall atmosphere of the eye, but Mi Fu did not find suitable for the expression of things. Mi Fu pay attention to “do not take fine labor, meaning seems to have”, although he copy “to chaos really can not distinguish” skills, but more keen on the “painting landscape characters, self-contained,” through some choice, Mi Fu to find Dong Yuan used “point”. Originally, Dong Yuan’s “point” is the auxiliary factor of Phi-chun, which is subject to the need to express the natural texture. It together with other modeling methods constitutes a kind of freehand atmosphere. In the penniless, especially the coke Moss makes the pen and ink itself have some kind of independent meaning freehand effect. Dong, giant points are subject to the nature of the purpose of modeling. In the two meters of the pen, the point has almost become all the shape, and have a considerable degree of freehand. The so-called “egg drop”, in fact, is a kind of point to the writing of the freehand brushwork, “with the deep and deep point of the scattered scattered scattered points, even the point into the line to point on behalf of the crack, plot points into a film, Broken, plot, stains, dry, wet and use, supplemented by rendering the performance of the mountains, the image of trees and clouds of demeanor. Completely abandon the traditional method of hook and paste. Sleeveless center changes in the occasional casual effects, informal, do not just rope ink, far beyond the contemporaries of the horizon, no wonder there was no positive reaction, and even was “public ridicule”, “people often said mad.” Mi Fu painting does not exist in the world, Mi Fu from the “painting history” recorded his collection, tasting ancient paintings and their own preferences for painting, aesthetic taste, creative experience and so on. Collection Mi Fu’s success lies in the adoption of a certain Mexican attitude and motif to choose to achieve his recognition of the literati fun, Mi Fu aware of changing the traditional painting programs and technical standards to achieve the purpose of new fun. The reason: Mi Fu first is a collection of wealthy collectors, experts, the merits of the history of painting in the chest, more consideration is the content of the painting ontology. Mi Fu on the Chinese classical stone culture is the greatest contribution to his long-term stone practice, to an artist’s unique aesthetic experience, has successed a “Yan history” and concise “phase stone four law.” Yan stone ancient also known as “mountain”, is a text stone. Mi Fu not only collection, enjoy a variety of natural rocks, or obsessed with the collection of life and study Yan stone one of the pioneers. His book “Yan Shi”, “Sikuquanshu” has given a high rating, great influence on later studies Yan stone, and his collection of famous story is also very legendary. After the Southern Tang Li Yu possession of many, which “thirty-six peak Yan” and “seventy-two peak Yan” have been Mi Fu collection and studied. After the death of the Queen after the death of the stone, the flow of folk, the flow of dozens of people, Mi Fu love, had five hundred and two gold to buy. Accidentally lost this material. Mi Fu took great responsibility, had poetry poem: “Yanshan is not visible, my poet sigh. Only jade toad, to the frequency of tears.” Mi Fu made “Yan history” more than a thousand years, but the descendants of research, understanding of the text of the ancient woods of the material, shape, decoration and even Yan Yan technology and other aspects have an important reference value. His theory of “four-phase stone” in the history of Chinese history of stone is also extremely important, this theory not only led the trend of the moment of the stone, is still the relics of the “return to classical, Thanksgiving true” classic. theory Mi Fu in addition to calligraphy to achieve a high standard, the book is also a lot of books. In the theory of calligraphy, especially on the cursive theory strongly against the Tang Dynasty calligraphy law is still the law of the law, too much emphasis on the Wei Jin dull naive, advocating the two king of the program. Author of “book history” “Haiyue famous” “treasure chapter to be recorded” “commentary” and so on. Showing his excellent courage and fine to the appreciation of the predecessors more ridiculed, but never because of the ancient language, for the ancient bookstore heavy, but too many words, blame Yan Liu, Harsh. Set the ancient new, the pursuit of individuality to create Mi Fu in the “Haiyue famous words,” said: “My book is a small print book like a character.” The only possession of the traces of the trail, between or with, not with the caller. Heart is not only stored, free pen, have natural, prepared Its quaint. Emperors failed to stand home, people that my book for the ancient words, cover to take the strengths, and always become both old, from home, people see, I do not know why the ancestors also. There is nothing filled with heroic feelings. Mi Fu’s “ancient words”, in fact, he learned the experience of calligraphy. Mi Fei to learn the calligraphy of the Tang Dynasty after reflection, found the Tang Dynasty calligraphy defects and deficiencies and then transfer Jin “Shang Yun” with the essence of pen, in order to achieve the chic handsome, plain naive mood. Mi Fu set all the family long, which in essence is his conception of innovation on the “fun” pursuit of psychological performance. Derogatory Tang Chongjin, from aesthetic choice Mi Fu beginner calligraphy is started by the Tang, but Mi Fu in the depth of the study of Tang Dynasty calligraphy, the Tang Dynasty calligraphy to reflect on and found Yan Zhenqing, Liu Gongquan, Chu Suiliang and other Tang calligraphy by the regular program of excessive restraint, calligraphy “Fun” aesthetic taste can not be reflected, it began to produce criticism of the Tang. Mi Fu book on the “Haiyue famous words” in the Tang Dynasty calligraphy comments to see: “Europe, Yu, Chu, Liu, Yan are a book also. Arranged, how can we die, Lack of fiber thick … … “Thus, Mi Fu is found in the Tang Dynasty calligraphy over-emphasis on the program, resulting in Tang Kai” fun “gradually missing, showing excessive programmatic and rational drawbacks, and Mi Fu’s pursuit of chic natural Of the “real fun” is contrary to the. However, Jin’s calligraphy is the natural rate of real aesthetic realm and Mi Fu’s pursuit of “real fun” aesthetic coincide. Poetry Mi Fu later lived in the state of Dantu (now this is Jiangsu), there are mountains and trees. Named its poetry collection for the “mountain set”, there are a hundred volumes, are mostly scattered. Today, there are “Po Jin Yingying set”. Mi Fu can book and poetry, poetry that lattice, lofty, self-contained. Try to write poetry cast Xu Chongyuan, since the words “not a person, life has not recorded a cast expensive”, unique for its long, deliberately different for its short. Major works: Yan Shan Ming “Yan Shan Ming” hand roll, ink paper, 36 cm high, 138 cm long, divided into three sections. The first paragraph for the Mi Fu with the South Tang Cheng heart tea writing thirty-nine lines of the book: “Yan Shan Ming colored water floating Kunlun Lake in the top of the black clouds hanging dragon strange electric shock under the shock of the string of special changes Jinshan Qianxuan book. “In the pen on the vigorous and vigorous, with the potential of the Pentium, tendon bone Yi, change infinite. Knot words, free play, dumping among the stable, and thus dignified among the graceful, compared to the “multi-view floor poem” “Rainbow County Poetry” less flying white Smart, more bold, Pentium, Shen Dayun fast, is Rice book mature for the Mi Fu calligraphy in the boutique. Mr. Qiang Fu poem said: “envy of Xiangyang a pen, exquisite eight to write autumn deep. This hand-rolled in an orderly manner, once into the Northern Song Dynasty, the Southern Song court. Southern Song Lizong was right bearing Jia Sidao collection. Handed to the Yuan Dynasty, was the Yuan Dynasty’s most famous calligraphy and painting collectors Ke Jiu Si collection. Qing Dynasty Yongzheng years, was painting and calligraphy connoisseur, Sichuan Chengdu prefect in the collection. As a result of historical reasons, this volume unfortunately unlucky to the east, by the Japanese neighborhood museum collection. Shu Su posts “Shu Su posts”, also known as “ancient poetry posts”, ink silk, the book. (1088 years), Mi Fu thirty-eight years old, a total of eight books from the various poems, accounting for 71 lines 658 words, the Department of money. “Shu Su posts” Ming Dynasty Yuan Yuanyuan, Dong Qichang, Wu Ting and other famous collectors collection, the Qing Dynasty fell into Gao Shiqi, Wang Hongxu, Fu Heng hand, after entering the Qing government, the existing Taiwan Palace Museum. “Shu Su posts” book in the Wusi column, but the momentum was not limited, rate of indulgence, with the pen Junmai, gestures flying, mention by turning to pick, song to make changes. “To be ancient,” the two is still out to the line of regret, the more the back of the more free and easy flying, superb look. Mi Fu with pen hi “octahedral front”, unpredictable. This post with pen changeable, is the side of the possession of dew, length and thickness, body thousands, fully embodies his “brush” the unique style. Because of Su Su rough, the book go all out, so Dong Qichang in the “Shu Su posts” Postscript said: “This volume is like a lion stroke, to go all out, when the life for cooperation.” In addition, because the silk fabric is not susceptible to ink and the emergence of more dry pen, so that all the ink has a strong concentration of light, such as thirsty Benfen, feel more exciting and moving. Rainbow County Poetry Volume “Hongxian poetry volume” Department of Mi Fu essay, the book of two seven words of the poem line of calligraphy posts. Paper ink volume, a total of 37 lines, each line 2,3 words ranging. Mi Fu handed down the works, the characters calligraphy rarely, the characters are not Mi Fu director, Mi Fu taste that the book for the “brush”, which in his characters in the performance was more obvious. The posts of priority, a strong sense of rhythm, with the wet and wet ink, seamless, was natural and interesting. Such as the beginning of the first “Hongxian old clouds fast Ji day Qing Shu” 11 words, at one go, the pen is dry and scattered. Posts after the gold Dading 13 years Liu Zhong travel postscript. This is a photocopy of the world. This volume for the Mi Fu through the beautiful rainbow County (now Anhui Sixi), the brush written on the poem. Mi Fu’s character line handed down very little, and this is the latest year’s masterpiece, which is very precious. More King House Poems “Multi-King House poetry book” is Mi Fu late works, with the pen old and spicy, heavy, between the side of the frame to see the sound, extremely bold, pen force majestic. “Brush word” in the way of writing in this book was very obvious, many strokes of the pen showing a scattered front. Some vertical pen, write pen because of the rapid operation and stay white. The whole works of momentum heroic, ups between the strokes contains a huge tension. “Duojing Lou poetry book” consists of 11 albums, each page of paper vertical 31.2 cm, horizontal 53.1 cm, wrote a total of 41 lines of words, each line for the two words, and some are only one word, full display The Mi Fu big line of books of the magnificent spirit. “Multi-King House poetry book” was originally a long scroll, in the Song Dynasty has been framed into a book, the Ming and Qing Dynasties for many collectors, is an orderly calligraphy trail. Tiaoxi poetry volume Full name “will be the Tiaoxi opera for the Friends of poetry volumes”, Mi Fu book, paper, line books, vertical 30.3 cm, horizontal 189.5 cm. Beijing Palace Museum. Full volume of 35 lines, a total of 394 words, the end of the year “Yuan Wu Chen August 8 for”, known as Song Zhezong Yuan You three years Wu Chen (AD 1088), when Mi Fu 38 years old. The beginning of a sentence “will be Tiaoxi opera for all friends, Xiangyang Man Shi Fu.” Know the book for the self-written poetry, a total of six first. This volume with a pen center straight down, thick fiber and out, throwing pen swiftness, vertical and horizontal unrestrained. In particular, Yunfeng, positive, side, possession, dew change rich, dotted twists and turns transition coherent, mention the ups and downs of natural super Yi, no carved marks. Its body is comfortable, the palace of small convergence, to maintain the balance of the center of gravity. At the same time long painting vertical and horizontal, stretch freely, rich suppression of ups and downs. Through the font slightly to the left, more than the side of the potential, in the insurance in the pursuit of Pingyi. Full book style really natural, happy dripping, change has caused, interesting, reflecting the typical appearance of Mi Fu middle-aged book. Wu Qizhen “painting and calligraphy” comment on this post said: “pen chic, comfortable structure, cover Yan Yan Gong public.” That the book Zong Fa Yan Zhenqing from the new artistic features. At the end of this volume there are his son Mi You Ren Postscript: “right out of all friends and other poems, the first minister Fu Fu really footprints, Chenmi Friends of the Friends of the identification of Christine.” After the paper another Ming Li Dongyang Postscript. According to Kam seal imprint, know this post has been hidden in the Southern Song Dynasty Shaoxing House, Ming Yang Shiqi, Lu Shui Village, Xiang Yuan Bian Zhujia, after entering the Qing Emperor Qianlong, and engraved “three Greek Church Futie.” influences: Since the Song Dynasty, Mi Fu’s calligraphy influence can be described as important. Mi Fu’s book, generally believed that the first book to learn rice, should push his eldest son Mi Youren, sub-father biography, quite achievements, millet “move only blessing” quite old rice style. Song Dynasty Wei Weng “Heshan set” cloud: “Yuanhui book though not catch his father, such as Wang Xie children, own a style.” Mi Fu calligraphy on the later influence is mainly in the South after the crossing. According to records, as the Shaoxing emperor visited his book, widely collected, possession of the House, before the valuable in the world, and ordered people engraved “Shaoxing rice paste” so the world Xi Ran learn rice. After the South crossing, Zhang Xiaoxiang, Wu Ju, Fan Chengda, Zhang Yizhi, Zhao Mengjian and so on to take the law book, quite successful. Southern Song Xiaozong, Ningzong era of Wu Ju, the word father, home cloud gorgeous lay, Gao Zongxian queen of the nephew, the princes of the king of Wu Yi son. Official to the town of Anjun Jiedushi, sent Jianfu and left behind. “Book history will be” Comment on him: “word class Mi Fu, and steep over.” “Billiton Do not set” also recorded. The special study Mi Fu calligraphy, is recognized as a master of rice, his boutique can almost and Mi Fu calligraphy chaos. Its pen side of the majority, edge more exposed, stressed the severity of contrast, pen pen light. As the emperor’s esteem, the secretary is also popular among the people. Mi Fu’s influence is not limited to the Southern Song Dynasty, and the Southern Song Dynasty confrontation of the Jin Dynasty, also popular rice book, on behalf of Mi Fu’s nephew Wang Tingyun. Its calligraphy and dry wood bamboo Mi Fei, pay attention to ink and fun, not for the law of the trap, on the ancient people. Wang Tingyun is Mi Fu calligraphy followers, study rice word and take the law Tang, for the world said. His calligraphy won the Mi Fu style, bearing extraordinary, but the edge slightly distracting, the structure tends to be stable, calm and soothing. Yuan Dynasty books strongly retro, return to Jin and Tang dynasties, mostly affected by Zhao Mengfu. White 珽, Zhang Duo, Li Yuan Gui and others are homesaw school. Mi Fu “coral post” at the end of the family to the yuan between people Shi Guangyuan book, still have rice intention, but the lack of Chun Chun trend. In the early and middle of the Ming Dynasty, followed by the Yuan Dynasty calligraphy, in general still not off Zhao Mengfu style, in addition, Song Ke, “two sink” (Shen degree, Shen charm) book, also quite popular, , Because the Ming people like the game Han ink, the pursuit of unrestrained, rice book just to meet their temperament. Such as Zhang Bi, Li Yingzhen, Zhu Yunming, Wen Zhengming, Chen Chun, Mo is the dragon, Xu Wei, Xing Dong, Mi Wanzhong, Dong Qichang, Wang Duo, Among them, Dong Qichang, Wang Duo the highest achievement, the greatest impact. Qing Dynasty monument rise, do not open pattern. But the post to learn the wind is not reduced, Fu Shan, Zha Shi superscript, Xu You, Da Chongguang, Wang Hongxu, Jiang Chenying, Zhang Zhao, Chen Yuxi, Wang Shu, Weng Fang Gang, Wang Wenzhi, Liang Tongshu, Weng Tonghe, Qian Feng et al. Learn the road, although they are deeply influenced by Dong Qichang’s calligraphy, but can be next to Mi Fu and other famous books, to seek their own art world. Mi Fu’s calligraphy has been far-reaching, and since the Republic of China, people have entered into a new era of art and research on Mi Fu’s calligraphy. In particular, after entering the 20th century, 80 years, the study of rice is even more common practice, but also achieved some success.
2073	dbpedia	0	22	https://www.abebooks.co.uk/9787540115241/Fu-Calligraphy-Collection-PaperbackChinese-Edition-7540115246/plp	en	Mi Fu Calligraphy Collection (Chinese Edition)	https://pictures.abebook…540115241-uk.jpg		[ "https://pictures.abebooks.com/isbn/9787540115241-uk.jpg", "https://assets.prod.abebookscdn.com/cdn/shared/images/Ajax/loading.gif", "https://assets.prod.abebookscdn.com/cdn/shared/images/Ajax/loading.gif", "https://pictures.abebooks.com/isbn/9787540115241-uk.jpg", "https://pictures.abebooks.com/inventory/4...	[]	[]	[ "" ]	null	[ "CHEN PEI ZHAN", "Bai Li Xian" ]	2011-08-11T00:00:00	Mi Fu Calligraphy Collection (Chinese Edition) by Bai Li Xian - ISBN 10: 7540115246 - ISBN 13: 9787540115241 - Henan Fine Arts Publishing House - 2011 - Softcover	en			https://www.abebooks.co.uk/9787540115241/Fu-Calligraphy-Collection-Chinese-Edition-7540115246/plp	This specific ISBN edition is currently not available. View all copies of this ISBN edition Seller Image Mi Fu Calligraphy Collection (Paperback)(Chinese Edition) CHEN PEI ZHAN ISBN 10: 7540115246 / ISBN 13: 9787540115241 New / Soft cover Quantity: 1 available Seller: liu xing, Nanjing JiangSu, JS, China Seller Rating: Soft cover. Condition: New. Language:Chinese.Author:CHEN PEI ZHAN.Binding:Soft cover.Publisher:Henan Art Press; 1 (April 1, 2007). Seller Inventory # 301971 Contact seller Buy New £ 41.41 Convert currency Shipping: £ 11.78 From China to Germany Destination, rates & speeds Add to basket
2073	dbpedia	3	2	https://www.newworldencyclopedia.org/entry/Mi_Fu	en	New World Encyclopedia	https://www.newworldency…avicon-32x32.png	https://www.newworldency…avicon-32x32.png	[ "https://www.newworldencyclopedia.org/images/nwe_header.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/7/7c/Mi_Fei_001.jpg/240px-Mi_Fei_001.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/1/1d/Mi_Fu_Shu_Su_Tie.jpg/240px-Mi_Fu_Shu_Su_Tie.jpg", "https://static.newworldencyclopedia.org/ski...	[]	[]	[ "" ]	null	[]	null		en	https://static.newworldencyclopedia.org/favicon.ico		https://www.newworldencyclopedia.org/entry/Mi_Fu	Names Chinese: 米黻 Pinyin: Mǐ Fú Zi: Yuán Zhāng (元章) Also known as: Madman Mi (米顛) Mi Fu (Chinese: 米黻; pinyin: Mǐ Fú, 1051 – 1107), also known as Mi Fei (米芾), Pinyin Mi Fei, original name (Wade-Giles Romanization) Mi Fu, also called Yüan-chang, Hai-yüeh Wai-shih, or Hsiang–yang Man-shih, was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi (太原) during the Song Dynasty (宋朝). In painting, he gained renown for his style of painting misty landscapes, the "Mi Fu" style, which involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai (李白) and his calligraphy that of Wang Xizhi (王羲之). His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. While he acquired his style by emulating other calligraphers from earlier dynasties, his style was unique and distinct. Mi Fu was raised in the imperial court alongside the imperial family, and exhibited exceptional talent in poetry, calligraphy, and memorization. However, his eccentric behavior resulted in his being frequently moved from one official post to another. In 1081, Mi Fu met Su Shih, the great poet, calligrapher, and art theorist, and together they formed a circle of brilliant artists who emphasized personal expression over mere technical excellence. The poetry of Su Shih, the figure painting of Li Kung-lin, and the calligraphy of Mi Fu became standards against which artists would be judged for the next five hundred years. Life Mi Fu was born in 1051, to a family that had held high office in the early years of the Sung dynasty (960–1279). His mother was the wet nurse of the emperor Ying Tsung (reigned 1063/64–1067/68), and he was raised within the Imperial precincts, mixing freely with the Imperial family. According to tradition, he was a very smart boy with a great interest in arts and letters and an astonishing ability to memorize. At the age of six he could learn a hundred poems a day and after going over them again, he could recite them all. He showed a precocious talent for calligraphy and painting. He disliked the formal lessons in the Confucian classics, but displayed a quick understanding of learned argument and an aptitude for poetry. His mother served the wife of the Emperor Renzong of Song (仁宗), and Mi Fu began his career as Reviser of Books in the capital of Kaifeng. In 1103, he was appointed a doctor of philosophy and was briefly military governor of Wu-wei in the province of Anhwei. He returned to the capital in 1104, as Professor of Painting and Calligraphy, and presented the Emperor with a painting by his son, I Yu-jen. He then served as Secretary to the Board of Rites, before being appointed Military Governor of Huaiyang. These frequent changes of official position were a result of Mi Fu's sharp tongue and his open criticism of official ways. He is said to have been a very capable official, but unwilling to submit to conventional rules; and he manifested a spirit of independence which caused him serious difficulties. He died in Huaiyang, in Kiangsu Province, at the age of fifty-two, and was buried in Tan-t'u, in Kiangsu Province; his epitaph was written by Mi Yu-jen. Mi Fu was married and had five sons, of whom only the two eldest survived infancy, and eight daughters. His son, Mi Youren, also became a famous painter in his father's artistic style. Unlike his father, Mi Youren lived to be quite elderly, dying at the age of 79. Mi Fu was noted as an eccentric. At times, he was referred to as "Madman Mi" because he was obsessed with collecting stones. He declared one stone to be his brother, and would bow to his "brother" rock in a display of the filial devotion usually given to older brothers. He also was known as a heavy drinker. Mi Fu was very peculiar in his manners and the way he dressed. Wherever he went, he attracted a crowd. He was also very fond of cleanliness. He used to have water standing at his side when working, because he washed his face very often. He would never wash in a vessel that had been used by someone else or put on clothes that had been worn by another person. Mi Fu's passion was collecting old writings and paintings. As his family wealth was gradually lost on relatives, he continued to collect and made every possible sacrifice to get the samples he wanted. According to one anecdote, once when Mi Fu was out in a boat with his friends, he was shown a sample of Wang Xianzhi’s writing and became so excited that he threatened to jump overboard unless the owner made him a present of it, a request which, apparently, could not be refused. Gradually his collection became a big treasury, and his simple house a meeting place for the greatest scholars of the time. He inherited some of the calligraphies in his collection, but others were acquired. He also exchanged the poorer quality ones for better ones. He wrote: “When a man of today obtains such an old sample it seems to him as important as his life, which is ridiculous. It is in accordance with human nature, that things which satisfy the eye, when seen for a long time become boring; therefore they should be exchanged for fresh examples, which then appear double satisfying. That is the intelligent way of using pictures.” Mi Fu was fanatical in regard to safeguarding, cleaning, and exhibiting of his pictures. He arranged his collection in two parts, one of which was kept secret or only for a few selected friends and another which could be shown to ordinary visitors. Historical background After the rise of the landscape painting, the creative activity which followed was of a more general kind and subject matter included both profane and religious figures, birds, flowers, and bamboo, in addition to landscapes. The painters were mostly highly intellectual scholars. To most of these men, painting was not a professional occupation but only one of the means by which they expressed their intellectual reactions to life and nature in visible symbols. Poetry and illustrative writing were in a sense even more important to them than painting, and they made their living as more or less prominent government officials if they did not depend on family wealth. Though some of them were true masters of ink-painting as well as of calligraphy, they avoided the fame and position of professional artists and became known as “gentleman-painters.” Artistic occupations such as calligraphy and painting were, to these men, activities to be done during leisure time while resting from official duties or practical occupations. The foundation of their technical mastery was training in calligraphy, which allowed them to transmit their thoughts with the same easiness in symbols of nature as in conventional characters. Their art became a very intimate kind of expression, or idea-writing as it was called in later times. The beauty of this art was closely associated with the apparent ease with which it was produced, but which could not be achieved without intense training and deep thought. Mi Fu was one of the highly gifted gentleman-painters. He was not a poet or philosopher; nevertheless he was brilliant intellectually. His keen talent for artistic observation, together with a sense of humor and literary ability, established him prominently among Chinese art-historians; his contributions in this field are still highly valued, because they are based on what he had observed with his own eyes and not simply on what he had heard or learned from his forerunners. Mi Fu had he courage to express his own views, even when these were different from the prevailing ones or from official opinions. His notes about painting and calligraphy are of great interest to art historians, because they are spontaneous expressions of his own observations and independent ideas and help to characterize himself as well as the artists whose works he discusses. Art In 1081, Mi Fei met Su Shih, the great poet, calligrapher, and art theorist. This was the beginning of the formation of a circle of brilliant artists. Other members of this group were Li Kung-lin, painter and antiquarian; Huang T'ing-chien, poet and calligrapher; and Chao Ta-nien, painter and art collector. Su Shih's cousin, the bamboo painter Wen T'ung, who had died in 1079, was also a key figure through his art and his influence on Su Shih. Out of their association came the theory and practice of wen-jen-hua, or literati painting, which has continued until the present to be the most dynamic and creative branch of painting. In place of the long-dominant view that painting was a public art, subject to public standards, scholar-painters held to the view expressed by Li Kung-lin: "I paint, as the poet sings, to give expression to my nature and emotions, and that is all."[1] These eleventh century scholars rediscovered the T'ang poet Tu Fu, now universally regarded as "China's greatest poet," who had been largely ignored; and rescued Ku K'ai-chih and Wang Wei, the two greatest scholar-painters of earlier centuries, from obscurity and lifted them to the eminence they have ever since enjoyed. The poetry of Su Shih, the figure painting of Li Kung-lin, and the calligraphy of Mi Fei became standards against which artists would be judged for the next five hundred years. For these scholar-artists, the personal relationships within their artistic and intellectual circle were very important. Art was nothing without personality, not in the sense of deliberate eccentricity, but as an expression and development of innate qualities such as strength of character, will, honesty, creativity, mental curiosity, and integrity. In 1060, Su Shih had written a poem comparing paintings by Wu Taotzu and Wang Wei, in which he declared that Wu Tao-tzu could finally be judged only in terms of the craft of painting, while Wang Wei, in contrast, "was basically an old poet" who "sought meaning beyond the forms."[2] Mi Fei was highly critical of art that was technically excellent but divorced from personal expression. He described the work of the imperial academicians and professional painters, who commanded a large popular audience, as "fit only to defile the walls of a wine shop." He even accused the academy of murdering one of its members because he was too gifted and original. Mi Fei and his friends admired the "untrammeled" masters of the ninth and tenth centuries, who had broken every rule and defied every classical model in their quest for artistic freedom, but felt they were far too uncontrolled and eccentric to be emulated. Instead, they admired the "primitive" and forgotten masters of the orthodox heritage. To Mi Fu, the brush was not only the sword of his proud spirit but a magic stick, which brought life whenever he held it in his hands to write or paint. The two arts of calligraphy and painting were to him essentially one and the same. In painting, he gained renown for his style of painting misty landscapes. This style, deemed the "Mi Fu" style, involved the use of large wet dots of ink, described as "Mi dots," applied with a flat brush. Starting with very pale ink, he began painting on a slightly wet paper, amassing clusters of shadowed forms, then adding darker ink gradually, building up amorphous, drifting mountain silhouettes bathed in wet, cloaking mist. The style is best seen in a large hanging scroll, the Tower of the Rising Clouds. On the painting is an inscription: "Heaven sends a timely rain; clouds issue from mountains and streams."[3] His poetry followed the style of Li Bai (李白) and his calligraphy that of Wang Xizhi (王羲之). His uninhibited style made him disliked at the Song court. Mi Fu has been admired by later critics as one of the most important representatives of the "Southern School" of landscape painting. Most of the paintings attributed to him represent a rather definite type or pictorial style which existed also in later centuries, but unfortunately it cannot be determined to what extent they are Mi Fu's own creations. The general characteristics of his style are known, but it is not possible to be sure that the paintings ascribed to him represent the rhythm and spirit of his individual brush work, as is possible with the authentic samples of his calligraphy, which still exist. Therefore, he is remembered more as a skilled calligraphist, and for his influence as a critic and writer on art, rather than as a skilled landscape painter. Mi Fu was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. He was among those for whom writing, or calligraphy, was intimately connected with the composition of poetry or sketching. It required an alertness of mind and spirit, which he thought was best achieved through the enjoyment of wine, through which he reached a state of excitement rather than drunkenness. A friend of Mi Fu, Su Shi admired him and wrote that his brush was like a sharp sword handled skillfully in fight, or a bow which could shoot an arrow a thousand li, piercing anything that might be in its way. “It was the highest perfection of the art of calligraphy,” he wrote. Other critics claimed that only Mi Fu could imitate the style of the great calligraphists of the Six Dynasties. Mi Fu seems to have been an excellent imitator; some of these imitations were so good that they were taken for the originals. Mi Fu's son also testified that his father always kept some calligraphic masterpiece of the Tang or the Qin period in his desk as a model. At night he would place it in a box at the side of his pillow. According to some writings, Mi Fu did most of his paintings during the last seven years of his life, and he himself wrote that “he chose as his models the most ancient masters and painted guided by his own genius and not by any teacher, and thus represented the loyal men of antiquity.” The pictures which still pass under the name of Mi Fu represent ranges of wooded hills or cone-shaped mountain peaks rising out of layers of woolly mist. At their feet may be water, and closer towards the foreground, clusters of dark trees. One of the best known examples of this kind of Mi style is the small picture in the Palace Museum known as Spring Mountains and Pine-Trees. It is the size of a large album-leaf, but at the top of the picture is added a poem said to be by the emperor Emperor Gaozong of Song. The mountains and the trees rise above a layer of thick mist that fills the valley; they are painted in dark ink tones with a slight addition of color in a plumelike manner that hides their structure; it is the mist that is really alive. In spite of the striking contrast between the dark and the light tones, the general effect of the picture is dull, which may be the result of wear and retouching. Among the pictures which are attributed to Mi Fu, there are apparently imitations, painted in a similar manner with a broad and soft brush. They may be from Southern Song period, or possibly from the Yuan period, when some of the leading painters freely utilized the manner of Mi for expressing their own ideas. The majority are probably from the later part of Ming period, when a cult of Mi Fu followers that viewed him as the most important representative of the "Southern School" began. Mi Fu himself had seen many imitations, perhaps even of his own works, and he saw how wealthy amateurs spent their money on great names rather than on original works of art. He wrote: “They place their pictures in brocade bags and provide them with jade rollers as if they were very wonderful treasures, but when they open them one cannot but break out into laughter.” Mi Fu's own manner of painting has been characterized by writers who knew it through their own observation or through hearsay. It is said that he always painted on paper which had not been prepared with gum or alum (alauns); and never on silk or on the wall. In addition, he did not necessarily use the brush in painting with ink; sometimes he used paper sticks or sugar cane from which the juice had been extracted, or a calyx (kauss) of the lotus. Though Mi Fu was principally a landscape painter, he also did portraits and figure paintings of an old fashioned type. Nevertheless, he must have spent more time studying samples of ancient calligraphy and painting than producing pictures of his own. His book on History of Painting contains practical hints as to the proper way of collecting, preserving, cleaning and mounting pictures. Mi Fu was no doubt an excellent connoisseur who recognized quality in art. In spite of his rebellious spirit, his fundamental attitude was fairly conventional. He appreciated some of the well-recognized classics among the ancient masters and had little use for any of the contemporary painters. He sometimes had difficulty in admitting the values of others, and found more pleasure in making sharp and sarcastic remarks than in expressing his thoughts in a just and balanced way. Landscape painting was, to Mi Fu, superior to every other kind of painting; revealing his limitations and romantic flight: “The study of Buddhist paintings implies some moral advice; they are of a superior kind. Then follow the landscapes, then pictures of bamboo, trees, walls and stones, and then come pictures of flowers and grass. As to pictures of men and women, birds and animals, they are for the amusement of the gentry and do not belong to the class of pure art treasures.” Notes References ISBN links support NWE through referral fees
2073	dbpedia	3	98	https://mulanbook.com/pages/overview/history-of-legend-of-mulan	en	The History Behind the Legend of Hua Mulan (400 AD Onward)	https://mulanbook.com/as…ulan-history.jpg	https://mulanbook.com/as…ulan-history.jpg	[ "https://mulanbook.com/assets/themes/twitter/images/logo_mulanbook.png", "https://mulanbook.com/assets/images/articles/mulan-history.jpg", "https://mulanbook.com/assets/images/articles/ballad-of-mulan-song-dynasty-mu-fu.jpg", "https://mulanbook.com/assets/images/articles/mulan-bids-farewell-to-her-family-whil...	[]	[]	[ "" ]	null	[]	null	Ancient texts from the past 1,500 years reveal the real history behind the legend of Mulan and how it developed into what we have today.	en	/icon.png		https://mulanbook.com/pages/overview/history-of-legend-of-mulan	Ancient texts from the past 1,500 years reveal the real history behind the legend of Mulan and how it developed into what we have today. Around 400 AD, a poem began circulating imperial China. It told of a young girl (most likely in her early teens) who made the momentous decision to take her father’s place in battle. Although modern historians now believe this poem to be fictitious, early historians (most notably, Zhu Guozhen) insisted that the Ballad of Mulan was an autobiography. Regardless of the authenticity of the original tale, this amazing story went on to inspire one of the greatest legends ever told. For over a hundred years, the Ballad of Mulan was passed down via oral tradition, until it was finally written down during the Tang dynasty. Around this same time, several authors (Wei Yuanfu, Bai Juyi, Du Mu, and Li Rong) also wrote accounts verifying Mulan’s story. The early narratives about Mulan were are all very short. They provide enough information to verify that Mulan took her father’s place in battle, served for twelve or thirteen years without her femininity ever being discovered, and was rewarded by the emperor for her accomplishments. Due to the brevity of these accounts, later authors became fascinated with Mulan’s story and began embellishing it. After all, Mulan’s story has such a fantastic premise that it begs to be told in a more elaborate form. For the next several hundred years, very little was written about Mulan. While a memorial erected during the Song dynasty suggests that this maiden warrior continued to captivate the hearts of a Taoist sect, it wasn’t until the Ming dynasty that Mulan’s story came into the public spotlight. Around 1500 AD, Xu Wei wrote the play Mulan Joins the Army. Although this play was short (the unannotated manuscript is twelve pages), Xu Wei inserted reimagined the story in a way that would capture the imaginations of the common people. Xu Wei took a lot of liberties with this play and wasn’t overly concerned with historical accuracy. For example, the play included Mulan with bound feet… which is the ancient equivalent of having a woman soldier wearing sexy armor. One version of the manuscript even explicitly instructs the actress playing Mulan to change clothes in full view of the audience. The play primarily focuses on Mulan’s life as a woman. After she spends a long time preparing to go to war, the narrator blitzes through a decade of military service to show the audience Mulan resuming her life as a woman. (Plot summary of Mulan Joins the Army) Although no records exist of Xu Wei’s play ever being performed, the printed manuscript circulated widely throughout China. Thus, in its written form, this play inspired a renewed interest in the legend. After the Ming dynasty fell, the Chinese people found themselves under barbarian rule. The Manchu (who founded the Qing dynasty) oppressed the Chinese people and forced them to adapt to the Manchu way of life under penalty of death. During this time, the Chinese people took solace in Mulan’s story, as they desired for such a hero to rise up amongst them. (More information: The Legend of Mulan During the Qing Dynasty) The most famous retelling of Mulan’s story to be written during this time was Romance of Sui and Tang by Chu Renhuo, which was written to incite feelings of animosity against those who oppressed the Chinese. In the novel, Mulan is a biracial teen who is initially loyal to the barbarian khan. Although she begins fighting against a Chinese enemy, she is captured by a Chinese princess, who turns out to be such a benevolent captor that Mulan eventually desires to return home to bring her family to dwell together with the princess. However, the khan intercepts Mulan and tries to take her as his concubine by force. When Mulan realizes that the khan will not allow her to refuse, she commits suicide on her father’s grave. (Plot summary of Romance of Sui and Tang) The Complete Account of Extraordinary Mulan was a very different novel, in that it encouraged its readers to withdraw from society and rise above evil by living virtuous lives. The author, who seems to be a pacifist, uses the novel to glorify monasticism. The novel begins by focusing on Mulan’s grandfather, an ambitious young scholar. As he pursues enlightenment, however, he learns the virtue of inaction. After his granddaughter Mulan is born, he teaches her the art of magic but warns that responsible use of magic is so difficult that he has never found an occasion where the use of magic would be proper. Although Mulan eventually learns how to use her power for good, evil still triumphs in the end. In 1850, author Zhang Shaoxian conducted a thorough investigation of the legend. He reviewed numerous retellings and united them into a coherent story. The resulting novel, Fierce and Filial, tells of how Mulan’s brilliance and military prowess stem from he virtue. The most unique feature of this novel is the narrator’s analysis of Mulan’s inner struggle during her military service. Mulan is repeatedly traumatized by the cruelty of warfare, but refuses to suppress her tender side and become a hardened warrior. In the end, she manages to befriend the enemy princess, and the two women swear to help one another bring the war to an end. In 1903, the play Mulan Joins the Army turned Mulan’s story into a raucous comedy about how Mulan took her father’s place when her adopted brother Mushu refused his filial duty. Although the play was hardly successful, it helped pave the way for a new era in the legend’s development. One of the most famous early film adaptations of Mulan’s story was the 1939 motion picture Mulan Joins the Army. Because this coincided with the early stages of Word War II, after the Japanese had already captured Nanjing (China’s capital city at the time), the filmmakers desired to make it into a call to arms. This film glorifies warfare and is the first adaptation of the legend to introduce romance into Mulan’s story. After Word War II ended, China was now under communist rule. The people of Hong Kong, who were under British rule, began to wonder if they had anything left in common with the mainland. Partially in response to political tensions, the film Lady General Hua Mu-Lan was released. The primary emphasis of this film is family unity. When Mulan hears that her cousin, Hua Ping, has decided to take his father’s place in battle, Mulan is inspired to do the same. Ping serves as Mulan’s protector throughout their years of service together. Mulan’s superior officer, Li Guang, takes a special interest in Mulan and becomes her mentor. Mulan, who has strong feelings for Li Guang, tries to drop hints about her true gender, but he responds by professing his brotherly love. The film concludes with Mulan appearing before Li Guang dressed in feminine attire, much to his delight. In 1998, the first English-language film adaptation of Mulan’s story was released. Although Disney’s Mulan was a success in America (it was the second highest grossing movie in 1998), it was poorly received in China. Almost immediately after the release of the Disney film, Starlight International Media announced plans to produce Mulan: Rise of a Warrior. Throughout the film, Mulan struggles to put the needs of the masses above her own emotions. Being that she cares for certain comrades more than others, she repeatedly makes decisions that put her men at risk in attempt to rescue her closet friends. When her dear friend Wentai fakes his own death, Mulan is thrown into depression until she finally learns to detach herself from the battlefield. In 2010, Disney announced plans to release a live-action remake of Mulan. This film, which is purported to draw inspiration from both Chinese and American cultures, is expected to appeal to audiences from around the globe. Because this movie is yet to be released, very little is known about it, except that the film will be strikingly different from the 1998 animated film. Mulan’s story has traversed the globe several times and has touched the hearts and minds of countless generations since the story was first conceived over a millennium ago. While we may never know the details of her true story (if she really did exist), Mulan continues to be an inspiration to live virtuously when faced with crisis. Throughout the ages, the legend has continued to tell the story of a woman who is prepared to sacrifice everything out of filial devotion to her father. The legend always has been, and always will be, a touching story of honor, virtue, and sacrifice.
2073	dbpedia	0	34	https://www.hisour.com/mi-fu-15972/	en	Mi Fu – HiSoUR – Hi So You Are	https://www.hisour.com/w…d-logo-32x32.jpg	https://www.hisour.com/w…d-logo-32x32.jpg	[ "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/gb.png", "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/gb.png", "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/es.png", "https://www.hisour.com/wp-content/plugins/qtranslate-xt-3.13.0/flags/de....	[]	[]	[ "" ]	null	[]	null		en	https://www.hisour.com/w…d-logo-32x32.jpg		https://www.hisour.com/mi-fu-15972/	Originally posted 2017-08-18 06:22:53. Mi Fu (Chinese: 米芾 1051–1107) was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the “Mi Fu” style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers of the Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. Mi Fu calligraphy and painting into a family, dead wood bamboo, landscape painting unique style features. In the calligraphy is also quite accomplished, good seal, Li, Kai, line, grass and other books, longer than the ancient calligraphy, to achieve the degree of chaos. The main works are “more King House poem” “Rainbow County Poetry” “Yan Shan Ming” “” worship Zhongyue Postscript “and so on. calligraphy Style features Mi Fu Ping calligraphy hard work, the achievements of the book as the largest. Since the Southern Song Dynasty famous posts, the majority of its law books, widely broadcast, the impact of far-reaching, in the “Northern Song Dynasty four book home”, can be second to none. Kang Youwei said: “Tang Yan structure, Song Shangyi interest.” Meaning the Song Dynasty calligrapher exaggerated interest and personality, and Mi Fu in this regard is particularly prominent. Mi Fu study books, claiming to be “set ancient words”, although some people think that laughing stock, there are praise that “Tianzi Yuan 轹 not boast, set the ancient end of self-reliance” (Wang Wenzhi). This explains to some extent the reason why Mickey’s calligraphy succeeds. According to Mi Fu readme, in listening to Su Dongpo study before the book, you can generally see that he was the most affected by five Tang people: Yan Zhenqing, Ouyang, Chu Suiliang, Shen Shixia, Duan Ji show. Yuanfeng five years (1082 years later), he began to find Jin Fu Fete, got Wang Xianzhi’s “Mid-Autumn Post”. This ancestors of the big order (Wang Xizhi seventh son, the official order to the book, known as “Wang Da”), had a tremendous impact on him. But the nature of unruly Mi Fu is not satisfied with the word Wang Xianzhi, as early as Shao Sheng shouted the “old slaves do not change the goose”, “a wash two kings”. Despite this, this time Mi Fu calligraphy and no stereotypes, he Yuanyou three years (1088 years) to write “Tiaoxi posts” “Yin Ling name Tuo Temple monument Postscript” “Shu Su posts”, although written within a half months , The style has a greater difference, not completely out of the threshold of ancient words. Yuan You six years (1091 years), the rice Fu Bu Habitat Haiyue Temple, and learned Yang Xin calligraphy. Until the “both old and home, people see, I do not know why” when the final completion of the establishment of their own style, probably after the age of 50. In the stereotypes of calligraphy works, because Mi Fu is too uninhibited, blindly “potential”, even if the small Kai as “to the Queen Mother” is also true. This “potential” solid is the advantage, but at the same time became his flaw. “Eventually with a partial loss”, Huang Tingjian evaluation of praise, should be more objective and fair. Song of the Huang Changrui comment on his calligraphy, “but can book, is not the grass”, then the so-called “positive”, and no means that is not necessarily today’s “positive”, if the seal, it is appropriate. Mi Fu seal, not really work, cursive also written flat. He later on the Tang Chinese cursive negative attitude, but also confined to the knowledge of Jin grass, the results of flat natural inevitable. Mi Fu to calligraphy, if the body of the horse, it is undoubtedly the first. Proof of its calligraphy, twenty-four-year-old Lin Guilong hidden rock Ming Ming cliff, slightly imposing momentum, no self-contained shadow; thirty years old “step chariot map” inscriptions, also makes people feel talented The 30 years old when the official in Changsha, had seen Yuelu Temple monument, the following year went to Lushan visit Donglin Temple monument, and are the name of the name. Yuan You two years (1087 years) also used Zhang Xuan painting six, Xu Hao Shu two posts and Shi Yi Geng for Li Yong’s “more heat to Ge Feng posts.” Writing techniques Mi Fu book very seriously, unlike some people imagine that, without hesitation and waved. Mi Fu himself said: “I write” Haidai poetry “, three or four times to write, between a word is good, letter book is also a difficult” (Ming Fan Mingtai “Mi Xiangyang foreign mind”). A poem, wrote three or four times, only one or two words of their own satisfaction, which is not a bit in the hands of experts can not say, but also see his creative attitude of rigorous. Mi Fu has a lot of special strokes, such as “door” word right corner of the round, vertical hooks and crab claws, etc., are set from the line of the book; shape startled the body, when the imitation from the European word, And keep a long period of time; Shen scholar’s face or similar to Chu Sui-liang; Mi Fu large school section of the quarter show, “unique four sides”, “brush word” may come from this; Chu Sui-liang’s pen the richest Change, the body is also the most vivid, Mi Mi’s spleen and stomach, has praised the word, “such as cooked Yu tactical horse, moving with people, and do not have a kind of pride.” Mi Fu on the distribution of calligraphy, structure, pen, with his unique experience. Requirements “stable and good, the insurance does not blame, the old is not dry, run not fat,” probably Jiang Kui recorded in the “no ditch, no go” is also intended. That is, the requirements of the unity in the change, the wrapped with possession, fat and thin, sparse and dense, simple and complex and other rivalry factors, that is, “bone, flesh, fat Ze, Aeolus, The Tuanfa, attention to the overall strength, taking into account the details of the perfect, into the bamboo in the chest, writing process with the change, Mi Fu’s pen features, mainly good at the side, Yan Yang, to the back, turning, setbacks in the formation of elegant ultra-Mai momentum, calm and happy style. The words of the pen is often quite heavy, slightly lighter to the middle, when the tip of the tip of the twist turned straight down. There are also a lot of changes in the pen, the focus of the pen sometimes in the pen, sometimes in the pen, sometimes in the middle of a pen, for a long horizontal painting there are twists and turns. Hook is also full of characteristics. Mi Fu’s calligraphy often have a roll of the body, want to left first right, want to Yang Xianxiu, are in order to increase the ups and down grace of grace, vigorous flying air to decades of ancient words of the rich foundation for the premise, So out of innocence naturally, never artificial. Learn Mi Fu who, even if the water station, such as those who can not help but “arduous”. Song and Yuan dynasties, on the Mi Fu law book, probably can be divided into two kinds of attitude: one is praise and not derogatory, highly respected; one is praise and derogatory, and praise the majority of the composition. Hold the first attitude, you can Su Shi as the representative. Stressed that in temperament, interest and other aspects of the distinction between the two strictly “(Ruan Pu” Su Shi’s literati painting view “). His so-called” new ideas in the program, send a wonderful reason out of bold, “” In the same way, is the old tradition, the new interest. The same is the ancestral painting of the ancestors of the Mi Fu But also disdain in such a reconciliation, Mi Fu’s success lies in a Mexican attitude and motif selection to achieve his recognition of the literati fun.Mi Fu realized to change the traditional painting programs and technical standards to achieve the purpose of new fun The Mi Fu claiming to “brush the word”, clear and self-modest point to the essence of the Department, “brush”, reflecting his quick and hard to use the pen, dedication to make every effort. His calligraphy works, as large as the poem, as small as the slips, inscriptions have a happy dripping, 欹 longitudinal changes, fresh and fresh features. From the world’s nearly sixty meters Mi Fu’s handwriting point of view, “brush” this word is the word of God’s God live off to show it. painting Mi Fu as the famous painter of the Northern Song Dynasty, in a mature era of literati painting, the painting theme is very wide, people, landscapes, turquoise, plum, blue, bamboo, chrysanthemum unpredictable; Mi Fu in landscape painting achievements, He does not like the dangerous peaks of the towering, overlapping peaks of the northern landscape, but also appreciate the Jiangnan water fast changing “smoke clouds”, “naive plain”, “do not pretend” style; so Mi Fu in the artistic style of the pursuit of Is natural. He created the “Mickey Yunshan” are written by the letter, clouds set off. Mi Fu’s painting originated from Dong Yuan. Dong’s painting to write Jiangnan mountains, Mi Fu has been the review from the overall atmosphere of the eye, but Mi Fu did not find suitable for the expression of things. Mi Fu pay attention to “do not take fine labor, meaning seems to have”, although he copy “to chaos really can not distinguish” skills, but more keen on the “painting landscape characters, self-contained,” through some choice, Mi Fu to find Dong Yuan used “point”. Originally, Dong Yuan’s “point” is the auxiliary factor of Phi-chun, which is subject to the need to express the natural texture. It together with other modeling methods constitutes a kind of freehand atmosphere. In the penniless, especially the coke Moss makes the pen and ink itself have some kind of independent meaning freehand effect. Dong, giant points are subject to the nature of the purpose of modeling. In the two meters of the pen, the point has almost become all the shape, and have a considerable degree of freehand. The so-called “egg drop”, in fact, is a kind of point to the writing of the freehand brushwork, “with the deep and deep point of the scattered scattered scattered points, even the point into the line to point on behalf of the crack, plot points into a film, Broken, plot, stains, dry, wet and use, supplemented by rendering the performance of the mountains, the image of trees and clouds of demeanor. Completely abandon the traditional method of hook and paste. Sleeveless center changes in the occasional casual effects, informal, do not just rope ink, far beyond the contemporaries of the horizon, no wonder there was no positive reaction, and even was “public ridicule”, “people often said mad.” Mi Fu painting does not exist in the world, Mi Fu from the “painting history” recorded his collection, tasting ancient paintings and their own preferences for painting, aesthetic taste, creative experience and so on. Collection Mi Fu’s success lies in the adoption of a certain Mexican attitude and motif to choose to achieve his recognition of the literati fun, Mi Fu aware of changing the traditional painting programs and technical standards to achieve the purpose of new fun. The reason: Mi Fu first is a collection of wealthy collectors, experts, the merits of the history of painting in the chest, more consideration is the content of the painting ontology. Mi Fu on the Chinese classical stone culture is the greatest contribution to his long-term stone practice, to an artist’s unique aesthetic experience, has successed a “Yan history” and concise “phase stone four law.” Yan stone ancient also known as “mountain”, is a text stone. Mi Fu not only collection, enjoy a variety of natural rocks, or obsessed with the collection of life and study Yan stone one of the pioneers. His book “Yan Shi”, “Sikuquanshu” has given a high rating, great influence on later studies Yan stone, and his collection of famous story is also very legendary. After the Southern Tang Li Yu possession of many, which “thirty-six peak Yan” and “seventy-two peak Yan” have been Mi Fu collection and studied. After the death of the Queen after the death of the stone, the flow of folk, the flow of dozens of people, Mi Fu love, had five hundred and two gold to buy. Accidentally lost this material. Mi Fu took great responsibility, had poetry poem: “Yanshan is not visible, my poet sigh. Only jade toad, to the frequency of tears.” Mi Fu made “Yan history” more than a thousand years, but the descendants of research, understanding of the text of the ancient woods of the material, shape, decoration and even Yan Yan technology and other aspects have an important reference value. His theory of “four-phase stone” in the history of Chinese history of stone is also extremely important, this theory not only led the trend of the moment of the stone, is still the relics of the “return to classical, Thanksgiving true” classic. theory Mi Fu in addition to calligraphy to achieve a high standard, the book is also a lot of books. In the theory of calligraphy, especially on the cursive theory strongly against the Tang Dynasty calligraphy law is still the law of the law, too much emphasis on the Wei Jin dull naive, advocating the two king of the program. Author of “book history” “Haiyue famous” “treasure chapter to be recorded” “commentary” and so on. Showing his excellent courage and fine to the appreciation of the predecessors more ridiculed, but never because of the ancient language, for the ancient bookstore heavy, but too many words, blame Yan Liu, Harsh. Set the ancient new, the pursuit of individuality to create Mi Fu in the “Haiyue famous words,” said: “My book is a small print book like a character.” The only possession of the traces of the trail, between or with, not with the caller. Heart is not only stored, free pen, have natural, prepared Its quaint. Emperors failed to stand home, people that my book for the ancient words, cover to take the strengths, and always become both old, from home, people see, I do not know why the ancestors also. There is nothing filled with heroic feelings. Mi Fu’s “ancient words”, in fact, he learned the experience of calligraphy. Mi Fei to learn the calligraphy of the Tang Dynasty after reflection, found the Tang Dynasty calligraphy defects and deficiencies and then transfer Jin “Shang Yun” with the essence of pen, in order to achieve the chic handsome, plain naive mood. Mi Fu set all the family long, which in essence is his conception of innovation on the “fun” pursuit of psychological performance. Derogatory Tang Chongjin, from aesthetic choice Mi Fu beginner calligraphy is started by the Tang, but Mi Fu in the depth of the study of Tang Dynasty calligraphy, the Tang Dynasty calligraphy to reflect on and found Yan Zhenqing, Liu Gongquan, Chu Suiliang and other Tang calligraphy by the regular program of excessive restraint, calligraphy “Fun” aesthetic taste can not be reflected, it began to produce criticism of the Tang. Mi Fu book on the “Haiyue famous words” in the Tang Dynasty calligraphy comments to see: “Europe, Yu, Chu, Liu, Yan are a book also. Arranged, how can we die, Lack of fiber thick … … “Thus, Mi Fu is found in the Tang Dynasty calligraphy over-emphasis on the program, resulting in Tang Kai” fun “gradually missing, showing excessive programmatic and rational drawbacks, and Mi Fu’s pursuit of chic natural Of the “real fun” is contrary to the. However, Jin’s calligraphy is the natural rate of real aesthetic realm and Mi Fu’s pursuit of “real fun” aesthetic coincide. Poetry Mi Fu later lived in the state of Dantu (now this is Jiangsu), there are mountains and trees. Named its poetry collection for the “mountain set”, there are a hundred volumes, are mostly scattered. Today, there are “Po Jin Yingying set”. Mi Fu can book and poetry, poetry that lattice, lofty, self-contained. Try to write poetry cast Xu Chongyuan, since the words “not a person, life has not recorded a cast expensive”, unique for its long, deliberately different for its short. Major works: Yan Shan Ming “Yan Shan Ming” hand roll, ink paper, 36 cm high, 138 cm long, divided into three sections. The first paragraph for the Mi Fu with the South Tang Cheng heart tea writing thirty-nine lines of the book: “Yan Shan Ming colored water floating Kunlun Lake in the top of the black clouds hanging dragon strange electric shock under the shock of the string of special changes Jinshan Qianxuan book. “In the pen on the vigorous and vigorous, with the potential of the Pentium, tendon bone Yi, change infinite. Knot words, free play, dumping among the stable, and thus dignified among the graceful, compared to the “multi-view floor poem” “Rainbow County Poetry” less flying white Smart, more bold, Pentium, Shen Dayun fast, is Rice book mature for the Mi Fu calligraphy in the boutique. Mr. Qiang Fu poem said: “envy of Xiangyang a pen, exquisite eight to write autumn deep. This hand-rolled in an orderly manner, once into the Northern Song Dynasty, the Southern Song court. Southern Song Lizong was right bearing Jia Sidao collection. Handed to the Yuan Dynasty, was the Yuan Dynasty’s most famous calligraphy and painting collectors Ke Jiu Si collection. Qing Dynasty Yongzheng years, was painting and calligraphy connoisseur, Sichuan Chengdu prefect in the collection. As a result of historical reasons, this volume unfortunately unlucky to the east, by the Japanese neighborhood museum collection. Shu Su posts “Shu Su posts”, also known as “ancient poetry posts”, ink silk, the book. (1088 years), Mi Fu thirty-eight years old, a total of eight books from the various poems, accounting for 71 lines 658 words, the Department of money. “Shu Su posts” Ming Dynasty Yuan Yuanyuan, Dong Qichang, Wu Ting and other famous collectors collection, the Qing Dynasty fell into Gao Shiqi, Wang Hongxu, Fu Heng hand, after entering the Qing government, the existing Taiwan Palace Museum. “Shu Su posts” book in the Wusi column, but the momentum was not limited, rate of indulgence, with the pen Junmai, gestures flying, mention by turning to pick, song to make changes. “To be ancient,” the two is still out to the line of regret, the more the back of the more free and easy flying, superb look. Mi Fu with pen hi “octahedral front”, unpredictable. This post with pen changeable, is the side of the possession of dew, length and thickness, body thousands, fully embodies his “brush” the unique style. Because of Su Su rough, the book go all out, so Dong Qichang in the “Shu Su posts” Postscript said: “This volume is like a lion stroke, to go all out, when the life for cooperation.” In addition, because the silk fabric is not susceptible to ink and the emergence of more dry pen, so that all the ink has a strong concentration of light, such as thirsty Benfen, feel more exciting and moving. Rainbow County Poetry Volume “Hongxian poetry volume” Department of Mi Fu essay, the book of two seven words of the poem line of calligraphy posts. Paper ink volume, a total of 37 lines, each line 2,3 words ranging. Mi Fu handed down the works, the characters calligraphy rarely, the characters are not Mi Fu director, Mi Fu taste that the book for the “brush”, which in his characters in the performance was more obvious. The posts of priority, a strong sense of rhythm, with the wet and wet ink, seamless, was natural and interesting. Such as the beginning of the first “Hongxian old clouds fast Ji day Qing Shu” 11 words, at one go, the pen is dry and scattered. Posts after the gold Dading 13 years Liu Zhong travel postscript. This is a photocopy of the world. This volume for the Mi Fu through the beautiful rainbow County (now Anhui Sixi), the brush written on the poem. Mi Fu’s character line handed down very little, and this is the latest year’s masterpiece, which is very precious. More King House Poems “Multi-King House poetry book” is Mi Fu late works, with the pen old and spicy, heavy, between the side of the frame to see the sound, extremely bold, pen force majestic. “Brush word” in the way of writing in this book was very obvious, many strokes of the pen showing a scattered front. Some vertical pen, write pen because of the rapid operation and stay white. The whole works of momentum heroic, ups between the strokes contains a huge tension. “Duojing Lou poetry book” consists of 11 albums, each page of paper vertical 31.2 cm, horizontal 53.1 cm, wrote a total of 41 lines of words, each line for the two words, and some are only one word, full display The Mi Fu big line of books of the magnificent spirit. “Multi-King House poetry book” was originally a long scroll, in the Song Dynasty has been framed into a book, the Ming and Qing Dynasties for many collectors, is an orderly calligraphy trail. Tiaoxi poetry volume Full name “will be the Tiaoxi opera for the Friends of poetry volumes”, Mi Fu book, paper, line books, vertical 30.3 cm, horizontal 189.5 cm. Beijing Palace Museum. Full volume of 35 lines, a total of 394 words, the end of the year “Yuan Wu Chen August 8 for”, known as Song Zhezong Yuan You three years Wu Chen (AD 1088), when Mi Fu 38 years old. The beginning of a sentence “will be Tiaoxi opera for all friends, Xiangyang Man Shi Fu.” Know the book for the self-written poetry, a total of six first. This volume with a pen center straight down, thick fiber and out, throwing pen swiftness, vertical and horizontal unrestrained. In particular, Yunfeng, positive, side, possession, dew change rich, dotted twists and turns transition coherent, mention the ups and downs of natural super Yi, no carved marks. Its body is comfortable, the palace of small convergence, to maintain the balance of the center of gravity. At the same time long painting vertical and horizontal, stretch freely, rich suppression of ups and downs. Through the font slightly to the left, more than the side of the potential, in the insurance in the pursuit of Pingyi. Full book style really natural, happy dripping, change has caused, interesting, reflecting the typical appearance of Mi Fu middle-aged book. Wu Qizhen “painting and calligraphy” comment on this post said: “pen chic, comfortable structure, cover Yan Yan Gong public.” That the book Zong Fa Yan Zhenqing from the new artistic features. At the end of this volume there are his son Mi You Ren Postscript: “right out of all friends and other poems, the first minister Fu Fu really footprints, Chenmi Friends of the Friends of the identification of Christine.” After the paper another Ming Li Dongyang Postscript. According to Kam seal imprint, know this post has been hidden in the Southern Song Dynasty Shaoxing House, Ming Yang Shiqi, Lu Shui Village, Xiang Yuan Bian Zhujia, after entering the Qing Emperor Qianlong, and engraved “three Greek Church Futie.” influences: Since the Song Dynasty, Mi Fu’s calligraphy influence can be described as important. Mi Fu’s book, generally believed that the first book to learn rice, should push his eldest son Mi Youren, sub-father biography, quite achievements, millet “move only blessing” quite old rice style. Song Dynasty Wei Weng “Heshan set” cloud: “Yuanhui book though not catch his father, such as Wang Xie children, own a style.” Mi Fu calligraphy on the later influence is mainly in the South after the crossing. According to records, as the Shaoxing emperor visited his book, widely collected, possession of the House, before the valuable in the world, and ordered people engraved “Shaoxing rice paste” so the world Xi Ran learn rice. After the South crossing, Zhang Xiaoxiang, Wu Ju, Fan Chengda, Zhang Yizhi, Zhao Mengjian and so on to take the law book, quite successful. Southern Song Xiaozong, Ningzong era of Wu Ju, the word father, home cloud gorgeous lay, Gao Zongxian queen of the nephew, the princes of the king of Wu Yi son. Official to the town of Anjun Jiedushi, sent Jianfu and left behind. “Book history will be” Comment on him: “word class Mi Fu, and steep over.” “Billiton Do not set” also recorded. The special study Mi Fu calligraphy, is recognized as a master of rice, his boutique can almost and Mi Fu calligraphy chaos. Its pen side of the majority, edge more exposed, stressed the severity of contrast, pen pen light. As the emperor’s esteem, the secretary is also popular among the people. Mi Fu’s influence is not limited to the Southern Song Dynasty, and the Southern Song Dynasty confrontation of the Jin Dynasty, also popular rice book, on behalf of Mi Fu’s nephew Wang Tingyun. Its calligraphy and dry wood bamboo Mi Fei, pay attention to ink and fun, not for the law of the trap, on the ancient people. Wang Tingyun is Mi Fu calligraphy followers, study rice word and take the law Tang, for the world said. His calligraphy won the Mi Fu style, bearing extraordinary, but the edge slightly distracting, the structure tends to be stable, calm and soothing. Yuan Dynasty books strongly retro, return to Jin and Tang dynasties, mostly affected by Zhao Mengfu. White 珽, Zhang Duo, Li Yuan Gui and others are homesaw school. Mi Fu “coral post” at the end of the family to the yuan between people Shi Guangyuan book, still have rice intention, but the lack of Chun Chun trend. In the early and middle of the Ming Dynasty, followed by the Yuan Dynasty calligraphy, in general still not off Zhao Mengfu style, in addition, Song Ke, “two sink” (Shen degree, Shen charm) book, also quite popular, , Because the Ming people like the game Han ink, the pursuit of unrestrained, rice book just to meet their temperament. Such as Zhang Bi, Li Yingzhen, Zhu Yunming, Wen Zhengming, Chen Chun, Mo is the dragon, Xu Wei, Xing Dong, Mi Wanzhong, Dong Qichang, Wang Duo, Among them, Dong Qichang, Wang Duo the highest achievement, the greatest impact. Qing Dynasty monument rise, do not open pattern. But the post to learn the wind is not reduced, Fu Shan, Zha Shi superscript, Xu You, Da Chongguang, Wang Hongxu, Jiang Chenying, Zhang Zhao, Chen Yuxi, Wang Shu, Weng Fang Gang, Wang Wenzhi, Liang Tongshu, Weng Tonghe, Qian Feng et al. Learn the road, although they are deeply influenced by Dong Qichang’s calligraphy, but can be next to Mi Fu and other famous books, to seek their own art world. Mi Fu’s calligraphy has been far-reaching, and since the Republic of China, people have entered into a new era of art and research on Mi Fu’s calligraphy. In particular, after entering the 20th century, 80 years, the study of rice is even more common practice, but also achieved some success.
2073	dbpedia	1	97	https://hk.art.museum/en/web/ma/collections/xubaizhai-collection-of-chinese-painting-and-calligraphy.html	en	Xubaizhai Collection of Chinese Painting and Calligraphy	https://hk.art.museum/ma…ems/share_en.png	https://hk.art.museum/ma…ems/share_en.png	[ "https://hk.art.museum/hkmoa-theme/images/spacer.png", "https://hk.art.museum/image/journal/article-23133542.jpg", "https://hk.art.museum/image/journal/article-30073435.png", "https://hk.art.museum/image/journal/article-31240240.png", "https://hk.art.museum/Collection_images/xubaizhai-collection-of-chinese-...	[]	[]	[ "Xubaizhai Collection of Chinese Painting and Calligraphy \| Hong Kong Museum of Art" ]	null	[]	null	Xubaizhai Collection of Chinese Painting and Calligraphy \| Hong Kong Museum of Art	en	/hkmoa-theme/images/favicon/favicon.ico		https://hk.art.museum/en/web/ma/collections/xubaizhai-collection-of-chinese-painting-and-calligraphy.html	The Xubaizhai Gallery of Chinese Painting and Calligraphy was built in 1992 to provide a permanent home for the collection donated by renowned art connoisseur Mr Low Chuck-tiew (1911 – 1993). Mr Low Chuck-tiew's interest in Chinese painting and calligraphy was first inspired by his father, who was himself an avid art collector. Later, as a student at Jinan University in Shanghai, Mr Low took up painting under the instruction of the famous bird-and-flower artist Xie Gongzhan (1885 – 1940) and the celebrated landscape painter Huang Binhong (1865 – 1955), and it was the influence of Huang's connoisseurship in the field of Chinese art that stimulated Mr Low to start his own collection, despite his limited financial resources. Arriving in Hong Kong after World War II, Mr Low soon came to realise the extent of the exodus of Chinese artworks from China through the territory, which was a thriving marketplace for the trade in Chinese antiquities. Deeply perturbed by the sight of these objects being sold overseas and with a growing anxiety over the dispersal of large swathes of China's cultural heritage, Mr Low was spurred to redouble his efforts to acquire Chinese works of art. He named his collection the Xubaizhai Collection of Chinese Painting and Calligraphy after one of his most treasured items, a calligraphic plaque by Yi Bingshou (1754 – 1815). The collection encompasses works that date from the Six Dynasties through to the twentieth century and is particularly strong in works by the masters of the major schools of the Ming (1368 – 1644) and Qing (1644 – 1911) dynasties, including the "Wu School", the "Songjiang School", the "Four Monks", the "Orthodox School" and the "Eight Eccentrics of Yangzhou". A fascinating period in the history of Chinese art, the mid to late Ming saw the proliferation of a great diversity of schools and stylistic currents. A new and equally exciting era then emerged during the transition to the Qing, in which orthodoxy and individualism co-existed within the literati tradition: the orthodox followed the tenets elaborated by the Ming artist Dong Qichang (1555 – 1636), while the individualists escaped into a private world of eccentricity, thus helping to create new horizons in painting during the early Qing period. Mr Low Chuck-tiew donated his collection to the Hong Kong Museum of Art in 1989 in the well-founded hope that it could be both preserved and made available for public display in order to maximise its educational and historical value. The donation represents a valuable enrichment of the museum's own catalogue of Chinese paintings and calligraphic works, significantly expanding its previously rather parochial focus to constitute a comprehensive collection of undoubted quality. What's more, the donation reflects the growing confidence of the territory's cultural community in our institution. The inauguration of the Xubaizhai Gallery at the Hong Kong Museum of Art is an acknowledgement of the generous gesture of an eminent connoisseur in turning an important private collection into a valuable public one. Avadana-sutra, volume 6 in small regular script Jackdaws and wild geese Clouds amid mountains and stream Poem on Encountering Sorrow in running script In the deep shade of a bamboo grove Song on the Spring of Luoyang in running script after Mi Fu Poem on Yinyi Lou in running script Playing the lute under pine trees Camellia, plum blossoms and rock Landscape Fisherman returning home Landscapes Lotus and mallard A dream journey to the mountains and rivers Flower and fruit Boating on a willow stream Two scholars versifying Three fruits Spring trees in Jiangnan Tasting tea Poem on the Shuzi Spring stone carving in running script Spring outing Free copy of quotation from Huaisu's autobiography in running script Avadana-sutra, volume 6 in small regular script Anonymous (Tang dynasty, 618 – 907) Not dated Handscroll (section), ink on paper 26.8 x 1489.5 cm Sutras – collections of dialogues and discourses from classic Mahayana Buddhism – first attracted worldwide attention and academic interest when the Dunhuang Library Cave housing ancient manuscripts, paintings and artefacts was discovered in 1900. Since that time, the dispersal of thousands of the manuscripts among libraries and institutions around the world following a succession of international archaeological expeditions has prompted a new field of research known as "Dunhuang Studies". Although the vast majority of sutra manuscripts have been found at the Library Cave, the practice of transcribing sutras was not limited to Dunhuang, but was carried out at several other sites along the old Silk Road. The copying of Buddhist sutras and the private patronage of this practice were both considered a form of personal devotion and a way to attain spiritual merit. Handed down over the centuries, this valuable Avadana sutra was previously held in the collections of the imperial family of the Qing dynasty. The sutra is written in a small regular script that is elegant and well balanced and that places the emphasis on even brushstrokes. Known as jingshengshu, this writing style differed from the established calligraphy tradition of that time and called for the use of a shorter and thicker brush. Jackdaws and wild geese Lin Liang (ca. 1426 – ca. 1495) Not dated Hanging scroll, ink on silk 169.5 x 102.5 cm A native of Guangzhou, Lin Liang entered the court as a painter and was quickly promoted to Commander of the Imperial Bodyguard, the highest rank a court painter could achieve. In his early years, he had studied landscape painting under his fellow villager Yan Zong and figure painting under He Yin. Adept at painting flowers and birds in ink with spontaneous yet forceful and expressive brushstrokes, Lin drew heavily for his technique on the styles of the Southern Song Chan (Zen in Japanese) painters Liang Kai and Muxi. As a bird-and-flower painter, Lin Liang enjoyed equal fame with Lü Ji. The jackdaws and wild geese in this hanging scroll are portrayed in a natural setting of rock and withered wood. By depicting the energetic and lively movement of the birds with a bold and expressive brushwork, Lin successfully conveys the charming vitality of his subjects. Following the style of the Southern Song Painting Academy, he employs "axe-cut" strokes and the ink wash technique to depict the rock and the wood. Clouds amid mountains and stream Shen Zhou (1427 – 1509) Not dated Hanging scroll, ink and colour on paper 148 x 68.2 cm Shen Zhou, courtesy name Qinan, also known as Shitian or Baishiweng, was a native of Suzhou in Jiangsu province. A student of Chen Kuan, Du Qiong and Liu Jue, he modelled his paintings on the styles of Wang Fu and the Four Masters of the Yuan dynasty, but also extended his interest to the works of the Zhe School. In his younger days, he painted small-format works with restrained and tightly woven brushstrokes, a style that became known as "fine Shen". But after reaching the age of forty, he adopted large formats and painted in a bold and expressive manner, which was then termed "rough Shen". Having inherited the mogu (boneless) method of bird-and-flower painting from Qian Xuan, he opened up a new horizon in literati painting style and went on to teach Wen Zhengming and Tang Yin. Shen, his two students and Qiu Ying became known as the Four Masters of the Ming dynasty. This work belongs to the "rough Shen" style where the brushstrokes are executed in a bold and unrestrained manner. Left blank to represent the clouds and mist, the void halfway up the mountains not only moderates the dense composition of the painting but also adds a more towering effect to the lofty mountains. Poem on Encountering Sorrow in running script Zhu Yunming (1461 – 1527) 1496 Handscroll (section), ink on paper 29.5 x 582.7 cm A native of Suzhou in Jiangsu province who served as an official in Guangdong province and Nanjing, Zhu Yunming, also called Zhishan, was one of the Four Gifted Scholars of the Wu district. Assiduously studying and copying the calligraphy of the Wei and Jin masters in his middle age, he inherited his small regular script from the neat and disciplined brushwork of Zhong Yao and Wang Xizhi, while his running script incorporated the stylistic features of the Jin masters. For his cursive script, however, he adopted the forceful, unrestrained styles of Huaisu and Huang Tingjian. Zhu is regarded as one of the most prominent calligraphers of the mid Ming period. This work is one of Zhu Yunming's early works. Qu Yuan, a poet of high moral standing in the Warring States period, wrote the original poem, which became a famous model and theme for calligraphers, painters and the literati through the dynasties. In Zhu's work, the neat and graceful running script differs sharply from his imposing cursive script, while his elegant brush also reveals the influence of the early masters Zhong Yao and Wang Xizhi. This handscroll was formerly held in the imperial collections of the Qing dynasty. In the deep shade of a bamboo grove Wen Zhengming (1470 – 1559) 1527 Hanging scroll, ink and colour on silk 71.5 x 41 cm Wen Zhengming, original name Wen Bi, also called Hengshan, he received direct tutelage from Shen Zhou but also paid particular attention to the styles of Zhao Mengfu, Wang Meng and Wu Zhen. His landscape paintings exhibit two different modes, one bold and expressive, and the other meticulous and restrained, while his figure painting assimilated the plain-outlining technique of Li Gonglin, and in his bird-and-flower painting he adopted the spontaneous style of the Yuan painters. He modelled his calligraphy on the styles of Huang Tingjian and Zhao Mengfu and excelled in writing small regular script. One of the Four Gifted Scholars of the Wu district and of the Four Masters of the Ming dynasty, Wen had many descendants and students to perpetuate his tradition, and he thus exerted a profound and far-reaching influence on the history of Chinese painting. This painting depicts a scholar taking a rest in the summer breeze. The crane, the bamboo, the junipers and the rock are impregnated with literati symbolism, while the composition of the painting relates poetically to aesthetic theories. In the inscription that accompanies the painting, Wen describes how he learned the blue-and-green painting style from Zhao Mengfu and pays tribute to this master as well as to Wang Wei. Song on the Spring of Luoyang in running script after Mi Fu Dong Qichang (1555 – 1636) Not dated Handscroll (section), ink on paper 41 x 461 cm A native of Songjiang who later attained the post of Minister of Rites, Dong Qichang, courtesy name Xuanzai, also called Sibai, enjoyed wide acclaim among his contemporaries, while his theory on the "Northern and Southern Schools of Painting" exerted a tremendous influence on subsequent generations. Assimilating the styles of various masters, he specialised in regular, running and cursive scripts, and his calligraphy was a great favourite of Emperor Kangxi. He is hailed as one of the most influential calligraphers of the Ming and Qing dynasties. The handscroll format is well suited to Dong's calligraphic execution. This work, which demonstrates his mastery of brush techniques, is a creative copy after Mi Fu, one of the Four Song Masters in calligraphy. Mi Fu's art obviously represented an ideal model for Dong's artistic pursuit, as a great deal of his calligraphy works and paintings were executed in the style of this master. Although Dong mentioned in the inscription that this handscroll was done in the style of Mi Fu, his interest laid not in recreating any similarity of form but in capturing the spirit of the ancient master's calligraphy. Dong created his unique style by producing a rhythmic movement in the overall pattern of the work, which is evoked through the subtle change of black and grey ink as well as the variations between thick and fine brushstrokes. Poem on Yinyi Lou in running script Wang Duo (1592 – 1652) 1631 Hanging scroll, ink on silk 286 x 73 cm Wang Duo, courtesy name Juesi, was from Mengjin in Henan province and held official post as high-ranking as Secretary in the Rites and Education Ministry. His landscapes are reminiscent of Jing Hao and Guan Tong of ancient times. He did not give much texture to his rocks and his colouring was light. He occasionally painted flowers and rocks. His calligraphic style was derived from ancient masters, such as Zhong Yao, Yan Zhenqing, Mi Fu, Wang Xizhi and Wang Xianzhi, but had its own individuality nonetheless. He was particularly skilful at the running script and cursive script, and established a style of his own which was quite independent of those of Zhao Mengfu and Dong Qichang, which were the most popular styles at the time. This work has vigour in addition to the unusual and varied forms, with the use of dry and wet brushstrokes, resulting in variation in ink tones. The close links between one character and another, and the distribution of spaces within the characters, all speak for his well-practised skills. Each column is united into a coherent whole by the continuous flow and liveliness of the strokes. Combining his powerful strokes with frequent variation in ink tones, Wang Duo brought the cursive script to a new height during the late Ming and the early Qing periods. Playing the lute under pine trees Xiao Yuncong (1596 – 1673) 1666 Hanging scroll, ink and colour on paper 304.5 x 103.5 cm Xiao Yuncong, courtesy name Chimu, enjoyed a considerable reputation for his poetry and calligraphy, but it was as a painter, where he followed Ni Zan and Huang Gongwang, that this native of Wuhu in Anhui province excelled. His landscape paintings were executed with dry brush slashes that shaped an angular and delineated configuration, and his style exerted a profound influence on artists in the district of Wuhu who later formed the Gushu School of Painting. He also had a connection with Hongren, on whom he also seemed to have had an impact judging by the stylistic similarities that they shared. This painting is a monumental execution of a vocabulary basically derived from Ni Zan. Using the cebi (side brush), rocks are delineated block by block and stacked up into a mountainous terrain that is elevated to a great height on a distinctly tilted plane. The linearity of stark lines typically used by Ni Zan to depict a Jiangnan water scene is here transposed to render a mountain landscape. The ancient master's stock motifs — the rustic pavilion by sparse trees, the stretch of water and distant rolling hills — are subsumed in a densely packed composition, as Xiao Yuncong's unique manipulation of the Ni Zan idiom further develops the austere style of this genre. Camellia, plum blossoms and rock Chen Hongshou (1598 – 1652) Not dated Hanging scroll, ink and colour on silk 94.5 x 46 cm A native of Zhuji in Zhejiang province who was at one time a monk and who in his later years earned his living as a professional painter in Hangzhou and Shaoxing, Chen Hongshou, style name Zhanghou, alias Laolian, received direct tutelage in painting from Lan Ying and emulated Xu Wei's style. His figure paintings are characterised by exaggerated and archaistic forms, while the forms and colours of his landscapes and bird-and-flower paintings are also rich in decorative flavours. Chen exerted a great influence on later generations such as the Eight Eccentrics of Yangzhou, Ren Xiong, Ren Yi and others. The fine, smooth and even brush lines in this painting are characteristic of Chen's late style. Demonstrating his sophisticated execution of lines by marking out the plum blossoms and camellia in a meticulous and elegant manner, Chen also deliberately scatters moss dots over the tree and rock as decorative elements to accentuate the images of his subjects. The distorted structure of the trunk and branches, twisting exaggeratedly, is a distinctive feature in works by Chen's contemporaries. Landscape Hongren (1610 – 1664) Not dated Hanging scroll, ink and colour on paper 187 x 78 cm Hongren, also known as Jianjiang Xueren, a native of Shexian, Anhui province, became a monk at Mount Wuyi to avoid association with the Manchu rulers after the fall of the Ming and later, after travelling extensively across the nation, he took up residence at Mount Huang. He first followed the painting styles of the Song masters, then adopted the styles of the Four Masters of the Yuan dynasty and pursued a profound interest in the style of Ni Zan. His landscapes of the scenery of Mount Huang are characterised by a geometrically delineated composition as well as dry and angular brush lines. One of the Four Monks, he is also regarded as an important figure of the Huangshan School and the Xin'an School. This painting makes stylistic allusion to Ni Zan in an exaggerated and formalised manner. The river landscape so often found in Ni's works is transformed into rocks and cliffs in a rectilinear formation of overlapping planes. In the foreground, low slopes drawn with "hemp-fibre texture strokes" lead to a stream flowing to the right. The tree directs the eyes to the complex of high bluffs with receding flat tops that rises to dominate the composition. To indicate this height, a house is set in a clearing at the back of the rocky promontory, and the entire composition is thus filled by tightly interlocking shapes and textures. Fisherman returning home Zha Shibiao (1615 – 1698) 1684 Hanging scroll, ink on paper 284 x 125 cm A native of Anhui province, Zha Shibiao, courtesy name Erzhan, also called Meihe, refused to take up any official post after the fall of the Ming dynasty, eventually settling in Yangzhou in his later years. He followed the calligraphy styles of Dong Qichang and Mi Fu, while his landscapes in the style of Ni Zan are suggestive of a wintry desolation also reminiscent of Hongren. His later brushwork, having assimilated the styles of Wu Zhen and Dong Qichang, became wetter and more expressive in contrast to Hongren's sparse, dry landscapes. Zha was famed as one of the Four Masters of Xin'an. Landscapes Gong Xian (1619 – 1689) Not dated Album of two leaves (leaf no. 2), ink on paper Each ca. 20.2 x 18.3 cm Gong Xian, courtesy name Banqian, was a native of Jiangsu province who, in the late Ming, retreated to Nanjing where he earned his living by selling paintings and teaching. Attaining fame as the leading figure of the Eight Masters of the Jinling School, he further developed the jimo (ink piling) technique of the Song dynasty and painted landscapes with layers of dense yet translucent brushstrokes. His use of soft, mottled ink dots gives his paintings a chiaroscuro effect and a sense of vigorous substantiality. Following his early studies under Dong Qichang, Gong Xian was able to develop his own personal style and he is acclaimed as one of the most important individualist painters of the early Qing period. The contrast of light and dark and the moist-looking ink dots and texture in this album leaf are characteristic of the mature style of his late period. The tall trees depicted with differently delineated foliage are juxtaposed as the focus of the picture, while at the lower right a meandering stream leads the way back to the distant ravines. The composition is confined at the top by the expanse of mist as well as the cottages nestling among the horizontal cliffs, and this arrangement of the background provides a dramatic contrast to the verticality of the trees to convey a sense of nature's durability. Lotus and mallard Zhu Da (1626 – 1705) Not dated Hanging scroll, ink on paper 117 x 52.5 cm Zhu Da, also known as Bada Shanren, went under many pseudonyms. A descendant of the Ming imperial family, he fled to become a monk after the fall of the dynasty and was later known as one of the Four Monks. His paintings, in particular those that take a bird-and-flower subject, are rich in symbolic meaning which he used as a vehicle to express his inner emotions. Initially modelling his landscapes on Dong Qichang, he later incorporated the styles of Huang Gongwang and Ni Zan. This bird-and-flower painting, characterised by simplified and abstract forms but vigorous and expressive brushwork, is derived from the styles of the Ming masters Lin Liang, Chen Chun and Xu Wei. The lotus leaves are painted in the xieyi style where the brushwork is free and unrestrained, but the eccentric manner of portrayal — the desolate image of the mallard with its queer eye staring upwards produces an enigmatic and disquieting emotion — was seldom practised in this genre by his contemporaries. What's more, the large blank area representing the pond creates and maintains the stability of the whole composition, leaving room for the viewer's imagination to run free. A dream journey to the mountains and rivers Wang Hui (1632 – 1717) 1702 Handscroll (section), ink on paper 24.2 x 379 cm Born to a literati family in Jiangsu province, Wang Hui, courtesy name Shigu, also known as Gengyan Sanren or Qinghui Zhuren, started to paint landscapes in the style of Huang Gongwang in his early years, but his painting skills improved immeasurably under the direct tutelage of Wang Jian and Wang Shimin. These two masters and their student Wang Hui, together with Wang Yuanqi, are collectively known as the Four Wangs, with Wang Hui later becoming one of the leading masters of the Orthodox School. Wang Hui was summoned by the emperor Kangxi to the capital in 1691 to supervise the production of a series of handscrolls intended to record the imperial tour of inspection to southern China, and this handscroll was completed following his return from the capital. Wang had once proclaimed that perfection in painting could be achieved by employing the techniques of ancient artists, in particular the Song and Yuan masters, and the inscription here suggests that this scroll was executed in the styles of the Song master Juran and the Yuan artist Wang Meng. The mist swirling across the mountain slope and the alum stones on the hilltops are elements derived from Juran, while the curling "ox-hair" brushstrokes that model the rocks and hills are a hallmark of Wang Meng. On the other hand, the "hemp-fibre texture strokes", the rows of small trees on the mountain ridges and the composition of the landscape are reminiscent of another great Yuan master Huang Gongwang, and, in combining the different styles of these old masters, the painting serves to exemplify Wang Hui's skilful eclecticism. Flower and fruit Yun Shouping (1633 – 1690) Not dated Album of two leaves (leaf no. 1), ink or ink and colour on silk Each ca. 31.5 x 25.5 cm Though born to a prominent family in Jiangsu province, Yun Shouping, original name Ge, also called Nantian, abstained from entering the civil service in his early years and instead devoted himself to painting, travelling extensively and becoming acquainted with the artists Wang Hui and Zha Shibiao. He switched to bird-and-flower paintings in his middle age, when he adopted Xu Xi's mogu (boneless) method. Emphasising painting from life in order to capture the inner spirit of the subject, he was regarded as the most eminent flower-and-bird painter and one of the Six Masters of the Qing dynasty. Yun frequently sought stimulation from the past, as can be seen in this album leaf: according to the inscription, the ink peony was inspired by the lofty style of the Yuan masters, a tradition that was continued by the Ming artists Shen Zhou and Chen Chun. Yun employed the "boneless" technique without form-defining outlines, a method that originated with the eleventh century master Xu Xi. The leaves and stem are dabbed with diluted ink wash, while the flower, depicted in sketchy strokes, expresses the upright mood of the peony, a unique trait of the artist. By imbuing fresh life and beauty into the genre of flower painting, Yun's art represented a new mode in the more spontaneous style that attracted a popular following throughout the Qing dynasty. Boating on a willow stream Shitao (1642 – 1707) Not dated Hanging scroll, ink and colour on paper 127.5 x 54 cm Shitao, original name Zhu Ruoji, is known by many other names, including Dadizi and Kugua Heshang. A descendant of the Ming imperial family, he fled to become a monk after the fall of the dynasty and was thus later known as one of the Four Monks. During his sojourn in Anhui province, he befriended Mei Qing, who had a great impact on Shitao's early landscapes, and it was during this time that he became adept at painting Mount Huang. Settling in Yangzhou in his later years, he became a close friend of another of the Four Monks, Zhu Da, and his works exerted a significant influence on the Yangzhou School of Painting. Shitao attained a wonderful versatility in his paintings, which are characterised by vigorous and powerful images with an extraordinary degree of individuality. This hanging scroll is primarily painted using wet ink to depict a scene of a stream with willows along its banks. Ink dots of various tones are scattered in size and location, an effect that creates a moist and misty atmosphere that is typical of Shitao's style. Like many of his other paintings, this work suggests the forthrightness of Shitao's character that finds expression in his vigorous and bold brushwork. Two scholars versifying Hua Yan (1682 – 1756) 1732 Hanging scroll, ink and colour on paper 176.5 x 96 cm Born to an impoverished family in Fujian province, Hua Yan, also known as Xinluo Shanren, settled in Yangzhou, where he earned his living as a professional painter and a reputation as one of the Eight Eccentrics of Yangzhou. Fond of drawing on the heritage of the old masters, his early figure paintings were influenced by the style of Chen Hongshou, but his style changed when he turned to painting as a professional career. This painting of two scholars versifying and drinking tea in the shade of a tree demonstrates Hua's sophisticated style. The figures of the scholars and the servant are painted with smooth lines reminiscent of the style of Chen Hongshou. In depicting the scholars versifying, Hua not only portrays the physical appearance of the figures but also captures their lofty spirit; because of their important status, the two scholars are depicted larger than the servant, even though he occupies a more prominent position in the painting. The rock in the foreground is painted using the lanyemiao method (orchid leaf stroke) derived from Ma Hezhi's style. By painting the trees with different foliage in a verdant environment, Hua created a lyrical atmosphere ideal for the presentation of versifying scholars. Three fruits Emperor Qianlong (1711 – 1799) 1760 Handscroll, ink on paper 25.4 x 82.7 cm Emperor Qianlong, original name Aixinjueluo Hongli, also known as Gaozong, reigned in China for sixty years. More than 2,500 paintings and calligraphic works and 43,000 poems had been attributed to Qianlong, and he was regarded not only as a prolific painter and calligrapher but also an enthusiastic writer and poet. He was proud of his connoisseurship and had a very strong passion for authentication, inscribing and impressing his collector's seals on the works of the imperial collection. Court painting reached its zenith during the reign of Qianlong in the Qing dynasty, as the court academy produced a large quantity of works serving in large measure as visual records of glorious events as well as for the personal pleasure and enjoyment of the emperor. Although the ink plant is the most frequent subject in Qianlong's works, the formalised juxtaposition of the fruit and the feeble brushwork of this painting demonstrate that he was not highly competent in this art. The painting also bears his own dazzling seals impressed in prominent positions. The fluid movement with a subtle balance of brushstrokes in his calligraphy reflect the influence of his favourite Yuan artist, Zhao Mengfu, whose calligraphic style was prevalent in court circles during the Qianlong period. Spring trees in Jiangnan Huang Binhong (1865 – 1955) 1948 Hanging scroll, ink and colour on paper 94.8 x 57 cm A native of Shexian in Anhui province, Huang Binhong, original name Zhi, courtesy name Pucun, took up editorial duties at several publications and held a number of teaching posts in universities and colleges. An indefatigable traveller and observer of nature, he brought to his landscapes an incomparable familiarity with the natural world. His style reflects in particular the influence of Shiqi and Shitao: his brushwork is at once massive and intricate, and he also reveals a predilection for dark ink tones and for intermingling dry and wet brushstrokes. This hanging scroll, executed in 1948, was dedicated to Mr Low Chuck-tiew, the donor of the Xubaizhai Collection. Low was a student under Huang and it was thanks to his tutor's guidance that he began to devote his efforts to collecting. The inscription on the painting mentions the Liantaoguan, a studio on the campus of Jinan University where Low took painting lessons. Huang executed the painting in his eighties, the period that is considered to be the most creative and distinctive in the development of his artistic career. Using dots and lines as the principal visual elements of his expressive vocabulary, he creates a rhythmic and vivid movement that goes beyond the superficial resemblance of the subjects depicted. Huang's outstanding accomplishment in the innovation of this tradition opened up a new direction in the genre of expressionistic landscape painting. Tasting tea Chen Hongshou (1598 – 1652) Not dated Hanging scroll, ink and colour on silk 86 x 47 cm Chen Hongshou, style name Zhanghou and alias Laolian, was from Zhuji in Zhejiang province. He took the refuge of monastic life when the Ming dynasty fell, but later in years, he made a living by selling paintings in Hangzhou and Shaoxing. A learned man and a drinker, he was famous for his calligraphy and painting. His temperament was said to be close to that of the Jin artists of the third to fifth centuries. He learned painting under Lan Ying, and received informal coaching from Xu Wei. His calligraphy has a lean, gaunt look, while his paintings of flowers, birds and figures show the traits of the ancient artists. Yet his influence on later artists can be seen in the Eight Eccentrics of Yangzhou, Ren Xiong and Ren Yi. His block prints, such as the drinking chips featuring characters from The Water Margin and figures from The Story of the West Chamber are widely available, and provide an important source for research in the history of figure painting in China. Chen's figure painting style is highly idiosyncratic and shows the brushwork of a professional artist. This painting is a typical example: crisp, angular lines that resemble woodcut, with a deliberate simplicity that harks back to works of earlier artists. The draping of robes and sleeves reminds one of the linear drawing techniques of Gu Kaizhi of Jin and Li Gonglin of Song. The flamboyant air and form suggest the decorative purpose of the work. Flanking the two gentlemen sipping tea are plantain leaves and rockery, which are exquisitely done to enhance the figurative forms, while the few stems of lotus in the vase and the large area of negative space highlight the reclusive mood. Poem on the Shuzi Spring stone carving in running script Zhao Mengfu (1254 – 1322) Not dated Album of seven double leaves (selected), ink on paper Each 19.7 x 10.6 cm Zhao Mengfu, a native of Zhejiang province, was a descendant of the imperial line of the Song dynasty. He excelled in poetry, calligraphy, painting and seal carving. His calligraphy, at once rounded in strokes and swift in tempo, now broad and now slender, was considered to emulate the Jin masters in resonance. He was so accomplished that he has become a new model for later generations. This is an exemplary work of Zhao Mengfu's mature period. An overview of the fluidity of the running script shows he assimilated the stylistic elements of the various masters — Zhao Jie, Huang Tingjian, Zhong Yao, Wang Xizhi, Wang Xianzhi and Monk Zhiyong — and came into his own. The control of the brush is deft and confident. The stylistic elements of all those calligraphers before him (who were in one way or another influenced by the Wang father and son) come together in one perfectly blended organic whole through the rich, rounded application of the tip, the eloquence in rhythm and the alternating fat and slender strokes. It therefore comes as no surprise that this piece of calligraphy had been praised by Wang Wenzhi, a pre-eminent calligrapher of the Qing, as a masterpiece by Zhao. Spring outing Shen Zhou (1427 – 1509) 1483 Handscroll (section), ink on paper 34 x 356 cm Shen Zhou was regarded as founder of the Wu School. Among his many students were Wen Zhengming, Tang Yin and Qiu Ying — the three and their mentor were collectively known as the Four Masters of the Ming dynasty. This handscroll reveals a similarity in brushwork and composition to the style of Ni Zan of the fourteenth century. Ni Zan, style name Yunlin, was one of the Four Masters of the Yuan dynasty. He was a good friend of Huang Gongwang and his paintings show some of Huang's influence. His favourite subject is the landscape around Lake Tai in Jiangsu, painted using the "folded belt texture stroke". There is often a sparse touch in his composition, such as a lone pavilion and a few trees. The brush strokes tend to be light, dry and uncluttered, and he seldom uses colour diffusion in his works. The beginning section of this scroll by Shen Zhou shows a combination of the styles of Huang Gongwang and Ni Zan. The "long hemp-fibre texture stroke" of the rocks and hills is typical of Huang, while the dry, crisp brushwork should come from Ni. At the same time, the dark horizontal dots painted with an oblique brush tip at random are also reminiscent of Ni. But Ni rarely paints figures in his landscapes, and here Shen demonstrates the stylistic feature of his Wu School: the middle section of the scroll has several cottages with bamboo fences, and there is human activity inside. They suggest the idealised way of life of the literati at the time. The creek in front of the cottages guides our eyes to the large patch of water in the distance, done in the technique of liubai, or "negative space". Here Shen is re-interpreting Ni's quiet riverside in a horizontal composition. Towards the end of the scroll, Shen adopts more of the stylistic features of Ni, as seen in the sparsely scattered bare trees, and rocks painted in the "folded belt texture strokes". Free copy of quotation from Huaisu's autobiography in running script Zheng Xie (1693 – 1765) Not dated Hanging scroll, ink on paper 193 x 111 cm Zheng Xie, better known as Zheng Banqiao, was from Xinghua in Jiangsu province. He became a government official through the public examinations system and was posted to Shandong. He left his position after being falsely accused of crimes he did not commit, as a result of his releasing food from the government granary to victims of natural disasters. In his old age, he made a living by selling his own paintings and calligraphy. Among his good friends were Li Shan and Jin Nong, with whom he exchanged techniques. Together with five contemporaries, they were known as the Eight Eccentrics of Yangzhou. Zheng is also the most acclaimed among the eight masters, being well versed in poetry, calligraphy and painting, and was best known for his bamboos in ink. His calligraphic style was a combination of the running and clerical scripts. The text of this piece of calligraphy is extracted from the autobiography of Huaisu, a calligrapher of the eighth century. The characters vary in disposition, form and size, in the iconographic style of Zheng called "liufenbanshu" or "Banqiao style". According to contemporary artist Fu Baoshi, it incorporates the calligraphic elements of traditional script, clerical script, cursive script and regular script. Sometimes the brushstrokes of the characters are rendered in a painterly manner. The characters look slightly flat, while individual brush strokes seem to randomly loom large. The apparent random ease works well to create a coherent whole.
2073	dbpedia	3	61	https://ink-and-brush.com/cai-jing/	en	Cai Jing’s Calligraphy	https://ink-and-brush.co…ed-2-1-32x32.png	https://ink-and-brush.co…ed-2-1-32x32.png	[ "https://ink-and-brush.com/wp-content/uploads/2023/09/cropped-Ink-Brush-logo.png", "https://ink-and-brush.com/wp-content/uploads/2023/09/cropped-Ink-Brush-logo.png", "https://ink-and-brush.com/wp-content/uploads/2023/10/Cai-Jing-in-Listening-to-the-Qin-619x1024.jpg", "https://ink-and-brush.com/wp-content/uplo...	[]	[]	[ "" ]	null	[ "Ink & Brush", "Ink & Brush" ]	2023-11-07T00:03:42+00:00	Cai Jing is a hated figure in Chinese history. However, he was clearly a first-rate calligrapher. Does his bad political reputation outshadow his artistic one?	en	https://ink-and-brush.co…ed-2-1-32x32.png	Ink & Brush -	https://ink-and-brush.com/cai-jing/	Can we appreciate art by hated people? This question is asked a lot in modern times. It has long haunted the history of Chinese calligraphy, too. Cai Jing is perhaps the best example of it. It’s even been argued that he is one of the four great Song dynasty calligraphers, but isn’t listed because of his reputation. Brief biography Cai Jing (蔡京 [Cài Jīng]) (1047 – 1126 AD), literary name Yuan Zhang, was born in Xinghua, Fujian Province during the late Song dynasty (960 – 1279 AD). The Song dynasty can be divided into two distinct periods: The Northern Song (960 – 1127 AD) The Southern Song (1127 – 1279 AD) The Northern Song is seen as the high point of the dynasty, when it controlled most of China. The Southern Song came about once the north of the empire was taken over and occupied by the Jurchen-ruled Jin dynasty (1115 – 1254 AD). The distinction between these two periods is important in discussions of Cai Jing. This is because many at the time, and still today, claim he significantly contributed to the Northern Song state’s failure. Prime minister and reformist During his career, Cai served as an official under the Song emperors Shenzong (r. 1067 – 1085 AD), Zhezong (r. 1085 – 1100 AD), and Huizong (r. 1100 – 1126 AD). He was the Prime Minister of the Song dynasty and a chief counsellors under Huizong. In these roles, he was given great power. Cai claimed to be the successor of the famous reformer Wang Anshi (1021 – 1086 AD), whose work a few decades before had made a big impact on many aspects of the Song state. He used his power to draw up lists of ‘crooked scholars’ and other officials he disliked – namely, those that opposed his reforms. As a result, hundreds of officials were both demoted and banished far away from the Song court. The effect, perhaps unsurprisingly, was negative. There were less checks on Cai’s policies and the power of the government itself declined steeply. He also collaborated with the infamous eunuch Tong Guan (1154 – 1126 AD). Not all of Cai’s policies were implemented. For example, in 1102, his proposal to stop using the imperial examination system to select officials failed. (He also considered abolishing the system itself). Artistic adviser to the emperor Cai gave Huizong both political and artistic counsel. Along with Su Shi and Mi Fu, Cai is said to have advised the Emperor on the famous collection of art Catalogue of Art in the Xuanhe Era (1120) (Xuanhe Huapu). This work contained 6,396 paintings and biographies of 231 different artists. Another interesting collaboration between the emperor and Cai appears in the painting Listening to the Qin (ca. 1102). The emperor painted Cai here (this detail features at the top of this article) and Cai also wrote a calligraphic piece of it (detail cropped below). Downfall and death In the 1120s, the Northern Song state struggled against the Jurchen Jin state to its north. (The Jurchens were ancestors of the Manchus, who would rule China’s last dynasty, the Qing (1644 – 1912)). Throughout Chinese history, the Emperor Taizong has been generally labelled a weak emperor. He was a talented poet, painter and calligrapher, but many say this as a sign that he wasn’t spending enough time on the affairs of the state. As the Northern Song state started to decline, Cai and a number of other reformist officials (known collectively as ‘The Six Bandits’) were held responsible for the Song state’s peril. They were sent into exile, along with their families – altogether twenty-three sons and grandsons, in Cai’s case. the 80-year-old Cai had already retired, but this did not save him. Just ten days into his journey south to exile, he passed away. It is claimed that he was so hated that along the way no one would help him, which caused him to starve to death. Cai Jing’s calligraphic style Unfortunately, likely owing to his bad reputation, not much of Cai Jing’s calligraphy survives today. However, from what remains, his style is considered to be similar to those of Mi Fu and (to a slightly lesser extent) Su Shi. Like these calligraphers, his style was also influenced by Jin and Tang dynasty calligraphic styles. Critics have pointed to a flaw in his work: he appears to have sometimes deliberately aimed to make his calligraphy look disorderly. This often gives his work a rushed appearance. Either way, elsewhere, his characters are well-formed and fit nicely in a wider scheme of a pieces. This shows he certainly was talented and capable of producing elegant, vigorous pieces. Cai Jing, Cai Xiang and the four great Song dynasty calligraphers ‘The four great Song dynasty calligraphers’ is a category that refers to four Northern Song calligraphers. They are Su Shi (or Su Dongpo) (1037 – 1101 AD), one of the most famous artists and intellectuals in all of Chinese history Huang Tingjian (1045 – 1105 AD), a friend and ‘disciple’ of Su Shi’s art Mi Fu (1051 – 1107 AD), an eccentric but brilliant calligrapher and artist Cai Xiang (1012 – 1067 AD), a poet, politician and calligrapher Cai Jing and Cai Xiang were cousins (in fact, Cai Xiang first taught Cai Jing calligraphy.) So, their surname is the same character: 蔡 (Cài). This could lead to some uncertainty when the four great song calligraphers are listed by surname in Chinese. The Ming dynasty art collector Zhang Chou (1577 – 1643 AD) claimed: 宋人书例称苏黄米蔡者，谓京（蔡京）也，后世恶其为人，乃斥去之而进君谟（蔡襄）书焉。君谟在苏黄前，不应列元章后，其为京无疑矣。京笔法姿媚，非君莫可比也。 During the Song, people listed Su, Huang, Mi, and Cai – Cai as in Cai Jing. Later generations removed Cai Jing because he was a bad person and replaced his name with Cai Xiang. And Cai Xiang was born before Su and Huang, so should not be listed after them. There can be no doubt that it was Jing! Jing Cai’s calligraphy is beautiful, you can’t compare Cai Jing’s to it. – Zhang Chou The first part of this argument (that later generations felt Jing was evil so replaced him with his cousin, Cai Xiang) has a fairly sound reasoning to it, but no evidence. The second part (that the naming order proves this replacement has taken place) is only half correct – Yes, Cai Xiang should be listed before Su Shi if the ordering is by birth, but Cai Jing was born before Mi Fu, too, so the ordering still is not correct. And finally, the third statement (that Jing’s calligraphy is better than Xiang’s), reveals Zhang’s preference. Had he thought the opposite, his faith in his first argument first argument would at least been clearer! Conclusion Separating art from the artist is difficult to do. In Chinese calligraphy, this is particularly in the case of Cai Jing. Cai Jing’s attempted reforms during the Northern Song dynasty have been considered a leading factor in its downfall for centuries This reputation has cast a long shadow on his calligraphy. Not much of his work remains, but it’s evident that his style was notably influenced by renowned calligraphers of his time. Debates surrounding Cai Jing’s work reveal that he remains at the very least a notably figure in the history of calligraphy. And his cousin Cai Xiang’s position in the canon of great calligraphers will no doubt mean Cai Jing’s name is never forgotten. In the end, he at least left behind something good attached to his name: his calligraphy.
2073	dbpedia	3	36	https://www.christies.com/en/stories/su-shi-giant-of-chinese-culture-64a72a8689a14c3694f37f3babcb4abb	en	Who was Su Shi, and why is he so revered within Chinese culture?	https://www.christies.co…9c91f8c4709e4555	https://www.christies.co…9c91f8c4709e4555	[ "https://www.christies.com/-/jssmedia/images/features/articles/2018/08/14/who-was-su-shi-and-why-is-he-so-revered-within-chinese-culture/hi-res-su-dongpo-gettyimages-wide.jpg?mw=575&mh=359&hash=49516bd6b8db94d83228b4fa36b4a8c679c33739 575w, https://www.christies.com/-/jssmedia/images/features/articles/2018/08/14/wh...	[]	[]	[ "Christies", "auction" ]	null	[]	null	Alastair Sooke and Christie's specialist Sophia Zhou discuss the life of this giant of Chinese history, and his revolutionary ideas about painting	en	/Assets/Discovery.Project.Website/V2023/favicons/favicon.ico		https://www.christies.com/en/stories/su-shi-giant-of-chinese-culture-64a72a8689a14c3694f37f3babcb4abb	‘During the Song dynasty, a period of unsurpassed refinement in the arts in China, Su Shi had a brilliant and staggeringly varied career,’ explains art critic Alastair Sooke. A poet, politician, writer, calligrapher, painter and aesthetic theorist, Su Shi was the pre-eminent scholar of the Song dynasty. ‘He was so prolific in so many different fields that it is very tempting to think of him as a proto-Renaissance man,’ says Sooke, ‘even though he was born four centuries before Leonardo.’ In order to appreciate Su Shi’s pre-eminent place within Chinese culture, it is important to understand the period and society in which he lived. The Song dynasty (960-1279) was a key turning point in Chinese history — a period that witnessed an explosion in population, significant increases in the empire’s economic capacity and power, and rising levels of education. ‘The Song dynasty was also the peak of artistic achievement in the history of Chinese art,’ points out Chinese Paintings specialist Sophia Zhou. The Song Empire was administered and run by scholar officials who were selected through a meritocratic system of examination and imperially orchestrated appointments. One of the results of this meritocracy was a flowering of painting and calligraphy — mandatory arts for scholar-officials. While scholar-officials had previously been required to be able to evaluate paintings aesthetically, they were not necessarily required to be able to paint. Su Shi was born into a literary family in 1037. At the age of 19 he passed the highest-level civil service examinations with flying colours, and was marked out as a rising star within the world of officialdom. His lucid, eloquent essays greatly impressed Emperor Renzong (1010-1063) and by the time the young Emperor Shenzong (1048-1085) ascended to the throne in 1067, Su Shi was a respected figure among scholar-officials at court. Tensions existed between rival political factions within the imperial court, however, and in 1071 Su Shi fell foul of this factionalism and left the capital to take up a post in Hangzhou. Over almost a decade, he held a variety of government positions in prefectures including Mizhou, Xuzhou and Huzhou. In 1079, Su Shi was arrested and put in jail. It is thought that the reason for his punishment and subsequent banishment were private verses he had written that mildly satirised the reformist movement, which held sway at court at the time. ‘When he came out in 1080 he was a different man,’ explains Zhou. ‘He was more introspective and started to shy away from politics, and began instead to contemplate on life and philosophy. He was reading Confucius and the Book of Changes [an ancient Chinese text], and writing a lot of poetry.’ Su Shi was exiled to provincial Huangzhou, where he lived in relative poverty. He built a farm in the foothills of what became known as the Eastern Slope (Dongpo), and began to call himself Master of the Eastern Slope (Su Dongpo). For all the hardships he experienced in exile, it was during this period that he produced some of his most well-known verses. Frustrated with the court and living in exile, Su Shi’s works from this period ‘often conveyed a sense of desolation’, says Kim Yu, Christie’s International Senior Specialist in Chinese Paintings. ‘The artworks he created were different from those artisans, craftsmen or professional painters of the Imperial Academy. The bamboo plant and rocks, painted with brushstrokes that twist and turn, give a real air of elegance and grace. The lines may seem simple and yet they are incredibly varied and expressive.’ In 1086, Su Shi was recalled to the capital. During his absence, a power shift had taken place with the ascension of a dowager Empress who had a more sympathetic view of the conservative faction of which Su Shi was by then among the most senior living embodiments. Su Shi was banished for the second time in 1094, being sent to Huizhou (in present-day Guangdong province) and Danzhou. During the Song dynasty, this provincial, malaria-ridden backwater would have been seen as a death sentence. Su Shi survived, however, and was pardoned in 1100, whereupon he was posted to Changzhou. He died the following year, while en route to his new assignment. Today, Su Shi is recognised as one of the eight great prose masters of the Tang and Song, and one of the four Song masters of calligraphy. His poems, including At Red Cliff, Cherishing the Past and Prelude to the Water Melody, have become embedded in Chinese culture, inspiring landscape paintings and poetic illustrations throughout the Ming and Qing dynasties. His calligraphy has been copied, studied and collected for centuries. Su Shi’s ideas on what it was to create an image, and the relationship of the image to the internal psychology of the painter, were revolutionary, and can be seen as a launchpad for painting as a non-representational, psychologically driven process. It was Su Shi who first began to explore concepts of artistic practice as the outward expression of the artist’s interior experience. Similarly revolutionary was Su Shi’s approach to brushwork. Other contemporary painters pursued a representational style that involved great detail and strong delineation. But Su Shi’s brushwork is impressionistic and spare. Writing on the principles by which to judge the highest class of painting, Su Shi once declared, ‘If one discusses painting in terms of formal likeness, one is no different from a child.’ For him, there was painting in poetry and poetry in painting. ‘There is a saying in Chinese art history that “ink has five colours”,’ says Zhou. ‘Ink has all that you need to depict the external world and to express yourself and whatever your artistic impulses have to say. Wood and Rock is a true embodiment of the artist’s state of mind at the time, which you can see so palpably in the painting.’ Ancient rocks and withered trees were subjects that were close to Su Shi’s heart. In Chinese iconography the withered tree has been imbued with many different meanings. It is associated with notions of surviving difficult situations, such as the one Su Shi found himself in, but still being able to grow tall. Wood and Rock is inscribed with the poetry of Su Shi’s friend Mi Fu (1051-1107), which was probably added at a later date. Like Su Shi, Mi Fu was a celebrated poet, calligrapher, painter and statesman. For Su Shi, expressing affinity through the giving and exchanging of painting and verse in the form of calligraphy was a means of building networks of cultural capital. The ink traces on this scroll offer insights into abstracted ideas of how Su Shi and Mi Fu thought and conceived of art, but also illuminate how these exceptional men of the 11th century understood each other. They are, therefore, tangible representations of the relationships between cultural giants of the distant past. Mi Fu’s verse on the scroll interprets his friend’s painting of a withered tree as an intimate expression of oneself at an old age. The pathos in Mi Fu’s lament certainly resonates with what is known of Su Shi’s experiences in exile. In Mi Fu’s other writings, he speaks of how Su Shi condensed his emotions in the turns of his brush and the construction of his rocks and trees. ‘What Su Shi did, and what is palpable, tangible and legible in Wood and Rock,’ says Chinese Paintings specialist Malcolm McNeill, ‘was to replace illusion with something that, to his own understanding, was very much more psychologically raw and direct. In the elegant curves across the rock, every mark from each bristle coated in dry unsaturated ink creates a sense of this.’ And that, says Alastair Sooke, is Su Shi’s ‘gift to art history’ — the sense of an artist’s inner psychology being appropriate subject matter for art.
2073	dbpedia	3	60	https://www.chinafile.com/library/nyrb-china-archive/master-shadows	en	A Master in the Shadows	https://www.chinafile.co…featureimage.jpg	https://www.chinafile.co…featureimage.jpg	[ "https://www.chinafile.com/sites/default/files/styles/thumbnail/public/assets/images/profile/zhou_nuo_profile.jpg?itok=oJ5EuUT7", "https://www.chinafile.com/sites/default/files/styles/thumbnail/public/assets/images/profile/max.jpg?itok=ZnD8aKIz", "https://www.chinafile.com/sites/default/files/styles/thumbnail/p...	[]	[]	[ "" ]	null	[ "Jonathan D. Spence" ]	2012-04-05T00:00:00-04:00	How should one assess the best ways to survive in a revolution? What exactly is the tipping point between obedience and outright sycophancy? When does one try to hold on to the values that gave meaning to one’s upbringing, and when is it best to just let it all go? When does moral commitment trump personal survival?Such questions do not always have self-evident answers, and		https://www.chinafile.co…file_favicon.png	ChinaFile	https://www.chinafile.com/library/nyrb-china-archive/master-shadows	How should one assess the best ways to survive in a revolution? What exactly is the tipping point between obedience and outright sycophancy? When does one try to hold on to the values that gave meaning to one’s upbringing, and when is it best to just let it all go? When does moral commitment trump personal survival? Such questions do not always have self-evident answers, and especially not in the case of China, where revolutions of many different kinds swept their turbulent way throughout the country for over a century. During that long period, bloodless coups and the most violent upheavals alternated and overlapped, sometimes combining with local forces to overthrow incumbent regimes, at others invoking the claims of various foreign powers for special treatment and territorial control. The Chinese were confronted by a sea change of options, ranging from imperial rule to republican experiments in governance, from progressive to parafascist militarism, from Japanese occupation to elitist single-party control from the right and the left, or the self-induced chaos of domestic mass movements. The Chinese artist Fu Baoshi, who lived from 1904 to 1965 and is the subject of the elegantly structured and biographically rich exhibition and catalog now at the Metropolitan Museum, provides us with a range of entry points into the China of his time, many of which have been only partially explored. Yet the title of the show, “Chinese Art in an Age of Revolution,” though certainly broad, still does not quite catch the full richness and ambiguity of the materials presented here. Cumulatively, these details of Fu’s hopes and experiences provide us with nothing less than a variety of new perspectives through which to explore an unusual life in a time of opportunity and challenge. Fu Baoshi was born in the waning years of the Qing dynasty, to a farming family in the prosperous city of Nanchang. The city was the capital of Jiangxi province in central China, and in the later nineteenth century had been the base of operations for a number of innovative national administrators, some of whom had been especially involved in exploring the cultural currents from the West. Because of his father’s repeated bouts of illness and the family’s poverty, Fu received no formal schooling until 1917, when he was thirteen, but this experience of hardship seems to have had certain advantages for the family. Fu’s father moved to the city and worked at various nonfarming jobs, one of which was as an umbrella mender, and Fu himself as a child brought some money into the family by working as an apprentice in a ceramics shop. From this experience he grew fascinated with the designs that were used as the decoration on fine porcelain, and that in turn stimulated an interest in drawing and carving, so that by the age of seven or eight he had learned to draw and also to write some of the classical characters on his own. That experience, in its turn, led Fu to an interest that was to stay with him all his life, the art of seal carving. This was an extraordinarily demanding art form, in which the carving of the small stone seals—stamps bearing names or epithets and often used as signatures on paintings and official documents—depended on the artist’s detailed knowledge of the materials, along with a piercing eye and intense manual dexterity. Fu’s talents in this difficult work aroused local interest, and the chance to make more money by carving seals on commission. With support from a member of the gentry who was active in a local cultural association, Fu was permitted to attend—on an informal basis—private classes on the Chinese classical literary and artistic traditions. * * * News of the boy’s unusual skills spread, and in 1917 he was admitted to the First Normal School of Nanchang. The death of Fu’s father in 1921 did not prevent Fu from advancing to the high school level, which was designed to help boys prepare for a teaching career. Fu briefly selected the English language as his major field, but soon switched to majoring in art. He continued to carve seals on commission, and on occasion he also forged seals or paintings of earlier masters. As Anita Chung, one of the main organizers of this exhibition and the author of a lengthy and detailed essay on Fu, remarks, when Fu’s teachers learned of these teenage forgeries, “not only did the school not punish him, [but] the principal encouraged him to develop his individual style. To the young art student, this was perhaps an important lesson concerning authentic artistic creativity.” Several of Fu’s seals are included in the exhibition, including one particularly exquisite piece whose six-character impression reads “Plucking the pollia on a flat island” and on three sides of which, covering an area of less than five square inches, are engraved the 2,765 characters of Qu Yuan’s poem “On Encountering Sorrow.” By good fortune, four of Fu’s early hanging landscape scrolls, dated by their inscriptions to the year 1925, survived, and were preserved in a Tokyo museum. Displayed here, in the first room of the show, they demonstrate Fu’s great abilities as he turned twenty-one, and provide a striking way to open the exhibition. These landscapes are meant to show exemplary styles of the past, about which Fu comments at the top of each painting—admiring, for instance, the “vigorous style” and “dry brushstrokes” of the seventeenth-century masters Gong Xian and Cheng Sui. Referring to the eleventh-century painter, poet, and calligrapher Mi Fu, Fu wrote, “Later artists…could only pile up the ink dots without imparting openness and closeness. The result was not satisfactory.” Upon Fu’s graduation in 1926, the school appointed him to teach in the primary school, and in 1929 he was promoted to the junior high school division. Those three years were among the most violent in China’s modern history. Shanghai was torn by colossal strikes that brought most industries to a halt, until Chiang Kai-shek ordered his armies—which had marched north from Canton in 1926—to smash the major unions and banish the Communist Party from Shanghai and other cities. It was also during 1927 and 1928 that the Communists retreated from the last major urban centers they had once controlled, and that Mao attempted to build a new set of revolutionary bases in the mountainous countryside around Hankou. This indeed was an “age of revolution,” but Fu stayed in the Nanchang region, teaching Chinese painting theory, Chinese art history, seal carving, landscape painting, and flower-and-bird painting. During this period, too, Fu finished the draft of two books: one, with material drawn from his own teaching, painting, and research experience, titled An Outline History of the Transformation of Chinese Painting, was published in 1931; the second, Studies in Seal Carving, was compiled between 1926 and 1929. The partially typeset version of this second book was destroyed in early 1932, during the heavy Japanese bombing and shelling of Shanghai that occurred during the short, violent conflict of this period, and it was not until 1934 that the book finally came out in revised and expanded form. During these years of the early 1930s, Japanese troops had also been expanding their power in Manchuria, which was rapidly becoming effectively a Japanese colony—Korea had already been a Japanese colony since 1910, and Taiwan a Japanese colony since 1895. * * * The near destruction of Fu’s manuscript coincided with the period of his greatest affection for, and involvement with, Japan and Japanese scholars. As several of the essays in the exhibition catalog make clear, in the late 1920s and early 1930s a complex but different kind of intellectual and aesthetic struggle was being waged among many Chinese and Japanese writers and scholars. It was a battle in which the Chinese cultural legacy in East Asia was being subjected to intense scrutiny, and was very much in doubt. The guardians of China’s artistic traditions—among whom Fu himself could now be seen as a junior member—were working and living on the margins of survival. Western aesthetic categories dominated most of the world’s arts and historical records. To unsympathetic observers, the traditional categories of Chinese art—decorated porcelain, seals, calligraphy, and paintings in ink—were static and outmoded, incapable of further creative development in their current forms. Oil painting, together with new forms of expression and spectacular technical achievements, dating back to the Renaissance, had simply passed China by. The ink landscapes in the literati tradition—paintings by scholar-bureaucrats in a simple style and inscribed with poems—that Fu celebrated in both his scholarship and his own painting were especially, in the words of the catalog entry on Fu’s 1933 landscape in the style of the fourteenth-century painter Wang Meng, “criticized as backward, conservative, and stagnant…the antithesis of individualism.” Japan’s position in these culture wars was a pivotal one. Chinese students had been flocking to Japan since around 1900 (just before Fu was born), and to France from 1920 onward. With skills honed overseas, the Chinese students came back to a China that had been shattered by Japanese military and economic assaults, and had also been weakened by Western territorial aggression. It is only from such a dark perspective that we can now understand the historical logic that lay behind the 1931 visit to Fu Baoshi made by one of China’s most celebrated painters, Xu Beihong. Xu himself had just returned to China from eight years of study and painting at the École des Beaux-Arts in Paris, and was currently teaching and working in the art department of the National Central University of Nanjing, not far from Nanchang. When he encountered Fu, Xu was deeply impressed by Fu’s abilities as a painter and seal carver, and by his determination to recapture ancient Chinese purities of line and texture. Xu asked the military governor of the Nanchang region to grant Fu a stipend to study in France, backing his request with a gift of one of his own celebrated horse paintings. Fu tried to clinch the bargain by giving the governor two of his seals. Since there was still not enough money for Fu to go to France, Xu narrowed his requests for funding to the support of Fu in Japan, and to the deepening of his skills in ceramics, which happened to be one of the most profitable products in Jiangxi. This somewhat hasty lobbying by the two Chinese painters led, perhaps to their surprise, to Fu’s residence in Japan, from September 1932 to June 1933, and from August 1933 to June 1935. During this period, once his Japanese language skills reached a high level, Fu was formally enrolled in the advanced graduate programs offered in Tokyo by the distinguished professor of fine arts Kinbara Seigo, by whose study of Chinese aesthetic concepts going back to the early third century Fu had been greatly impressed. Fu translated several works by Kinbara into Chinese, studied a wide range of historical texts on the earlier Chinese and Japanese artistic traditions, and held a successful one-man show of his own paintings and seal carvings in Tokyo in May 1935. * * * This Japanese experience was transformative for Fu, and gave him a new sense of China in a global setting, and of the nationalist significance of China’s past traditions to China’s own history. As summarized by the authors of the catalog, what Japan did for Fu was that “specifically, it heightened his sense of national and cultural consciousness, which would add a political dimension to his art historical writing and art making.” Among many opportunities that now became available to Fu, perhaps the most important was that he developed a deeper understanding and admiration for the brilliantly talented so-called “eccentric” Chinese painters such as Shitao, a member of the royal house who narrowly escaped death and was forced to live in hiding during the disintegration of the Ming dynasty in the seventeenth century—a political circumstance in which Fu found solace and inspiration during a time of foreign aggression and perceived national decline. In her biographical essay, Anita Chung writes that Fu perceived Shitao “as a yimin, or ‘leftover subject’ of the fallen Ming dynasty, who witnessed the country’s tragic fate.” Fu summarized his view of Shitao’s importance in a 1936 essay: “His art is not only a harmonious symphony but also the saddest tune of the human world…. For an artist living under foreign invasion, only autumn and winter scenes could symbolize suffering and depression.” These studies became more difficult in June 1935, when Fu learned that his mother was seriously ill and returned to Nanjing, where he also taught Chinese art history and painting theory at the National Central University. In the summer of 1937 full-scale war between Japan and China broke out, and led to disastrous defeats for China: Shanghai was lost, Nanjing was ravaged, Beijing was occupied, and the main Chinese armies retreated deep inland to the city of Chongqing. Fu joined the exodus, undertook propaganda work for the Nationalist forces, continued his research into the creative worlds of Shitao, and spent what time he could with his growing family of five children. His painting grew in power and originality, and in 1940, refusing to join Chiang Kai-shek’s Guomindang, he ceased Nationalist propaganda work altogether and devoted his energies to a series of one-man shows in and near Chongqing. When the Japanese war ended in 1945 Fu took no governmental posts, but neither does he seem to have done any undercover work for the Communists during the ensuing civil war, though at least one of his close friends definitely did so. When, in late 1948, the Nationalist forces crumbled under the final Communist assaults, Fu was offered the chance to retreat to Taiwan with Chiang Kai-shek’s surviving forces, but he declined to go. Once again, the revolution swirled its destructive winds around him, but he himself remained unscathed, as far as we can tell. For many visitors to this exhibition, the Communist years will come as something of a letdown, even though Fu could still conjure up tempestuous visions, and some of his battle scrolls are stupendous. Also, Fu grasped the pictorial and personal opportunities offered by the publication of Mao Zedong’s poetry, and shrewdly saw how the act of studying and illustrating the poems—as in the painting of Mao swimming in the Yangzi River in the exhibition—could be used to shelter himself and his family from various forms of criticism. Fu was allowed to keep his former university position, but it must have been a major blow to him when a university-wide “curriculum adjustment” committee canceled his classes on Chinese painting theory, calligraphy, seal carving, and art history, all of which were dropped from the class rosters. Fu continued to receive prestigious commissions, including working on an enormous landscape for the newly built Great Hall of the People, and he was invited to take part in two major delegations, one to Eastern Europe and one to the former Manchu regions bordering on North Korea. The catalog includes a remarkable painting of the Prague Castle, with a foreground of trees and foliage drawn, as the catalog puts it, with “dancing movements of the brush [that] enliven the architectural forms.” But he was obliged to make many “self-criticisms,” and it became necessary for him to modify his dark and sundered landscapes, so that he could not be accused of anti-proletarian pessimism in early–Mao era crackdowns on free expression such as the Five-Anti campaign and the repression following the Hundred Flowers movement. Fu Baoshi died, apparently of a heart attack, in September 1965, just before the awful force of the Cultural Revolution could destroy him and his family. He would surely not have lasted long once the Red Guards learned the details of his propaganda work for the Guomindang, his long residence in Japan, and his passion for China’s ancient art, with its seals and its calligraphy and its purist admiration for the past. As it is, we can note how, in his last paintings, he felt it wise to decorate his swirling mists and distant vistas with ever brighter washes of pink, orange, and red. That way no one could accuse him of slighting the revolution, the one he lived through as well as the one that he made.
2073	dbpedia	0	35	http://www.goshanxi.com.cn/taiyuan/celebrities.html	en	Notable Citizens			[ "http://subsites.chinadaily.com.cn/shanxi/taiyuan/att/3011.files/i/article-logo2.jpg", "http://subsites.chinadaily.com.cn/shanxi/taiyuan/img/attachement/jpg/site48/20211228/16406568910841.jpg", "http://subsites.chinadaily.com.cn/shanxi/taiyuan/img/attachement/jpg/site48/20230504/16831656143911.jpg", "http://s...	[]	[]	[ "" ]	null	[]	null		en			null	Wang Changling Wang Changling (698-757), born in Jinyang (now Taiyuan in Shanxi province), was a famous poet who lived during the Tang Dynasty (618-907). Yin Aixian Xuemei Embroidery Workshop in Taiyuan was selected as one of 66 "exemplary cases" of supporting rural vitalization. Zhang Jinfeng The Tianlongshan Grottoes Statue Painting Exhibition by local artist Zhang Jinfeng was launched in Taiyuan on Jan 12. Zhou Zeqi Athlete Zhou Zeqi from Taiyuan showed her mettle at the 19th Asian Games in Hangzhou. Li Shimin Li Shimin (598-649), the second emperor of the Tang Dynasty (618-907), was a politician, strategist and poet. Mi Fu Mi Fu (1051-1107), born in Taiyuan in North China's Shanxi province, is a famous calligrapher, ink painter, calligraphy and painting theorist and scholar from the Northern Song Dynasty (960-1127). Tang Shuyu Tang Shuyu was a local king in the ancient state called Tang â a position given to him by his elder brother, the ruler Ji Song, during the Western Zhou Dynasty (c.11th century-771 BC).
2073	dbpedia	3	3	http://www.chinaonlinemuseum.com/painting-mi-fu.php	en	Chinese Art Gallery	http://www.chinaonlinemuseum.com/resources/zhong.png	http://www.chinaonlinemuseum.com/resources/zhong.png	[ "http://www.chinaonlinemuseum.com/resources/Painting/MiFu/pines-s.jpg", "http://www.chinaonlinemuseum.com/resources/Painting/MiFu/rising-clouds-s.jpg" ]	[]	[]	[ "Mi Fu", "Mi Fu paintings", "landscape painting", "Chinese landscape painting", "Chinese painting", "Chinese paintings", "Chinese art", "Chinese arts", "famous Chinese painter", "Chinese painters", "Chinese museum", "Chinese artwork", "online museum" ]	null	[]	null	Mi Fu (米芾, 1051–1107) and his Painting Gallery at China Online Museum.		resources/zhong.png		null	Mi Fu (米芾, 1051-1107), style name Yuanzhang (元章), was a scholar, poet, calligrapher, and painter who was a dominant figure in Chinese art. Of his extensive writings—poetry, essays on the history of aesthetics, and criticism of painting—a considerable amount survives. Mi Fu was born of a family that had held high office in the early years of the Song dynasty (960–1279). Because his mother had been the wet nurse of the emperor Yingzong (reigned 1063–1067), he was brought up within the imperial precincts, mixing freely with the imperial family. As a young boy, Mi Fu showed precocious talent, particularly in calligraphy. Although he expressed distaste for the formal lessons prescribed for a future official, he displayed a lively intelligence in his quick understanding of learned argument, his aptitude for excitingly original poetry, and his ability in painting and calligraphy. In later life Mi had a checkered official career, with frequent changes of post. He began as a reviser of books in the imperial library and subsequently served in three posts outside the capital of Kaifeng, in Henan province. In 1103 he was appointed a doctor of philosophy and was briefly military governor of Wuwei in the province of Anhui. He returned to the capital in 1104 to serve as a professor of painting and calligraphy, taking this opportunity to present to the emperor a painting by his son, Mi Youren (米友仁). He then undertook the position of a secretary to the Board of Rites before setting out on his final appointment as military governor of Huaiyang, in Jiangsu province, in which post he died at the age of 57. He was buried in Dantu, in Jiangsu province, under an epitaph written for him by Mi Youren. Throughout Mi’s life, the workings of a highly individualistic temperament were evident. This was manifested in his fastidious attention to cleanliness, his preference for the clothes of ancient Chinese dynasties, and his love for strange rocks and ink stones, which he collected. His comparative failure in his official career was perhaps a result of this eccentric personality. Despite his undoubted ability, his friendship with the leaders of both principal political factions (the poet-statesman Wang Anshi 王安石 and Su Shi 蘇軾), and his family connections, he never rose to any office higher than that of a second-class secretary to the Board of Rites. As an artist, Mi Fu is best known for his calligraphy and landscape painting. His calligraphic style rejected inaccessibly unusual or flamboyant approaches and was formed by patient and catholic study of the great Chinese calligraphers of the past. His theoretical writings in the Shu Shi (書史) and Haiyue Mingyan (海嶽名言), which contain some of the most penetrating remarks written on the subject of calligraphy, indicate that Mi believed in respect for historic styles suffused with the calligrapher’s own creative talent. Most of all he valued spontaneity and self-expression, eschewing the contrived and saccharine.
2073	dbpedia	0	23	https://www.bukowskis.com/en/auctions/649/1087-a-collection-of-rubbings-of-the-calligraphy-of-two-song-dynasty-artists-su-shi-and-mi-fei-early-20th-century	en	A collection of rubbings of the calligraphy of two Song dynasty artists Su Shi and Mi Fei, early 20th Century.	https://d3tj81smxskx4e.cloudfront.net/28vV6WoGwIeqq7cYYvHdFjGGKFxQS14LM6UdArWV_fo/s:350:350/rt:fit/q:75/sm:1/scp:1/fn:1482870-13209077_object/czM6Ly9hdWt0aW9u/LXByb2R1Y3Rpb24v/aXRlbV9pbWFnZXMv/MTQ4Mjg3MC8xMzIw/OTA3N19vcmlnaW5h/bC5qcGc	https://d3tj81smxskx4e.cloudfront.net/28vV6WoGwIeqq7cYYvHdFjGGKFxQS14LM6UdArWV_fo/s:350:350/rt:fit/q:75/sm:1/scp:1/fn:1482870-13209077_object/czM6Ly9hdWt0aW9u/LXByb2R1Y3Rpb24v/aXRlbV9pbWFnZXMv/MTQ4Mjg3MC8xMzIw/OTA3N19vcmlnaW5h/bC5qcGc	[ "https://d5u8cl9t8qko.cloudfront.net/assets/bukowskis-8cd5054fdbe4f8b1b1841f74fd442143de2f7adeaff6ff0219f7b9372b33a1d2.svg", "https://d5u8cl9t8qko.cloudfront.net/assets/part_of_bonhams_network-d979c15e1b192e0389e0bb18ce08e19e609a7827a56e7861f355d19638a570b3.svg", "https://d5u8cl9t8qko.cloudfront.net/assets/buko...	[]	[]	[ "auctions", "antiques", "design", "art" ]	null	[]	2024-08-23T20:24:00-04:00	In a wooden box. 24 booklets inside the wooden box that measures 15,5x30x25 cm.	en	https://d5u8cl9t8qko.cloudfront.net/assets/favicon-0f87b830e1dbae15f6aad1fa386e81e750c8c99a342552d3bfda48e47d7925f0.ico	Bukowskis	https://www.bukowskis.com/en/auctions/649/1087-a-collection-of-rubbings-of-the-calligraphy-of-two-song-dynasty-artists-su-shi-and-mi-fei-early-20th-century	From the Collection of Sven Lindqvist (1932-2019), a well renowned Swedish author whose 35 books range from travel and reportage to essays, aphorisms, autobiography, and documentary prose. 1960-62 he studied at Peking University and was 1961-62 cultural attaché at the Swedish Embassy. He formed a life-long attachment to Chinese Art and culture, especially calligraphy. During his studies at Peking University Lindqvist was fascinated by a Tang dynasty painter famous for his murals: Wu Tao-tzu. The legend has it that he - after having just finished a wall-painting, he suddenly clapped his hands and a gate in the painting opened. Wu Tao-tzu entered into his art, the gate closing behind him, and he was never seen again. The Myth of Wu Tao-tzu, by Sven Lindqvist, (Bonniers 1967, in English, Granta 2012), is the story of what happened to the painter in the painting. Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, also given as Mi Fei, 1051–1107 CE)[1] was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty. He became known for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry was influenced by Li Bai and his calligraphy by Wang Xizhi. Mi Fu is regarded as one of the four greatest calligraphers of the Song dynasty, alongside Su Shi, Hung Tingjian and Cai Xian. His style is derived from calligraphers in earlier dynasties, although he developed unique traits of his own.
2073	dbpedia	3	21	https://www.pinterest.com/pin/mi-fu-10511107-ce-was-a-chinese-painter-poet-and-calligrapher-who-was-born-in-taiyuan-during-the-song-dynasty-di-2024--850195235935380049/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2024-02-07T15:43:48+00:00	7-feb-2024 - Mi Fu (1051–1107 CE) was a Chinese painter, poet and calligrapher who was born in Taiyuan during the Song dynasty.	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://it.pinterest.com/pin/mi-fu-10511107-ce-was-a-chinese-painter-poet-and-calligrapher-who-was-born-in-taiyuan-during-the-song-dynasty-nel-2024--850195235935380049/
2073	dbpedia	0	8	https://www.facebook.com/HongKongBonsaiPots/posts/%25E7%25B1%25B3%25E8%258A%25BEmi-fu-1051-1107-was-a-chinese-painter-poet-and-calligrapher-born-in-taiyuan-du/852034545231706/	en	Facebook			[]	[]	[]	[ "" ]	null	[]	null		de	https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico		null
2073	dbpedia	2	16	https://www.metmuseum.org/toah/hd/schg/hd_schg.htm	en	Scholar-Officials of China	https://collectionapi.metmuseum.org/api/collection/v1/iiif/39542/1685707/main-image	https://collectionapi.metmuseum.org/api/collection/v1/iiif/39542/1685707/main-image	[ "https://collectionapi.metmuseum.org/api/collection/v1/iiif/39542/1685707/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/40086/149066/main-image", "https://collectionapi.metmuseum.org/api/collection/v1/iiif/41478/200738/main-image", "https://collectionapi.metmuseum.org/api/collection...	[]	[]	[ "" ]	null	[]	0001-01-01T00:00:00	Scholars increasingly turned to the arts, the study of which was considered a path to the cultivation of the moral self.	en	https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3	The Met’s Heilbrunn Timeline of Art History	null	Beginning about the fourth century B.C., ancient texts describe Chinese society as divided into four classes: the scholar elite, the landowners and farmers, the craftsmen and artisans, and the merchants and tradesmen. Under imperial rule, the scholar elite, whose exemplar was Confucius, directed the moral education of the people; the farmers produced food; the craftsmen made things that were useful; and the merchants promoted luxury goods. Because in theory the Confucian elite advocated simple rural values as opposed to a taste for luxury (which they viewed as superfluous, leading to moral degeneration), the merchants who sold for profit, adding nothing of value to society, ranked low on the social scale (though, in reality, economic success had its obvious advantages). The unique position occupied by the scholar elite in Chinese society has led historians to view social and political change in China in light of the evolving status of the scholar. One theory holds that the virtues of the scholars were appreciated only in times of cultural upheaval, when their role was one of defending, however unsuccessfully, moral values rather than that of performing great tasks. Another theory, relating to art and political expression in Han-dynasty China, offers an analysis of the tastes and habits of the different social classes: “the imperial bureaucracy, not the marketplace, was [the scholar’s] main avenue to success, and he was of use to that bureaucracy only insofar as he placed the public good above his own. … [Thus] the art of the Confucian scholar was … inherently duplicitous and was encouraged to be so by the paradoxical demands [that Chinese] society made upon its middlemen.” Beginning in the late tenth century, in the early Northern Song, the government bureaucracy was staffed entirely by scholar-officials chosen through a civil examination system. The highest degree, the jinshi (“presented scholar”), was awarded as the culmination of a three-stage process. The examinations produced 200 to 300 jinshi candidates each year. By the late eighteenth century, China’s population had grown to about 300 million. The more than 1,200 counties, divided into eighteen provinces, were governed through an imperial bureaucracy of only 3,000 to 4,000 ranked degree-holding officials. The officials ruled the land with the help of local gentry and locally recruited government clerks. Because the governmental superstructure was so thinly spread, it was heavily invested in the Confucian virtue ethic as the binding social force—and when that failed, in the use of harsh punishment—for maintaining stability and order. This system operated as a mechanism through which the state replaced entrenched local hereditary landowners and rich merchants with people whose authority was conferred (and could easily be removed) by the state. Scholar-officials, unlike the other three social classes, did not therefore constitute an economic class as such, as their only power resided in their Confucian ideals and their moral and ethical values. Nevertheless, the landowners, the craftsmen, and the merchants were controlled by the state and the state was administered by the scholar-officials, who discouraged entrepreneurial endeavor and the accumulation of wealth with the Confucian admonition that acceptance of limitations leads to happiness.
2073	dbpedia	1	14	https://education.asianart.org/resources/an-introduction-to-the-song-dynasty/	en	China: An Introduction to the Song Dynasty (960–1279)	https://education.asianart.org/wp-content/themes/aam-framework/favicon.ico	https://education.asianart.org/wp-content/themes/aam-framework/favicon.ico	[ "https://www.facebook.com/tr?id=1861119050879672&ev=PageView &noscript=1", "https://education.asianart.org/wp-content/themes/aam-framework/img/AAM-logo.svg", "https://education.asianart.org/wp-content/uploads/sites/6/2019/09/2004.31_Poem_Pavilion.jpg", "https://education.asianart.org/wp-content/uploads...	[]	[]	[ "" ]	null	[]	2019-09-17T23:45:18+00:00	The Asian Art Museum of San Francisco houses one of the most comprehensive Asian art collections in the world, with more than 18,000 works of art in its permanent collection. Stroll through 6,000 years of art and culture.	en	https://education.asianart.org/wp-content/themes/aam-framework/favicon.ico	Education	https://education.asianart.org/resources/an-introduction-to-the-song-dynasty/	Introduction Scholars often refer to the Tang (618–907) and Song (960–1279) dynasties as the “medieval” period of China. The civilizations of the Tang (618–907) and Song (960–1279) dynasties of China were among the most advanced civilizations in the world at the time. Discoveries in the realms of science, art, philosophy, and technology—combined with a curiosity about the world around them—provided the men and women of this period with a worldview and level of sophistication that in many ways were unrivaled until much later times, even in China itself. The Song dynasty was the second great “medieval” period of China. But unlike the Tang, it coexisted uneasily with powerful rivals to the north. These rivals were the Khitan Tartars of Manchuria and Mongolia, kept at bay only through costly bribes, and the Jurchen people of Central Asia, who were intent on conquering China but could not be influenced by payoffs. While the Song dynasty managed to recapture—and develop—much of the glory of the Tang, it did suffer a blow in 1127 when the Jurchen took the capital of Kaifeng, and sent the Song Chinese administration southward, to establish the Southern Song capital at Hangzhou, near modern Shanghai. Still the Northern Song (while it lasted) and the Southern Song (from 1127 until 1279) achieved incredible feats of learning, science, art, and philosophy. To the Chinese, the Song was a period certainly as great as the Tang. International trade and exchange of ideas continued to flourish, although (during the later Song) primarily through expanding networks of southern sea ports and ocean-going argosies. Philosophy Song intellectuals reacted to the threatened existence of their dynasty by developing a defensive, inward-looking strategy: a belief that the Chinese and only the Chinese were capable of true greatness. Some closed their minds to the world outside China and set about the task of defining Chinese canons of proper behavior, government, and arts. Most Buddhist doctrines (judged to be non-Chinese) were largely purged during the Song, and the native Chinese philosophies of Confucianism (in particular) and Taoism saw a resurgence. In fact the great philosopher Zhu Xi taught hopeful students a new and “purer” version of Confucianism that came to be called “Neo-Confucianism.” This philosophy tried to recapture the Confucianism of the past, while integrating other philosophical ideas that had since come into existence. Neo-Confucianism taught people proper Chinese views of the cosmos and of behavior, and provided answers for other “big questions” of life. Most of its ideas and practices survive to the present day, and have also had a notable impact on later societies in Korea and Japan. Science and Technology During the Song, great advances were also made in science and technology. Hydraulic engineering, from canal and bridge building to the construction of enormous seafaring vessels, was perfected. Chemical science, pursued in the secret laboratories of Taoist scholars, helped to produce important compounds and chemicals, including gunpowder—and by the year 1000, bombs and grenades became available to Song armies. Biology too made enormous strides: famous physicians conducted well-documented experiments, and many of their efforts helped to codify and improve what was already known in the healing arts of acupuncture and traditional medicine. Perhaps the most significant advance, however, was the invention of movable type printing, achieved around the year 1040, four hundred years before Gutenburg’s printing innovations in Europe. Song printed editions of texts—previously transmitted as handwritten manuscripts—helped to spread literacy and knowledge throughout the realm. Many books survive to this day; they are technological marvels that are highly prized as some of the most beautiful books ever produced. Art and Culture Song dynasty artists explored new themes and techniques in painting and ceramics. The Song interest in science and minute observation of the world resulted, somewhat paradoxically, in large- scale grand landscape paintings that explore the world in fine detail. New glazes and porcelain techniques flourished. Song artists were interested in both the monumental and the delicate; in the functional and the mysterious, all of which they recognized as intrinsic natural phenomenon of the world. Ordinary and educated people alike were exposed to art and literature through the new invention of printing, which encouraged the development of drama and fiction. Creative pursuits were unified by a cultural inclination to connoisseurship: the wealthy and even not-so-wealthy shared an interest in art, literature, and science, and cultivated good taste in their patronage of the arts. The Song love of the refined extended to relics and antiques, which helped to foster the nascent science of archaeology, as well as the older art of forgery. Connoisseurs embraced even cuisine and gardening, which were transformed into gentlemanly concerns for the first time. As with the Tang, Song poetry is held in high esteem by the Chinese, but it is different from the Tang varieties. Whereas Tang poets tried to capture fleeting moments and transcendent thoughts, Song masters enjoyed using poetry to explore all aspects of the world around them, including the mundane. Song poetry is thus filled with interesting, sometime humorous, accounts of picnics, travel, wine drinking, and even such quotidian events as going to the dentist or suffering in the summer heat. Nothing was off limits to the writers of Song, and with printing freely available, everything seemed to get published. While the surviving poems of the Tang might number in the tens of thousands, no one has inventoried how many poems survive from the Song; they could number as many as half a million. Fall of the Song Dynasty The rule of the Song ended in 1279 when Mongol leader Khubilai Khan, having conquered the Jurchen regime in northern China, swept through southern China and brought the Song territories entirely within the fold of the newly proclaimed Yuan dynasty. But that begins another story. The Tang and Song dynasties, fraternal twin dynasties of China’s medieval period, stand out as among the most accomplished of all civilizations in global history: they gave the world many contributions and helped to shape Chinese civilization into what it is today.
2073	dbpedia	1	1	https://www.britannica.com/biography/Mi-Fu	en	Mi Fu \| Chinese Calligrapher, Painter & Poet	https://cdn.britannica.c…Clouds-Mi-Fu.jpg	https://cdn.britannica.c…Clouds-Mi-Fu.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/87/9987-004-8B186052/Tower-silk-colour-Rising-Clouds-Mi-Fu.jpg", "https://cdn.britannica.com/74/129374-131-833AE3CF/Chalk.jpg?w=200&h=200&c=cr...	[]	[]	[ "Mi Fu", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "Chuang Shang-yen" ]	1998-07-20T00:00:00+00:00	Mi Fu was a scholar, poet, calligrapher, and painter who was a dominant figure in Chinese art. Of his extensive writings—poetry, essays on the history of aesthetics, and criticism of painting—a considerable amount survives. Mi was born of a family that had held high office in the early years of the	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Mi-Fu	Life Mi was born of a family that had held high office in the early years of the Song dynasty (960–1279). Because his mother had been the wet nurse of the emperor Yingzong (reigned 1063/64–67/68), he was brought up within the imperial precincts, mixing freely with the imperial family. As a young boy, Mi showed precocious talent, particularly in calligraphy. Although he expressed a distaste for the formal lessons prescribed for a future official, he displayed a lively intelligence in his quick understanding of learned argument, his aptitude for excitingly original poetry, and his ability in painting and calligraphy. Britannica Quiz Can You Match These Lesser-Known Paintings to Their Artists? In later life Mi had a checkered official career, with frequent changes of post. He began as a reviser of books in the imperial library and subsequently served in three posts outside the capital of Kaifeng, in Henan province. In 1103 he was appointed a doctor of philosophy and was briefly military governor of Wuwei in the province of Anhui. He returned to the capital in 1104 to serve as a professor of painting and calligraphy, taking this opportunity to present to the emperor a painting by his son, Mi Youren. He then undertook the position of a secretary to the Board of Rites before setting out on his final appointment as military governor of Huaiyang, in Jiangsu province, in which post he died at the age of 57. He was buried in Dantu, in Jiangsu province, under an epitaph written for him by Mi Youren. Mi Fu was married and had five sons, of whom only the two eldest survived infancy, and eight daughters. Works Mi’s writings were extensive. A collection of his poetry, the Shanlin Ji, has been lost, but still existing are the Baozhang Daifang Lu (“Critical Description of Calligraphics in Mi Fu’s Collection”) and Hua Shi (“Account of Painting”), which contain records of his own and others’ collections of paintings, essays on aesthetic history, and criticism of paintings. There also exist some posthumous collections of his writings, Haiyue Mingyan (“Remarks on Calligraphy”) and Haiyue Tiba (“Inscriptions and Colophons by Mi Fu”). Throughout Mi’s life, the workings of a highly individualistic temperament were evident. This was manifested in his fastidious attention to cleanliness, his preference for the clothes of ancient Chinese dynasties, and his love for strange rocks and ink stones, which he collected. His comparative failure in his official career was perhaps a result of this eccentric personality. Despite his undoubted ability, his friendship with the leaders of both principal political factions (the poet-statesman Wang Anshi and Su Dongpo), and his family connections, he never rose to any office higher than that of a second-class secretary to the Board of Rites. The reason, his epitaph states, was that “he could not endure to bow and scrape before the world.” This upstanding independence was apparent in his attitude toward art collectors; he divided them into two classes—busybodies and connoisseurs—utterly deriding the former as illiterate and intent simply on making a name for themselves. As an artist, Mi is best known for his calligraphy and landscape painting. His calligraphic style rejected inaccessibly unusual or flamboyant approaches and was formed by patient and catholic study of the great Chinese calligraphers of the past. His theoretical writings in the Hua Shi and Haiyue Mingyan, which contain some of the most penetrating remarks written on the subject of calligraphy, indicate that Mi believed in respect for historic styles suffused with the calligrapher’s own creative talent. Most of all he valued spontaneity and self-expression, eschewing the contrived and saccharine. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now Mi’s paintings, such as Tower of the Rising Clouds, represented a break with the past. Before the period of the Song dynasty, landscape painting in China had depended essentially on line for its description of the world. Mi, however, was concerned with depicting the misty rivers and hills of the lake district of Henan province and introduced a technique of extremely moist washes and horizontal texture strokes. Later known as “Mi dots” (Mi dian), this technique rendered a vivid impression of that rainy and cloud-clad Chinese region. This technique of “splashed ink” (pomo) was Mi’s own invention; it attracted enthusiastic contemporary attention and remained a compelling influence throughout the history of Chinese painting. Chuang Shang-yen
2073	dbpedia	0	19	https://www.flickr.com/photos/32357038%40N08/13758375683	en	Mi Fu (1051-1107) - Hills Among Clouds (Christie's Hong Kong, 2012)	https://live.staticflick…465c38d67a_n.jpg	https://live.staticflick…465c38d67a_n.jpg	[ "https://live.staticflickr.com/3832/13758375683_465c38d67a_n.jpg", "https://live.staticflickr.com/3832/13758375683_465c38d67a_n.jpg" ]	[]	[]	[ "ink", "paper", "landscape", "traditional", "chinese", "painter", "scroll", "christies", "12thcentury", "11thcentury", "mifu", "hillsamongclouds" ]	null	[ "Flickr", "Milton Sonn" ]	2024-08-11T21:46:59.589000+00:00	Hanging scroll, ink on paper; 24.5 x 31.5 cm. Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, 1051–1107)[1] was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. As a personality Mi Fu was noted as an eccentric. At times they even deemed him "Madman Mi" because he was obsessed with collecting stones and even declared one stone to be his brother. Hence he would bow to his "brother" rock in a display of the filial devotion given to older brothers. He also was known as a heavy drinker. His son, Mi Youren, would also be a famous painter in his father's artistic style. Unlike his father Mi Youren lived to be quite elderly, dying at the age of 79. <a href="http://en.wikipedia.org/wiki/Mi_Fu" rel="noreferrer nofollow">en.wikipedia.org/wiki/Mi_Fu</a>	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/32357038@N08/13758375683	Hanging scroll, ink on paper; 24.5 x 31.5 cm. Mi Fu (Chinese: 米芾 or 米黻; pinyin: Mǐ Fú, 1051–1107)[1] was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. As a personality Mi Fu was noted as an eccentric. At times they even deemed him "Madman Mi" because he was obsessed with collecting stones and even declared one stone to be his brother. Hence he would bow to his "brother" rock in a display of the filial devotion given to older brothers. He also was known as a heavy drinker. His son, Mi Youren, would also be a famous painter in his father's artistic style. Unlike his father Mi Youren lived to be quite elderly, dying at the age of 79. en.wikipedia.org/wiki/Mi_Fu
2073	dbpedia	1	22	https://simple.wikipedia.org/wiki/Mi_Fei	en	Simple English Wikipedia, the free encyclopedia	https://upload.wikimedia…%B3%E8%8A%BE.jpg	https://upload.wikimedia…%B3%E8%8A%BE.jpg	[ "https://simple.wikipedia.org/static/images/icons/wikipedia.png", "https://simple.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://simple.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-simple.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/52/Acap...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2009-11-16T12:18:19+00:00		en	/static/apple-touch/wikipedia.png		https://simple.wikipedia.org/wiki/Mi_Fei	Mi Fu (1051–1107),[1] also known as Mi Fei was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. His style of painting was misty landscapes. This style is the "Mi Fu" style uses large wet dots of ink. This ink is put on with a flat brush. Mi Fu was born in 1051. His mother was employed as a midwife to deliver Emperor Shenzong and afterwards she became the wet-nurse who look after and feed the Emperor Shenzong who was to start his reign in 1051 and continue until 1107. Mi Fu knew the imperial family and he lived in the privileged location of the royal palaces. He ignored formal lessons but it could be seen that he had a gift for writing, painted and drawing.[2] He was one of the four best calligraphers in the Song Dynasty.[3] Mi Fu was known as odd. Some called him "Madman Mi" because he collected stones and said one stone was his brother.[2] He was a heavy drinker. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. He became a civil servant to mixed success. He was firstly a book editor in the emperors library before undertaking a number of posts in Henan province. He was given the post of Professor[4] of Painting and Calligraphy in 1103 at the Palace to select which painting and calligraphy is good enough to belong to the Emperor. He became secretary to the Board of Rites before he was appointed governor of Huaiyang in Jiangsu province. He had five sons and eight daughters. He died in 1107.[2] His son, Mi Youren, would also be a famous painter in his father's artistic style. Mi Fu is considered the best of all the calligraphers of the Song dynasty. An example of his work has sold for nearly four million dollars.[5] Related pages [change \| change source]
2073	dbpedia	3	83	https://www.asianart.com/exhibitions/zao/bio.html	en	Works of Zao Wou Ki at the Marlborough Gallery			[ "https://www.asianart.com/exhibitions/zao/images/logo.gif" ]	[]	[]	[ "" ]	null	[]	null					null	BIOGRAPHY 1921-1940 Zhao Wou Ki was born in Beijing on 13 February 1921. Later after arriving in France, he will adopt the spelling ZAO for his name. Zao's family goes back to the Song dynasty. The family treasure. Displayed every year, was made of two paintings: - One by Zhao Mengfu (1254-1322), famous for his paintings representing horses - The other by Mi Fu (1051-1107), who particularly captured the attention of the young Wou Ki. From age ten Zao draws and paints with great freedom and learns from his grandfather that calligraphy is an art when it transmits an emotion to the person looking at it. At age fourteen he enrols at the School of Fine Arts in Hangzhou, where he remains for six years. His first exhibition demonstrates his influences: Renoir, Modigliani, Cézanne, Matisse, and Picasso In 1942, he organises an exhibition of works by Wu Dayu, his teacher, together with some of his own works. This first attempt to show living artists who wish to detach themselves from pure tradition is well received by an audience of intellectuals and young painters. 1946-1947 The Japanese evacuate China. Zao Wou Ki returns to the School of Fine Arts in Hangzhou, which he had left in 1938. In 1947 he exhibits in Shanghai. 1948-1950 Zao Wou Ki goes to France and reaches Paris April the 1st and spends the whole afternoon in the Louvre. He attends the Académie de la Grande Chaumière and lives Rue du Moulin Vert nearby Alberto Giacometti's studio. He makes the acquaintance of Hans Hartung, Nicolas de Staël, Pierre Soulages, Viera da Silva, Sam Francis, Norman Bluhm and Jean-Paul Riopelle. They often gather at the Galerie Nina Dausset, rue du Dragon. In May 1949 he has first exhibition at the Galerie Creuze. He receives encouragement from Mirò, Giacometti and Picasso. At the Desjobert printing shop he discovers and learns the technique of lithography. Inspired by his lithographs, the writer Henri Michaux, spontaneously produces eight poems. The volume is published with the title Lecture de huit lithographies de Zao Wou Ki and exhibited at the galerie La Hune in 1950. This marks the start of an uninterrupted friendship between Zao Wou Ki and Henri Michaux. In January 1950, Pierre Loeb proposes a contract. Their collaboration will last until 1957. 1951-1952 In Bern (Switzerland) Zao is mesmerised by the paintings of Paul Klee. In them he finds an intimate world echoing his own sensibility. Exhibitions in Paris, Bern, Basel, Chicago, London and finally New York with a catalogue containing a foreword by Henri Michaux: In connection with Zao's participation to the International Biennial of Colour Lithography in Cincinnati, a full-page, reproduction of one of his lithographs, is published in Life magazine. 1953-1954 Designs for the sets of Roland Petit's ballet La Perle. Exhibitions in France, Bern, Geneva, Rome, Milan, New York... Retrospective of his engravings at The Cincinnati Museum of Fine Arts 1955-1956 Retrospective in Bern of a catalogue raisonné of his engravings. Invitation to exhibit in the French section of the third Biennial of Sao Paulo. Exhibitions in Paris and in New York at the Kleemann Gallery. 1957-1958 First monograph written by Claude Roy and published by Le Musée de Poche. Contract with the Galerie de France with the agreement of Pierre Loeb. First exhibition at the Kootz Gallery in New York. Samuel Kootz becomes his first regular dealer in the United States. In the USA, Zao makes the acquaintance of Barnett Newman, Franz Kline, William Baziotes, Saul Steinberg, and Hans Hoffman and finds great freshness and much spontaneity in American painting. 1959-1960 In 1960 he participates to the Venice biennial, to an exhibition of contemporary French art in Göteborg, to the Second International Biennial in Tokyo, and to Antagonismes at the Musée des Arts Décoratifs in Paris. A film is devoted to his work Atelier en France: Zao Wou Ki, a series by Pierre Nourisse. 1961-1962 Solo exhibition at the Kootz Gallery in New York and at the Tokyo Gallery in Tokyo. In a reply to Alexander Watt, for the magazine Studio published in London, he says: "Abstraction in art is no more abstract than isolated words in literature". In 1962 exhibitions in Madrid, at the Ateneo, and then in Cordoba, at the Galerìa Liceo. Publication of La Tentation de l'Occident with ten lithographs by Zao Wou Ki. Zao Meets André Malraux, the French minister of culture; with his support he obtains the French nationality. New exhibition at the Kootz Gallery, The Wonderful World of Zao Wou Ki. 1963-1964 Exhibition at the Galerie de France in Paris. Participates in Peinture hors format, featuring fifteen artists at the American Centre in Paris. Exhibitions in London, at the Massachusetts Institute of Technology, the Hayden Gallery in Cambridge (USA) and at the Kootz Gallery in New York. 1965-1969 In a film dedicated to his art - in the series Art Vivant - Zao demonstrates the use he makes of Chinese brushes. Retrospective in Essen, Germany, at the Folkwang Museum, paintings between 1950 and 1964. Exhibitions in Europe: in Vienna at the Graphische Sammlung Albertina, in Turin, Oslo. In New York at the Kootz Gallery, In Los Angeles at Frank Perls Gallery At the San Francisco the Museum of Art. He travels throughout the USA and visits Mexico where Rufino Tamayo welcomes him. Illustrations of Saint-John Perse's Oeuvre poétique and Rimbaud's Les Illuminations. Exhibition at the Galerie de France in Paris, with a foreword by Pierre Schneider. In 1967, he collaborates to a book about the Han period stampings (209 BC-200 AD). Most of the stampings are drawn from the collection of his father, several are very rare. In 1969 second retrospective exhibition at the contemporary art museum in Montreal and then at Musée du Quebec. A new film on Zao Wou Ki, in the series Champs visuels, is directed by Pierre Schneider and produced by the ORTF, the national French television. 1970-1971 Exhibition at the Sommerakademie für Bildende Kunst in Salzburg. He is appointed as a teacher for the summer season. Exhibitions in Geneva, Charleroi, and at the Galerie de France. Henri Michaux adds a foreword to a new edition of his monograph at Le Musée de Poche. Zao Wou Ki 's wife, May, is very ill. Zao rediscovers the ink medium. 1972-1974 May dies in March 1972. Zao Wou Ki leaves for China. His first trip there since 1948. Upon his return, he describes in an interview the impressions that his country has left in him. Exhibition of his inks along with sculptures by May at the Galerie de France. Appearances in two films: Le Défi de la grandeur, directed by Herbert Kline, and narrated by Orson Welles. Personnage de la vie made by Claude-Jean Philippe and Monique Lefebvre for the French television. He returns to the oil medium, and exhibits in Lisbon, Luxembourg, Essen, and Amsterdam. A monograph is published in Belgium. Designs for the sets and costumes of Béla Bartòk's The Miraculous Mandarin and The Wooden Prince for the Rhine Opera (Mulhouse, Colmar, Strasbourg). 1975-1977 The Galerie de France exhibits his recent works, with a foreword by René Char. He paints large formats, such as Hommage à Malraux (78" x 240 "), which is exhibited in Tokyo at the Fuji Television Gallery. In Accrochages III, an exhibition at Centre Georges Pompidou, an entire room is devoted to his work. Exhibitions in France, Belgium, and Lebanon. Zao Wou Ki weds Françoise Marquet. She is nowadays curator of modern art at the Musée du Petit Palais. Publication by Françoise Marquet.of Zao Wou Ki, les estampes 1937-1974. Invitation to stay at the Villa Médicis in Rome. The Fuji Television Gallery in Tokyo presents fourteen paintings, mostly large formats, with a foreword by Henry Michaux and Tamon Miki, curator at the Museum of Modern Art in Tokyo. 1978-1980 On the occasion of Homenaje a Joan Miro in Madrid Zao meets up with his friends Miro, Tàpies, Chillida and Pierre Matisse. He donates a group of his engravings to the French National Library. Eighty prints are exhibited at the Library. Exhibitions in Barcelona and at the FIAC - the contemporary art fair - in Paris, with the Galerie de France. Four designs for the Manufacture Nationale de Sèvres. Pierre Matisse exhibits his paintings and inks in New York. I.M Pei writes the foreword of the catalogue. Publication of Zao Wou Ki, Encres, a dialogue between the artist and Françoise Marquet, with a foreword by Henri Michaux. Creation of a nine panels fresco, opening like a picture book, for a school building designed by the architect Roger Tallibert. 1981-1982 Illustrations for En Occident, le jardin d'une femme indienne, by Henri Michaux. Exhibition at the Galeries Nationales du Grand Palais in Paris. The catalogue is introduced by Jean Leymarie and François Cheng. The exhibition travels to five destinations in Japan. At the request of I. M Pei, Zao creates two large pictures in ink Fragrant Hills Hotel. 1983-1984 Exhibition in Taiwan at the National Museum of History. Retrospective at the Musée Ingres. Invitation to exhibit by China's Minister of Culture. A selection of works is presented at the National Museum in Beijing and in the facilities of his former school in Hangzhou. In October, his work is presented at the FIAC. Inks exhibited at the Jan Krugier Gallery in Geneva Ten large formats at the Galerie de France. A film Voyage chinois de Zao Wou Ki. 1985-1987 I.M. Pei commissions works from Zao Wou Ki Ellsworth Kelly and Kenneth Noland for the Raffles City Building in Singapore. Trip to China where, at the request of his former school in Hangzhou, he teaches for a month in painting and drawing, while Françoise teaches history of modern painting and museology. Exhibition at the Pierre Matisse Gallery in New York, with a foreword by François Jacob. Exhibitions in France and Japan. 1988-1989 Exhibition at Jan Krugier Gallery in Geneva. Fortieth anniversary of his arrival in France. Retrospective of his work at the Artcurial Gallery and large formats at the FiAC Publications of Zao Wou Ki, by Claude Roy, Zao Wou Ki, by Daniel Abadie and Martine Contensou, a monograph by Gilles Plazy, Zao Wou Ki, Encres, by Bernard Noël 1990-1992 Exhibition of paintings and inks at Jan Krugier Exhibitions at Musée des Beaux-Arts in Tours, at the Vasarely Foundation in Aix, at the Artcurial Gallery, foreword by Pierre Daix. Marwan Hoss exhibits his inks in his Paris Gallery. Retrospective at the Gulbenkian foundation in Lisbon. Exhibitions in Luxembourg: Encres de Chine at the Musée National and Peintures at the Château de Vianden. Exhibitions in Germany, Switzerland, France. 1993-1994 Zao is made a Commandeur de la Légion d'Honneur, receives The Grande Médaille Vermeil de la Ville de Paris and is awarded an honorary doctorate by the University of Hong Kong. Retrospective exhibition at the Taipei Fine Arts Museum. Exhibitions in Paris, Nice Exhibition at the Centro Cultural de Arte Contemporaneo in Mexico, catalogue introduced by Robert Littman and Pierre Schneider. 1994 Zao Wou Ki receives the Imperial award from Emperor Akihito and Empress Michiko. Illustrations of 24 Sonnets of Shakespeare. Publication of a monograph by Pierre Daix, Zao Wou Ki, l'Oeuvre 1935-1993. 1995-1997 Seven prints for Henri Michaux's book Annonciation. Retrospective at the Kaohsiung Museum of Fine Arts in Taiwan and at the Museum of Fine Arts in Hong Kong. Daniel Marchesseau curates both exhibitions. Design for a ceramic mural panel for the future Atlantic underground station in Lisbon. At the FIAC with the Jan Krugier Gallery. Exhibition in New York, Hommage à Pierre Matisse at the Jan Krugier Gallery, texts by Maria Gaetana Matisse and I. M. Pei. The exhibition then travels to the Krugier-Ditelsheim Gallery in Geneva. 1998-2002 Participation in ARCO 1998, the international fair in Madrid. Retrospective travelling in China: at the Shanghai Museum of Art, in Beijing at the Chinese Palace of Fine Arts, in Canton at the Palace of Fine Arts. Daniel Marchesseau curates these exhibitions. Exhibitions in Taiwan, France and Japan. The FIAC in Paris Publication of Grands formats, participates in Chine, la gloire des empereurs, at the Musée du Petit Palais. In the spring of 2001 exhibition at the IVAM, in Valencia, Spain. Exhibition " Signe(s) " , inks of Henri Michaux and Zao Wou Ki. Exhibition "Zao Wou-Ki, Rêve de nature ", at the Chenonceau castle . Inks and oils of the last twenty years. In December , Zao Wou Ki is elected at the Académie des Beaux Arts. The Académie des Beaux-Arts is the section of the Académie Française reserved to painters and architects. His official reception at the Académie is on schedule for November 2003. In 2003 Two retrospectives and one exhibition are on schedule : - February-April In Helsinki, Taidehalli, " rétrospective Zao Wou-Ki" Curated by Markku Valkonen. - April-May Exhibition at the Marlbourough Gallery, New York. - October to December In Paris , Retrospective at the Museee du Jeu de Paume curated by Daniel Abadie This exhibition is organized whithin the program of the Années croisées France-Chine. 2003-2004 will be in France the " year of China ".
2073	dbpedia	2	36	https://www.theschooloflife.com/article/the-wisdom-of-rocks-gongshi/	en	The Wisdom of Rocks: Gongshi	https://assets.theschool…cf6fe7c671_z.jpg	https://assets.theschool…cf6fe7c671_z.jpg	[ "https://www.theschooloflife.com/app/themes/tsol/dist/images/tsol-logo_e1e66791.svg", "https://assets.theschooloflife.com/wp-content/uploads/2022/08/30091636/calendar-svgrepo-com.svg", "https://assets.theschooloflife.com/wp-content/uploads/2022/08/30091636/calendar-svgrepo-com.svg", "https://assets.theschoolo...	[ "https://www.youtube.com/embed/7kaKYer6x5A" ]	[]	[ "" ]	null	[]	2016-01-18T12:23:57+00:00	We publish articles around emotional education: calm, fulfilment, perspective and self-awareness. \| The Wisdom of Rocks: Gongshi — Read now	en	https://www.theschoolofl…x32_100561f9.png	The School of Life	https://www.theschooloflife.com/article/the-wisdom-of-rocks-gongshi/	In the West, we expect philosophy to come from books. In the East, more wisely, there’s an awareness that it may legitimately come from rocks as well. In China, in the middle period of the Tang dynasty, at some point in the first half of the 9th century CE, an enthusiasm for rocks developed in Chinese culture which gradually spread to Japan and Korea – and has continued to the modern age. Rocks mounted on wooden stands have become well-known and prestigious objects of contemplation. In East Asia, rocks are venerated with all the respect that we would accord to a work of art; except that what is really being honoured is the power of nature rather than the human hand. The more eroded and irregularly contorted the rock, the better. Collectors seek out rocks with passion. Scholarly essays and whole treatises are dedicated to the subtleties and nuances of rocks. Rocks from different locations are catalogued, and their particular aesthetic qualities inventoried and graded. Smaller rocks are placed on desks; gardens are built around the larger ones. What follows is a brief history of petrophilia (love of rocks): 826 CE, Tang Dynasty Lake Tai, Jiangsu Province, China A middle-aged gentleman is taking a stroll around a large lake on the Yangtze Delta Plain in eastern China, when something on its shore catches his eye. It is an apparently trivial yet momentous discovery: a pair of oddly shaped rocks. This is perhaps no less than the founding moment in Chinese petrophilia. This cultivated pedestrian is someone special. After numerous ups and downs in his career as a state official, including periods of imperial disfavour and exile, Bai Juyi has finally made it: he has been appointed Prefect of the nearby city of Suzhou. He also happens to be one of China’s major poets. It is not a chance combination of talents. Examinations to enter the state administration test the candidate’s knowledge of poetry as well as the classics of Chinese philosophy. Culture is believed to inculcate moral virtues of sensitivity, rectitude and wisdom that are essential to judicious decision-making. The ideal administrator doesn’t just know maths and time-keeping, he is meant to be a man of learning and the arts. Many of China’s leading poets and painters have careers in public service. So struck is Bai Juyi by these rocks, with their twisted angles and perforations, that he has them taken back home to Suzhou. Soon after his return, he sits down and writes a poem about them. Poetry for Bai Juyi is often a kind of a diary writing, in which he recounts interesting experiences and powerful feelings that affect him during the day. The title for this particular poem is ‘A Pair of Rocks’. Bai Juyi admits that the rocks are somewhat unconventional in their aesthetic appeal: Dark sallow, two slates of rocks, Their appearance is grotesque and ugly. They are also covered in dirt and begrimed with smoke, their cavities thick with green moss. He describes himself washing and scrubbing them: Of vulgar use they are incapable; People of the time detest and abandon them. So just what is the value of these unprepossessing specimens? Daoism, which began as a philosophy in ancient China before turning into a popular religion, cherishes nature – and it is evidence of its force that Bai Juyi welcomes in the rocks. The holes, perforations and indentations signal the patient, mighty forces of the universe – which we should respect and attempt to find harmony with. The ancient rocks offer a consolation for an ageing Bai, who feels excluded from ‘the world of youngsters’: Turning my head around, I ask the pair of rocks: ‘Can you keep company with an old man like myself?’ Although the rocks cannot speak, They promise that we will be three friends. Through rocks we can learn to respect the dignity of what has been marked by ageing and time. Thanks to Bai Juyi’s enthusiasm, the unusual limestone rocks at Lake Taihu soon become sought after by sensitive, creative people in the Tang dynasty. 12th century CE, Northern Song dynasty Wuwei district, Anhui Province, China It is early in the first decade of the twelfth century. Mi Fu, the most legendarily eccentric of scholar-officials in China, has just been appointed as a magistrate in Wuwei County. On arrival, he has to pay an important social visit. He has been invited to meet-and-greet all the other important administrators with whom he will be working. They stand waiting for him in the front garden of the official residence. But as he walks towards them, they are shocked at his sudden breach of protocol. For he has been stopped in his tracks by an unusually large rock in the garden. Instead of offering his respects to his hosts, Mi Fu turns and bows ceremoniously to the extraordinary looking rock. He calls out and addresses it as ‘Elder Brother Rock’, making an elaborate speech. He performs all the rites and obeisances that were prescribed for an older brother according to the principles of ‘filial piety’ in Confucianism – which believed that harmony in the family was the nucleus of social order in the state at large. Only after fully expressing his devotion to this amazing rock does Mi finally turn to his flabbergasted hosts. It was this story that earned Mi Fu his soubriquet, ‘Crazy Mi’ – and captured the imagination of East Asia’s painters, for whom ‘Mi Fu and Elder Brother Rock’ remained a favourite image for centuries to come. In Confucianism, natural objects were perceived to have moral qualities analogous to human virtues – the uprightness of the bamboo or pine tree, for example, withstanding the buffeting wind, was a model for the rectitude and probity an official should display in government. Mi Fu takes this to an extreme – the natural is not just a paradigm of official virtue, but is of equal, even superior, importance to social responsibilities. Mi Fu writes a treatise on rocks that enumerates their four main aesthetic qualities: shou, an elegant and upright stature; zhou, a wrinkled and furrowed texture; lou or cracks that are like channels or paths through the rock; and tou, the holes in the rock that allow air and light to pass through. In the 11th and 12th century, during the Chinese Northern Song dynasty, the passion for collecting rocks among scholar-officials like Mi Fu takes off in earnest. Stones are mounted on wooden bases and placed on desks as constant sources of inspiration. These decorative stones become known as gongshi – spirit stones (popularly mistranslated as ‘scholars’ rocks’ in English). Their peculiarly twisted shapes are admired as evidence of the qi energy that is believed to animate nature and the human body alike. Any cultivated person is expected to have an appreciation of rocks. They are valued as highly as any painting or calligraphic scroll. The well-known Song dynasty scholar-statesman, Su Shi, for example, is said to have offered a set of stones as a fair and equal exchange for a set of great paintings. During the Song dynasty, the most favoured rocks are quarried from the limestone of Lingbi, in the northern Anhui province. Lingbi rocks are dark black and glossy in texture. They are esteemed as much for the bell-like sound they produce when tapped as for their striking appearance. Lingbi Rock January, 1127 CE, end of the Northern Song dynasty Kaifeng, Northern China The imperial capital of China, Kaifeng, is under siege and about to fall to the Jurchens, a nomadic people from Manchuria. Soon the Song emperor, Huizong, will be taken captive and forced to abdicate, while his son, Qinzong, will flee to the south to establish a new court and the Southern Song dynasty. China will be split in two. In these desperate final days of the Northern Song, the order is given for the trees in Huizong’s spectacular imperial garden at Kaifeng, the ‘Northeast Marchmount’, to be cut down for firewood, and for its incredible array of fabulous rocks to be pulled out of the ground and used in catapults against the invading Jurchens. It is a sad end to what must have been one of the most remarkable gardens in world history. The royal park is said to have been teeming with striking rocks. The most prominent have been given names by Huizong, and commemorated in verses by him, incised into the rocks in golden ink. There is one rock called ‘Divine Conveyance Rock’, another ‘Auspicious Dragon Rock’. Emperor Huizong’s passion for rocks has clearly rather got out of hand – and explains his neglect of security issues. Huizong had in previous years appointed a royal official to explore the whole of China in search of precious rocks for his garden. Apocryphal tales abound of this official’s abuses – such as robbing homes for the sake of rocks, and dismantling important bridges to let boats with huge rocks pass by on canals and rivers. A love of rocks appears to have hastened the collapse of the Northern Song empire. 1450-1550, Muromachi Period, Japan Ryoanji Temple, northwest Kyoto In fifteenth-century Japan, a new type of rock garden develops. As with so much of Chinese culture, the obsession with rocks has crossed over to Japan in the latter part of the first millennium – while also being adapted in special ways. In Japan, the spirit rocks are called suiseki, and the Japanese favour much more subdued, smooth rocks than the Chinese. In Japan, rocks are treasured for their yoseki, a weathered and ‘ancient’ appearance that is similar to the ‘aged’ simplicity of the aesthetic of wabi sabi. The rocks are not so much placed on wooden stands, as positioned in trays surrounded by sand or water – evoking mountains and lakes. At several Zen Buddhist temples, and most remarkably at Ryoanji in Kyoto, the stones start to be set in very more minimal settings, so as to bring out their qualities all the more. Here landscape is reduced to its barest essence – scattered rocks that recall mountains surrounded by the stone fragments of raked gravel in symmetrical wave-like patterns that suggest flowing water. The only greenery is the bed of moss in which each rock is set. The raking of the gravel around the rocks by temple monks is a careful and precise art. There are various patterns including the ‘water pattern’ of concentric rings or ripples, like those produced when a stone is dropped in a lake; the ‘stormy water pattern’ of haphazardly overlapping semi-circles, and the continuous wave-effect of parallel or gently undulating lines. Marked off by a wall, the garden of Ryoanji is to be viewed while seated from outside rather than physically explored. Conclusion The originator of the East Asian reverence for rocks, Bai Juyi, was well aware of how powerful a love of rocks can become. In his essay, ‘Account of the Lake Tai Rock’, he speaks of an ‘addiction’ that some rocks can bring about. Truly wise people should restrict their rock worship to a few hours a day, he counsels. At a time, when few of us spend more than a few minutes a year looking at a rock, the advice seems less than urgent. Indeed, the tradition of rock reverence has a lot to teach us: that wisdom can hang off bits of the natural world just as well as issuing from books; that we need to surround ourselves with objects that embody certain values we’re in danger of losing sight of day-to-day – and that some of our most precious moments can be spent in the presence of nothing more chatty, prestigious or costly than a rock.
2073	dbpedia	3	95	https://www.nybooks.com/articles/2012/04/05/fu-baoshi-master-shadows/	en	A Master in the Shadows \| Jonathan D. Spence	http://www.nybooks.com/wp-content/uploads/2012/03/spence_1-040512.jpg	http://www.nybooks.com/wp-content/uploads/2012/03/spence_1-040512.jpg	[ "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=360", "https://www.nybooks.com/wp-content/uploads/2024/07/nyrb081524.jpg?w=652", "http://www.nybooks.com/wp-content/uploads/2012/03/spence_1-040512.jpg", "http://www.nybooks.com/wp-content/uploads/2012/03/spence_2-040512.jpg", "https://www...	[]	[]	[ "" ]	null	[ "JONATHAN D. SPENCE" ]	2012-04-05T00:00:00	How should one assess the best ways to survive in a revolution? What exactly is the tipping point between obedience and outright sycophancy? When does one	en	https://www.nybooks.com/wp-content/themes/nyrb_2020/img/favicon.ico	The New York Review of Books	https://www.nybooks.com/articles/2012/04/05/fu-baoshi-master-shadows/	How should one assess the best ways to survive in a revolution? What exactly is the tipping point between obedience and outright sycophancy? When does one try to hold on to the values that gave meaning to one’s upbringing, and when is it best to just let it all go? When does moral commitment trump personal survival? Such questions do not always have self-evident answers, and especially not in the case of China, where revolutions of many different kinds swept their turbulent way throughout the country for over a century. During that long period, bloodless coups and the most violent upheavals alternated and overlapped, sometimes combining with local forces to overthrow incumbent regimes, at others invoking the claims of various foreign powers for special treatment and territorial control. The Chinese were confronted by a sea change of options, ranging from imperial rule to republican experiments in governance, from progressive to parafascist militarism, from Japanese occupation to elitist single-party control from the right and the left, or the self-induced chaos of domestic mass movements. The Chinese artist Fu Baoshi, who lived from 1904 to 1965 and is the subject of the elegantly structured and biographically rich exhibition and catalog now at the Metropolitan Museum, provides us with a range of entry points into the China of his time, many of which have been only partially explored. Yet the title of the show, “Chinese Art in an Age of Revolution,” though certainly broad, still does not quite catch the full richness and ambiguity of the materials presented here. Cumulatively, these details of Fu’s hopes and experiences provide us with nothing less than a variety of new perspectives through which to explore an unusual life in a time of opportunity and challenge. Fu Baoshi was born in the waning years of the Qing dynasty, to a farming family in the prosperous city of Nanchang. The city was the capital of Jiangxi province in central China, and in the later nineteenth century had been the base of operations for a number of innovative national administrators, some of whom had been especially involved in exploring the cultural currents from the West. Because of his father’s repeated bouts of illness and the family’s poverty, Fu received no formal schooling until 1917, when he was thirteen, but this experience of hardship seems to have had certain advantages for the family. Fu’s father moved to the city and worked at various nonfarming jobs, one of which was as an umbrella mender, and Fu himself as a child brought some money into the family by working as an apprentice in a ceramics shop. From this experience he grew fascinated with the designs that were used as the decoration on fine porcelain, and that in turn stimulated an interest in drawing and carving, so that by the age of seven or eight he had learned to draw and also to write some of the classical characters on his own. That experience, in its turn, led Fu to an interest that was to stay with him all his life, the art of seal carving. This was an extraordinarily demanding art form, in which the carving of the small stone seals—stamps bearing names or epithets and often used as signatures on paintings and official documents—depended on the artist’s detailed knowledge of the materials, along with a piercing eye and intense manual dexterity. Fu’s talents in this difficult work aroused local interest, and the chance to make more money by carving seals on commission. With support from a member of the gentry who was active in a local cultural association, Fu was permitted to attend—on an informal basis—private classes on the Chinese classical literary and artistic traditions. News of the boy’s unusual skills spread, and in 1917 he was admitted to the First Normal School of Nanchang. The death of Fu’s father in 1921 did not prevent Fu from advancing to the high school level, which was designed to help boys prepare for a teaching career. Fu briefly selected the English language as his major field, but soon switched to majoring in art. He continued to carve seals on commission, and on occasion he also forged seals or paintings of earlier masters. As Anita Chung, one of the main organizers of this exhibition and the author of a lengthy and detailed essay on Fu, remarks, when Fu’s teachers learned of these teenage forgeries, “not only did the school not punish him, [but] the principal encouraged him to develop his individual style. To the young art student, this was perhaps an important lesson concerning authentic artistic creativity.” Several of Fu’s seals are included in the exhibition, including one particularly exquisite piece whose six-character impression reads “Plucking the pollia on a flat island” and on three sides of which, covering an area of less than five square inches, are engraved the 2,765 characters of Qu Yuan’s poem “On Encountering Sorrow.” By good fortune, four of Fu’s early hanging landscape scrolls, dated by their inscriptions to the year 1925, survived, and were preserved in a Tokyo museum. Displayed here, in the first room of the show, they demonstrate Fu’s great abilities as he turned twenty-one, and provide a striking way to open the exhibition. These landscapes are meant to show exemplary styles of the past, about which Fu comments at the top of each painting—admiring, for instance, the “vigorous style” and “dry brushstrokes” of the seventeenth-century masters Gong Xian and Cheng Sui. Referring to the eleventh-century painter, poet, and calligrapher Mi Fu, Fu wrote, “Later artists…could only pile up the ink dots without imparting openness and closeness. The result was not satisfactory.” Upon Fu’s graduation in 1926, the school appointed him to teach in the primary school, and in 1929 he was promoted to the junior high school division. Those three years were among the most violent in China’s modern history. Shanghai was torn by colossal strikes that brought most industries to a halt, until Chiang Kai-shek ordered his armies—which had marched north from Canton in 1926—to smash the major unions and banish the Communist Party from Shanghai and other cities. It was also during 1927 and 1928 that the Communists retreated from the last major urban centers they had once controlled, and that Mao attempted to build a new set of revolutionary bases in the mountainous countryside around Hankou. This indeed was an “age of revolution,” but Fu stayed in the Nanchang region, teaching Chinese painting theory, Chinese art history, seal carving, landscape painting, and flower-and-bird painting. During this period, too, Fu finished the draft of two books: one, with material drawn from his own teaching, painting, and research experience, titled An Outline History of the Transformation of Chinese Painting, was published in 1931; the second, Studies in Seal Carving, was compiled between 1926 and 1929. The partially typeset version of this second book was destroyed in early 1932, during the heavy Japanese bombing and shelling of Shanghai that occurred during the short, violent conflict of this period, and it was not until 1934 that the book finally came out in revised and expanded form. During these years of the early 1930s, Japanese troops had also been expanding their power in Manchuria, which was rapidly becoming effectively a Japanese colony—Korea had already been a Japanese colony since 1910, and Taiwan a Japanese colony since 1895. The near destruction of Fu’s manuscript coincided with the period of his greatest affection for, and involvement with, Japan and Japanese scholars. As several of the essays in the exhibition catalog make clear, in the late 1920s and early 1930s a complex but different kind of intellectual and aesthetic struggle was being waged among many Chinese and Japanese writers and scholars. It was a battle in which the Chinese cultural legacy in East Asia was being subjected to intense scrutiny, and was very much in doubt. The guardians of China’s artistic traditions—among whom Fu himself could now be seen as a junior member—were working and living on the margins of survival. Western aesthetic categories dominated most of the world’s arts and historical records. To unsympathetic observers, the traditional categories of Chinese art—decorated porcelain, seals, calligraphy, and paintings in ink—were static and outmoded, incapable of further creative development in their current forms. Oil painting, together with new forms of expression and spectacular technical achievements, dating back to the Renaissance, had simply passed China by. The ink landscapes in the literati tradition—paintings by scholar-bureaucrats in a simple style and inscribed with poems—that Fu celebrated in both his scholarship and his own painting were especially, in the words of the catalog entry on Fu’s 1933 landscape in the style of the fourteenth-century painter Wang Meng, “criticized as backward, conservative, and stagnant…the antithesis of individualism.” Japan’s position in these culture wars was a pivotal one. Chinese students had been flocking to Japan since around 1900 (just before Fu was born), and to France from 1920 onward. With skills honed overseas, the Chinese students came back to a China that had been shattered by Japanese military and economic assaults, and had also been weakened by Western territorial aggression. It is only from such a dark perspective that we can now understand the historical logic that lay behind the 1931 visit to Fu Baoshi made by one of China’s most celebrated painters, Xu Beihong. Xu himself had just returned to China from eight years of study and painting at the École des Beaux-Arts in Paris, and was currently teaching and working in the art department of the National Central University of Nanjing, not far from Nanchang. When he encountered Fu, Xu was deeply impressed by Fu’s abilities as a painter and seal carver, and by his determination to recapture ancient Chinese purities of line and texture. Xu asked the military governor of the Nanchang region to grant Fu a stipend to study in France, backing his request with a gift of one of his own celebrated horse paintings. Fu tried to clinch the bargain by giving the governor two of his seals. Since there was still not enough money for Fu to go to France, Xu narrowed his requests for funding to the support of Fu in Japan, and to the deepening of his skills in ceramics, which happened to be one of the most profitable products in Jiangxi. This somewhat hasty lobbying by the two Chinese painters led, perhaps to their surprise, to Fu’s residence in Japan, from September 1932 to June 1933, and from August 1933 to June 1935. During this period, once his Japanese language skills reached a high level, Fu was formally enrolled in the advanced graduate programs offered in Tokyo by the distinguished professor of fine arts Kinbara Seigo, by whose study of Chinese aesthetic concepts going back to the early third century Fu had been greatly impressed. Fu translated several works by Kinbara into Chinese, studied a wide range of historical texts on the earlier Chinese and Japanese artistic traditions, and held a successful one-man show of his own paintings and seal carvings in Tokyo in May 1935. This Japanese experience was transformative for Fu, and gave him a new sense of China in a global setting, and of the nationalist significance of China’s past traditions to China’s own history. As summarized by the authors of the catalog, what Japan did for Fu was that “specifically, it heightened his sense of national and cultural consciousness, which would add a political dimension to his art historical writing and art making.” Among many opportunities that now became available to Fu, perhaps the most important was that he developed a deeper understanding and admiration for the brilliantly talented so-called “eccentric” Chinese painters such as Shitao, a member of the royal house who narrowly escaped death and was forced to live in hiding during the disintegration of the Ming dynasty in the seventeenth century—a political circumstance in which Fu found solace and inspiration during a time of foreign aggression and perceived national decline. In her biographical essay, Anita Chung writes that Fu perceived Shitao “as a yimin, or ‘leftover subject’ of the fallen Ming dynasty, who witnessed the country’s tragic fate.” Fu summarized his view of Shitao’s importance in a 1936 essay: “His art is not only a harmonious symphony but also the saddest tune of the human world…. For an artist living under foreign invasion, only autumn and winter scenes could symbolize suffering and depression.” These studies became more difficult in June 1935, when Fu learned that his mother was seriously ill and returned to Nanjing, where he also taught Chinese art history and painting theory at the National Central University. In the summer of 1937 full-scale war between Japan and China broke out, and led to disastrous defeats for China: Shanghai was lost, Nanjing was ravaged, Beijing was occupied, and the main Chinese armies retreated deep inland to the city of Chongqing. Fu joined the exodus, undertook propaganda work for the Nationalist forces, continued his research into the creative worlds of Shitao, and spent what time he could with his growing family of five children. His painting grew in power and originality, and in 1940, refusing to join Chiang Kai-shek’s Guomindang, he ceased Nationalist propaganda work altogether and devoted his energies to a series of one-man shows in and near Chongqing. When the Japanese war ended in 1945 Fu took no governmental posts, but neither does he seem to have done any undercover work for the Communists during the ensuing civil war, though at least one of his close friends definitely did so. When, in late 1948, the Nationalist forces crumbled under the final Communist assaults, Fu was offered the chance to retreat to Taiwan with Chiang Kai-shek’s surviving forces, but he declined to go. Once again, the revolution swirled its destructive winds around him, but he himself remained unscathed, as far as we can tell. For many visitors to this exhibition, the Communist years will come as something of a letdown, even though Fu could still conjure up tempestuous visions, and some of his battle scrolls are stupendous. Also, Fu grasped the pictorial and personal opportunities offered by the publication of Mao Zedong’s poetry, and shrewdly saw how the act of studying and illustrating the poems—as in the painting of Mao swimming in the Yangzi River in the exhibition—could be used to shelter himself and his family from various forms of criticism. Fu was allowed to keep his former university position, but it must have been a major blow to him when a university-wide “curriculum adjustment” committee canceled his classes on Chinese painting theory, calligraphy, seal carving, and art history, all of which were dropped from the class rosters. Fu continued to receive prestigious commissions, including working on an enormous landscape for the newly built Great Hall of the People, and he was invited to take part in two major delegations, one to Eastern Europe and one to the former Manchu regions bordering on North Korea. The catalog includes a remarkable painting of the Prague Castle, with a foreground of trees and foliage drawn, as the catalog puts it, with “dancing movements of the brush [that] enliven the architectural forms.” But he was obliged to make many “self-criticisms,” and it became necessary for him to modify his dark and sundered landscapes, so that he could not be accused of anti-proletarian pessimism in early–Mao era crackdowns on free expression such as the Five-Anti campaign and the repression following the Hundred Flowers movement. Fu Baoshi died, apparently of a heart attack, in September 1965, just before the awful force of the Cultural Revolution could destroy him and his family. He would surely not have lasted long once the Red Guards learned the details of his propaganda work for the Guomindang, his long residence in Japan, and his passion for China’s ancient art, with its seals and its calligraphy and its purist admiration for the past. As it is, we can note how, in his last paintings, he felt it wise to decorate his swirling mists and distant vistas with ever brighter washes of pink, orange, and red. That way no one could accuse him of slighting the revolution, the one he lived through as well as the one that he made.
2073	dbpedia	0	97	https://mariesun.com/pov0_indexbar_main/web_SHORT_home_ebook.html	en	Tang Poems English translation, åè¯è±è¯ è±è¯åè¯ China history			[ "https://mariesun.com/pov0_indexbar_main/pix-red-star-small.png", "https://mariesun.com/ga/images/pix-amazon-cloud-reader.png", "https://mariesun.com/ga/images/arrow-b2.png", "https://mariesun.com/pov0_indexbar_main/pix-red-star-small.png", "https://mariesun.com/pov0_indexbar_main/z-25-zjx-yue-luo-wu-ti--66...	[]	[]	[ "Tang Poems", "English Translation", "Tang Poems English translation", "åè¯è±è¯ è±è¯åè¯ China history - Tang Dynasty history embedded in poems ä¸å½åå²-åæ è¯æ" ]	null	[ "Alexander K. Sun", "åç½çç", "åå½å¼º) (mother" ]	2016-01-01T00:00:00	Tang Poems English translation, åè¯è±è¯ è±è¯åè¯ China history - Tang Dynasty history embedded in poems ä¸å½åå²-åæ è¯æ Tang Poems - English Translation, åæµ©ç¶ æ¥æ, æç½ é»é¹¤æ¥¼éåæµ©ç¶ä¹å¹¿éµ, æ¸å¹³è°è¯, æåºå±±çå¸, å¤å®¿å±±å¯º, éå¤æ, æä¸ç¬é, æ©åç½ å¸å, ç¬åæ¬äºå±±, èµ æ±ªä¼¦, æ¥æ, åå¤å´æ, æç«, æ¥æ, ç³å£å, æå¤å¿èå¼, ç»å¥, æå¤ä¹¦æ, é³åæ, ç»å¹½å·å°æ, è´ºç¥ç« , åä¹¡å¶ä¹¦, çç¿°, çæé¾, çä¹æ¶£, åºå¡, ç»é¹³éæ¥¼, å´é¢¢, é»é¹¤æ¥¼, å¼ ç»§, æ«æ¡¥å¤æ³. ç§ä¸¾, ç¿°æ, å·¦æ¾é, Arabella Kushner, Trump's granddaughter, wins over Chinese hearts by reciting Tang poems. The Beauty of Tang Poems and Zhuanshu , - China, Chinese classics, literature, sinology, chinese poetry, Tang poets Li Bai, Li po, Du fu, Wang Wei, Du Mu, Li shangyin, Tang Ming Huang, Yang Guifei, the An Lushan Rebellion, The rise and fall of Tang dynasty. Fly General Li Guan, imperial exam, Hanling Poesie chinoise, poesies des Tang, poetes chinois, poesie, sinologie, litterature chinoise, Chine, ä¸å½æåãã·ã¼ã«ã®ãã·ã¼ã«ã ì¤êµ ë¬¸í, ë¹ëë¼, ë¹ëë¼, ì´ë°±, ëë³´, ì¸ê°, ì¸ê°, Chinesischen Kultur, Tang, Tang-Dynastie, der Dichtung, Dichtung, La culture chinoise, Tang, dynastie Tang, Li Bai, Du Fu, de joint, joint, La cultura cinese, Tang, Dinastia Tang, Li Bai, Du Fu, del sigillo, sigillo, The poems extracted from 300 Tang Poems are shown in the original Chinese (both simplified and complicated characters) with pinyin pronunciation and English translation, as well as detailed historical and biographical annotations providing extensive background to the poems and poets. The book also contains numerous links to pictures, maps, background articles, and other media files, which help to further place the poems and poets in proper perspective. ã·ã¼ã«å·çã®è±è¨³ã§ä¸å½ã®åã®è©©ãã åç½ççãå«å½å¼·ï¼æ¯ã¨åï¼ ì° ì°ê¸°ì ìì´ ë²ì ì¤êµ ë¹ëë¼ì. ë¡ë§ ìë¡, ì¨ ê¶ì°½ (ëª¨ì) Chinesischen Tang-Gedichte in englischer Ãbersetzung, der Dichtung schriftlich. Marie Sun, Alex Sun (Mutter und sohn) PoÃ©sie chinoise des Tang en traduction anglaise, de l'Ã©criture d'Ã©tanchÃ©itÃ©. Marie Sun, Alex Sun (mÃ¨re et fils) La poesia Tang cinese in traduzione inglese, di scrittura sigillo. Roma Sun Li, Sun Guoqiang (madre e figlio) La poesÃa Tang chino en la traducciÃ³n InglÃ©s, de la escritura de sello. Roma Sun Li, Sun Guoqiang (madre e hijo)				null	ï»¿ Tang Poems English translation, åè¯è±è¯ è±è¯åè¯ China history - Tang Dynasty history embedded in poems ä¸å½åå²-åæ è¯æ Go to Tang Poems (volume 2) Tang Poems (volume 1) Annotated with Chinese historical references and explanations. 25 top Tang poems of the Tang Dynasty by 10 poets Authors: Marie L. Sun and Alex K. Sun (Mother and Son) This eBook is published by Amazon.com (ç¾å½äºé©¬éå ¬å¸/ç¾äº) and sold by all Amazon stores around the world (please refer to Home page) but not by Amazon.cn yet. Tips: For beginners: Here is the easiest way to purchase your very first kindle book - paid or free: You don't need any Amazon Kindle Reader device to purchase any book thru Amazon.com. You may use your PC, Laptop, Mac, iPhone, iPad, Android phone or other mobil phone etc. to purchase it and read it with Amazon Cloud Reader (it's a free software) thru your PC, Laptop, Mac, iPhone, iPad, Android phone or other mobil phone etc. It also provides special instructions for people located in China or certain other foreign countries. Calligraphy images referred by the book may be freely copied from this website for educational or noncommercial positive purposes (i.e., no gambling or pornography, etc.) with an attributional reference to "Marie Sun and Alex Sun or at MarieSun.com" ; other uses require explicit, written authorization by Marie Sun. Preface This book is dedicated to the memory of Marie's dear parents, Mr. Tieqing Luo (ç¾ éµéå ç) and Ms. Wu Ma (é¦¬å¿å¥³å£«), who inspired Marie's early interest in and appreciation of Tang poetry and Chinese calligraphy. The book is structured differently from any other book on Tang poetry. Rather than simply providing a translated poem in isolation, it provides in-depth historical and cultural background information surrounding the poem, accompanied by multimedia links to maps, images, and/or videos scripts, including recitations in Mandarin for each of the 25 poems. In this way, the reader can more fully understand and appreciate all the nuances of the poem in its Chinese cultural context. In particular, this book provides information regarding Tang era social structures, key turning points relating to the rise and fall of the Tang Dynasty, and the political machinations of imperial court life -- all of which informed the narrative of Tang poetry. Of particular note is one singularly key figure of the Tang era -- Emperor Tang Ming Huang, who promoted poetry during his reign and led to its Golden age in Chinese history. In keeping with the old adage that "a picture is worth a thousand words," image/video links are provided from time to time to accompany a poem to help put it in context: The Great Wall thru Google, Section of Silk Road in the desert thru Yahoo, Hanging coffin thru Baidu, and Installing coffin on towering cliff face thru YouTube, etc. After more than 1,000 years of weather and war, the structures above may no longer retain all of their original glory, yet they still hint at the grandeur of a bygone golden era. The beauty of Tang poems is that they can evoke precise visions in an efficient conservation of words, forged into a euphonious stream of rhyme and cadence. These poems represent, and are witness to, archetypical human emotions and pondering reflecting the glory, passion, and tears of a unique era in Chinese history. If you are not familiar with âthe history of the âTang, ââI encourage you toâ firstâ readâ Chapter 2 â-â The Historical Path that Led Tang to Glorây or at MarieSun.com Chapter 2 - The Historical Path ... before continuingâ with the rest of the bookâ. The mood and subject matter of âTang poeâtry tended to reflect the relative âstrength and status of the âstateâ, such that a knowledge of the political history of the dynasty will give you more insight into the poetry.â * * * When translating Tang poems into English, the poems' forms, cadences, and rhyming schemes are naturally difficult to replicate precisely. This book attempts to retain the poems' original charm, flavor, and soul, while adhering as closely as possible to those original forms, cadence, and rhyming schemes. The essentialist, ambiguous, and rhythmic spirit of Chinese poems is often lost in flourished occidental translations trying to explain and make sense of too much. Chinese poems are often purposely designed to be ambiguous or open to interpretation. For example, in most cases, there is no overt subject in Chinese poems, though the first person viewpoint is usually understood. Thus, the subject "I" is often inserted as the assumed viewpoint in occidental translations. This book attempts to avoid such assumptions except in the most obvious cases. I hope you will find pleasure and enjoyment in perusing this book, and that you will engage in interpreting the poems you come across in your own way and share them with your friends. * * * The co-author, Alex Sun, was invited by his dear grandparents, Mr. Teiqing Luo and Ms. Wu Ma, to study Chinese in Taipei, Taiwan at age 12. Alex's natural interest in learning different languages and cultures, along with his immersion for 2 years in Chinese-speaking communities (studying another year at Beijing University in China), proved an immeasurable help in producing this book. An enormous thanks also goes out to Scott Shay, a computer expert and linguist who has authored several college textbook from www.amazon.com/Scott-Shay/e/B002BLS206. With his help, we have been able to publish our first eBook. Also thanks to Benjie Sun for his editorial help and Chung-Li Sun for his spiritual support. Copyright All rights reserved. The scanning, uploading, and/or distribution of this book via the Internet or via any other means without the permission of the authors is illegal and strictly forbidden. How the Information in this Book Is Organized This book is divided into several chapters, with the first containing the 25 chosen Tang poems organized by poets. Subsequent chapters provided further general historical and background information. In Chapter 1, the following information is provided for each poem: (1). A brief biography of each poet, except for Li Bai and Du Fu, who are described in more detail, due to their seminal influence in the East Asian poetry world (in addition, there is an entire chapter devoted to Tang Ming Huang, the Emperor patron of poetry). (2). Representation of each poem in xingshu è¡ä¹¦ calligraphy; in addition, 12 poems are also presented in zhuanshu ç¯ä¹¦ calligraphy. (3). Both traditional and simplified Chinese forms of the poem with pinyin annotations (4). Recitation in mandarin for each poem (5). Comments on the historical backdrop of the poem (6). A glossary of terms and names mentioned in the poem (7). images or videos relating to the poem or poet About the Poems: The 25 poems covered in this book are chosen out of the most popular Chinese poetry anthology of all time, namely, "Three Hundred Tang Poems" "åè¯ä¸ç¾é¦" compiled by Sun Zhu åæ´ (1711 - 1778). âMost of the poems are presented after a brief biography of the poet. âBecause of the extensive background information being provided for Li Bai â and Du Fu â, however, their sections are arranged a little differently; most of their poems are presented at key points in their biographical narratives that inspired the given poem. Except for Meng Haoran, Li Bai, and Du Fu, all poets are listed roughly in chronological order. Chapters 1. Poets and Poems (1). Meng Haoran åæµ©ç¶ Meng Hao'ran (689 or 691 - 740; lived during the Early and High Tang periods), a descendant of Meng Zi åå (also known as Mencius, the famous Confucian philosopher) and grandfather of poet Meng Jiao åé, was born in Xiangyang è¥é³ by the Han æ± River in Hubei Province æ¹åç (Hubei, literally "lake æ¹ north å". The city is located to the north of Dongting Lake æ´åºæ¹ along the Yangtze River æ¬åæ±/é¿æ±). Meng was a famous landscape poet. Fifteen of his poems are included in the anthology "Three Hundred Tang Poems." He sat for the imperial examination ç§ä¸¾, attempting to attain the degree title of "jinshi" è¿å£« at age 40, but failed. After his brief pursuit of a career as a local official, he mainly lived in and wrote about the area in which he was born and raised. The local landscape, history, and legends were the subjects of his many poems. So, too, were his journeys. More than 10 years Li Bai's senior (and Li Bai's idol), he befriended Li in later adulthood. Meng also befriended Wang Wei çç»´, Wang Changling çæé½¡, and Wang Zhihuan çä¹æ¶£, among other poets. Li Bai wrote many poems in admiration of Meng, among which are two famous ones -- "Presentation to Meng Haoran", and "Seeing Men Haoran off at Yellow Crane Tower". The latter is included in this book. Meng Haoran, as a prominent landscape poet, had a major influence on poetry in the Early Tang era. This influence also extended into neighboring Asian countries, especially Japan, Korea, and Vietnam. * * * In ancient times, writings were engraved into stone slabs or "steles" in order to preserve their beauty. Others could then duplicate them through stone rubbings. Such duplicate copies were called taben ææ¬ (pinyin: tÃ bÄn, stone rubbing). Creating a taben stone rubbing: View video thru www.youtube.com/watch?v=HIVD__IHTv0 (38 seconds) or select one thru YouTube. Throughout this book, the poems presented as images follow the traditional Chinese manner - written in vertical columns from top to bottom and from right to left without punctuation. However, the rest of the contents are presented in the "modern" western approach, with characters in horizontal rows from left to right, with occasional punctuation. calligraphy in xingshu è¡ä¹¦ calligraphy: calligraphy in zhuanshu/zhuanzi ç¯ä¹¦/ç¯å calligraphy: poem #01 Traditional Chinese æ¥æ Â åæµ©ç¶ Â æ¥ç ä¸è¦ºæï¼èèèå¼é³¥ãÂ å¤ä¾é¢¨é¨è²ï¼è±è½ç¥å¤å°ã Simplified Chinese with pinyin æ¥ æ Â å æµ© ç¶ Â chÅ«n xiÇo mÃ¨ng hÃ o rÃ¡n æ¥ ç ä¸ è§ æï¼ å¤ å¤ é» å¼ é¸ãÂ chÅ«n miÃ¡n bÃ¹ juÃ© xiÇo, chÃ¹ chÃ¹ wÃ©n tÃ niÇo. å¤ æ¥ é£ é¨ å£°ï¼ è± è½ ç¥ å¤ å°ãÂ yÃ¨ lÃ¡i fÄng yÇ shÄng, huÄ luÃ² zhÄ« duÅ shÇo.Â Recitation 1 Recitation 2 Notes : Recitation 1: Click it to listen to a recitation of the poem in Mandarin Chinese and to view a transliteration into pinyin through Google. If click twice on the speak icon, it will recite at a slower pace. Recitation 2: Click and select one of the options to listen to a recitation. pinyin æ¼é³ Each Chinese Character has only one syllable. There are about 50,000 Chinese characters (a person need only master two to three thousand, however, to be able to read newspapers) and tones are often used to differentiate words from each other. There are basically four tones in the Mandarin pinyin system. Examples for tones of "ma" would be (1) mÄ: mother å¦, (2) mÃ¡: hemp éº», numb éº» or mop æ¹ï¼ (3) mÇ: horse é©¬ and (4) mÃ : scold éª The tones and cadence lead to the further enjoyment of the poems as most of them are based on certain regulated tone/cadence patterns and rhymes that enhance the ability of recitation and gracefulness. While reciting Tang poems in Mandarin is a delight, it is even more so in the southern dialects of Chinese, such as Cantonese, which have preserved more closely the pronunciations and tones of the Tang period. Spring Dawn Meng Haoren Indolent sleeping in spring, I'm unaware morning's here. Clearly I can hear, Birds' twittering everywhere. With last night's gust of wind and rain,Â I'm wondering - How many flowers Have fallen and scattered. * * * Meng used plain and simple words to describe a spring morning scene. His poems are often filled with charming descriptions of nature. Most of his landscape poems reflect beings and objects coexisting in natural harmony. This was a reflection of his own life and pursuits - to live in the world without harming it or attempting to "conquer" it. But, rather, to preserve it as it was, and to be part of it and enjoy it. âDefinitions and âInterpretation of Characters, Terms, and Names: If there are several meanings for a character or a term, the ones complying best to the poem's generally understood intent are listed first. æ¥æ: spring dawn æ¥: spring ç : to sleep, to hibernate ä¸è§: unaware, hard to sense, unconsciously æ: dawn, daybreak, to know, toÂ tell å¤å¤: everywhere, in all respects é»: to hear, to smell, to sniff at å¼: to twitter, to sing, to cry, to weep aloud, to crow, to hoot é¸: bird å¼é¸: bird's chirping, bird's twittering, bird'sÂ singing å¤: night æ¥: come, return Â é£é¨: wind and rain å£°: sound, voice, tone, noise è±: flower, blossom Â è½: fall, dropÂ ç¥: to understand, to know, to be aware å¤å°: how many, how much, which (number), number,Â amount, somewhat View the following images related to the poem: 1. Chinese calligraphy æ¥ç ä¸è§æä¹¦æ³: view thru Google, Baidu or Yahoo Japan. 2. Xiangyang, Hubei Province è¥é³, æ¹åç - Meng Haoran's hometown: View thru Google or Baidu. (2). Li Bai æç½ Li Bai (701 - 762; lived mostly in the High Tang period and only a few years into the beginning of Mid Tang period), the most famous romantic poet in Chinese history, penned numerous masterpieces that are still memorized and chanted by Chinese of all ages today. He went by many names; his most popular and well-known title being Shi Xian è¯ä» - "the Poet Immortal" or "the Poet Transcendentâ. His name has also been romanticized as Li Po or Li Bo. Thirty-four of Li Bai's poems are included in the popular anthology "Three Hundred Tang Poems," second only to Du Fu's thirty-nine poems. Li Bai's ancestors were from Longxi, Chengji éè¥¿, æçºª, in present-day northern Qinan county, Gansu Province ç§¦å®å¿å, çèç. They were banished to Tiaozhi æ¡æ in the Western Regions è¥¿å, today's Central Asia, during the Sui Dynasty by the Sui ruler. As for Li Bai's birth place, according to Guo Moruo éæ²«è¥, a historian and ancient writing scholar, Li Bai's ancestors moved from Tiaozhi to a prosperous silk trading city Suiye ç¢å¶, also in Central Asia, within the Ansi Protectorate å®è¥¿é½æ¤åº, and Li Bai was born over there. Suiye was also known as Suyab, once a flourishing trading city on the Silk Road and now an archaeological site in modern day Ak-Beshim, Kyrgyzstan. View present-day Ak-Beshim (Suiye) in Kyrgyzstan thru Google or Yahoo. View details regarding Ak-Beshim: Wikipedia. Li Bai's father, Li Ke æå®¢, was probably a very successful merchant, since the family was installed in one of the thriving commercial centers of the empire. In 705, Li's father moved the family back to China and settled down in Jiangyou, Sichuan Province æ±æ²¹, åå·ç. ( View Jiangyou thru Google or Baidu.) (Jiangyou is bordered on the northeast side by Mianyang City ç»µé³å¸ - today's "Silicon Valley" in China.) Speculated birthplace of Li Bai- Suiye (the blue drop shape) and his second "hometown" (the green drop shape): (Source: Google Map) The young Li Bai read extensively, devouring not just Confucian classics, but also various tracts on astrological and metaphysical subjects, including the Chinese classic text - Tao Te Jing/Dao De Jing éå¾·ç» (Wikipedia). He was also skilled in swordsmanship. His place of birth, his tall girth, and his angular facial features, suggested that he was possibly of mixed race. It was said that he was conversant in at least one foreign language due to his background and upbringing. In 725 at age 24, Li Bai left his second hometown, Jianyou, to explore the world. Being young, ambitious, and without financial constraint, he embarked on a knight-errant-like journey. Heading east down the Yangtze River, while passing through the Jingmen Gorge, he left behind a beautiful poem "Bid Farewell at Jingmen" èé¨éå«. He explored Jiangling æ±éµ in Hubei æ¹å Province, Dongting Lake æ´åºæ¹ in Hunan æ¹å Province, Mount Lu åºå±± in Jiangxi æ±è¥¿ Province, and Jingling ééµ (present-day Nanjing åäº¬) in Jiangsu æ±è Province. Along the way he met and befriended various poets and social elites, including Meng Haoran, who Li Bai had long admired. Li Bai wrote several poems in admiration and praise of Meng, including the following: poem #02 Traditional Chinese é»é¶´æ¨éåæµ©ç¶ä¹å»£éµ æ ç½ æ äººè¥¿è¾é»é¶´æ¨ï¼ ç è±ä¸æä¸æå·ã å¤å¸é å½±ç¢§ç©ºç¡ï¼ å¯è¦é·æ±å¤©éæµã Simplified Chinese with pinyin é» é¹¤ æ¥¼ é å æµ© ç¶ ä¹ å¹¿ éµ huÃ¡ng hÃ¨ lÃ³u sÃ²ng mÃ¨ng hÃ o rÃ¡n zhÄ« guÇng lÃng æ äºº è¥¿ è¾ é» é¹¤ æ¥¼ï¼ gÃ¹ rÃ©n xÄ« cÃ huÃ¡ng hÃ¨ lÃ³u ï¼ ç è± ä¸ æ ä¸ æ¬ å·ã yÄn huÄ sÄn yuÃ¨ xiÃ yÃ¡ng zhÅu ã å¤ å¸ è¿ å½± ç¢§ ç©º å°½ï¼ gÅ« fÃ¡n yuÇn yÇng bÃ¬ kÅng jÃ¬n ï¼ å¯ è§ é¿ æ± å¤© é æµã wÃ©i jiÃ n chÃ¡ng jiÄng tiÄn jÃ¬ liÃº ã Recitation 1 Recitation 2 Seeing off Meng Haoran for Guangling at Yellow Crane Tower Li Bai My old friend departs the west at Yellow Crane Tower, On a journey to Yangzhou among March blossom flowers. His lonely sail receding against the distant blue sky, All I see but the endless Yangtze River rolling by. * * * In the spring of 728 at age 27, Li Bai heard that Meng Haoran was going to take a trip to Yangzhou æ¨å·. Li Bai managed to travel to present-day Wuchang city in Hubei Province æ¦æå¸, æ¹åç to meet with Meng for several days of adventure, after which they parted at the nearby Yellow Crane Tower. Li Bai wrote this famous poem describing the melancholic nature of his idol's departure. The poem is filled with affection and paints a vision of a brilliant spring day pushed to the horizon by the endless and powerful Yangtze River. It is a vision and a force that also carries away the ardent heart of the poet as he watches his idol's lone boat vanish into the distant horizon. Yangzhou (marked as number 1) is located near the eastern terminus of the Yangtze River. The Yellow Crane Tower lies between Chongqing and Yangzhou: (This map may be freely copied from www.mariesun.com for educational or noncommercial purposes of uses with a reference to "Marie Sun and Alex Sun at MarieSun.com".) The map's outline is provided by Joowwww [Public domain], via Wikimedia Commons. âDefinitions and âInterpretation of Characters, Terms, and Names: é»é¹¤æ¥¼ The Yellow Crane Tower: A famous, historical tower, it was first built in 223 AD, on Sheshan in the Wuchang District of Wuhan, Hubei Province æ¦æåº,æ¦æ±, æ¹åç by the Yangtze River. Warfare and fire destroyed the tower many times and it has been rebuilt several times. æ¬å· Yangzhou: Located northeast of Nanjing, Jiangsu Province åäº¬, æ±èç. The distance from Yellow Crane Tower to Yangzhou is about 330 mi/483 km (mi: miles, km: kilometers) as the crow flies, 460 mi/736 km as the river winds. Historically it was one of the wealthiest cities in China, known for its great merchant families, poets, painters, and scholars. å¹¿éµ Guangling: An old name for Yangzhou. é¿æ± Changjiang: Also known as the Yangtze River æ¨åæ±. According to year 2017 statistics, it is the longest river in Asia, and the third longest in the world after the Nile and Amazon Rivers. It flows for about 3,900 mi/6,280 km from the glaciers of the Qinghai-Tibet Plateau eastward across southwest, central, and eastern China before emptying into the East China Sea at Shanghai. é: to see off , to send, to deliver, to carry, to give (as a present) , to present (with), ä¹: to æ äºº: old friend, the ancient è¥¿: west è¾: to depart, to leave, to resign, to dismiss, to decline, to take leave, words, speech çè±: full bloom of flowers, fireworks, ä¸æ: March ä¸: going down, traveling down å¤: lone, lonely å¸: sail è¿: far, distant, remote å½±: shadow, picture,Â image,Â reflection, ç¢§ç©º: the blue sky, the azure sky å°½: to the utmost, to end, to use up,Â to exhaust,Â to finish,Â Â exhausted,Â finished, to the limit (of something), to the greatest extent, extreme, within the limits of å¯: only, alone è§: to see, to meet å¤©é : horizon æµ: to flow, to disseminate, to circulate or spread, to move or drift View the following images related to the poem: 1. Chinese calligraphy é»é¹¤æ¥¼éåæµ©ç¶ä¹å¹¿éµä¹¦æ³: View thru Google or Yahoo. 2. Changjiang/Yangtze River é¿æ±/æåæ±: View thru Google, Baidu, Yahoo, Yahoo JP or Bing. 3. They parted at the Yellow Crane Tower é»é¹¤æ¥¼: View the tower as of today thru Google or night scene thru Baidu. 4. Meng Haoran visited the beautiful city of Yangzhou æ¬å·, which was the most prosperous city in the Jiangnan æ±å region during the Tang Dynasty. "Jiangnan" literally means "River South", or "the Yangtze River South". Although Yangzhou lays on the north bank of the Yangtze River, it became associated with the Jiangnan region by dint of its sheer wealth and prosperity. View Yangzhou thru Google, Baidu, Yahoo, Yahoo JP, Google Hong Kong, or Bing. 5. Being prosperous, Yangzhou has always been famous for its dessert dim sum: View thru Google or Baidu. While touring Hubei, Li Bai was introduced by friends to the family of the former Prime Minister Xu Yushi è®¸åå¸. Li, at age 26, was young, handsome, and well-built. He excelled at both swordsmanship and literature, and had about him a chivalrous and gentlemanly demeanor. A budding poet, he was well-received by Xu's family and eventually married the former Prime Minister's granddaughter, Xu Ziyan è®¸ç´«ç. The couple settled down at Peach-flower Rock, near Li's in-laws in present-day Anlu, Hubei Province å®é¸, æ¹åç. Although Li Bai would travel from time to time or take short mountain sabbaticals (to enhance study and reflection) for the purposes of obtaining a position in the imperial court, the couple led a content married life with little financial burden, with Xu Ziyian bearing a daughter, Li Pingyang æå¹³é³, and a son, Li Boqin æä¼¯ç¦½. While away from home, Li Bai wrote many letters and poems to his wife to express his loneliness and longings, some of which were very witty and humorous. The blessed marriage lasted for 12 years. In 740, Xu Ziyian passed away. Since several of Li's close relatives lived in Renchen ä»»å, located on the south side of present-day Jiling city, Shandong Province æµå®å¸, å±±æ±ç, Li Bai moved his family there. This was not far from Lu county, where Confucius' hometown is located. After settling down at Renchen, Li Bai managed to spend some time living in seclusion with five other hermits on Mt. Culai å¾å¾å±± ( view Mt. Culai thru Google or Baidu). They settled by a scenic brook in a bamboo forest, and hence the six of them earned a collective name - "The Six Hermits of Leisure of the Bamboo Brook" ç«¹æºªå é¸. Needless to say, Li Bai spiritually enjoyed his time there, taking in the surrounding mountain scenery, drinking wine, enjoying tea, playing music, practicing his fencing, and especially chanting poems together with his like-minded companions. While living on Culai Mountain, Li Bai continued to maintain contact with the local intelligentsia and gentry through letters and visits in order to get his name heard. This was the fashion during Tang Dynasty for ambitious scholars to obtain a central government appointment in the imperial court. Li Bai lived on Culai Mountain intermittently on three separate occasions. Mt. Culai, the sister mountain of Mt. Tai æ³°å±±, lies about 12.5 mi/20 km to the southeast of Mount Tai. In Chinese âfeudal âtradition, emperors would come to this area atop Mt. Tai and hold Heaven-and-Earth worship ceremonies ç¥å¤©ç¥å°, also called fÄngchÃ¡n å°ç¦ , â during prosperous periodsâ to pay gratitude âtoâ Heaven and Earth. Another main purpose was to âjustify and reifyââ âtheirâ â"âsuperpowerâ"â and authority âover their people. After the ceremony, âthe emperors would also often stop at nearby Qufu æ²é in Lu county, the birthplace of Confucius, to hold a ceremony honoring him ç¥åå¤§å ¸. Early in the Han Dynasty, Emperor Han Wudi æ±æ¦å¸ had paid three visits to the area, performing the aforementioned ceremonies. Several Tang emperors did so as well. Emperor Tang Ming Huang performed the ceremonies for the first and only time in 725, the year Li Bai was just stepping out of Sichuan to explore the world. While holding ceremony in Lu county, Tang Ming Huang composed a poem called "Passing through Zou Lu âand offering a sacrifice to ââConfucius with a âsâigâhâ" "ç»é¹é²ââç¥ååèå¹ä¹"â. This is the only poem âby the emperor, himself, that is included in the anthology "Three Hundred Tang Poems". Living on nearby Culai Mountain and cultivating a reputation as a learned, self-sufficient, capable man, Li Bai provided himself the chance of being recognized and introduced to the Tang emperor during these ceremonies and would have had the opportunity to be possibly "fast track" into the imperial service. Before his wife passed away, Li had lived in seclusion on several other mountains as well. One of these was Zhongnan Mountain çµåå±± ( view the mountain, hermits and monks thru Google or Baidu,) about 10 miles south of the Tang capital of Chang'an. He lived there around age 29 for less than a year. During the early Tang, the famous scholar hermit Lu Cangyong å¢èç¨ lived on this same mountain and was called in by Empress Wu Zetian æ¦åå¤© to work for the central government. Lu began at the position of a remonstrative official - Zuoshiyi å·¦æ¾é ( duties of remonstrative officials in the Tang Dynasty and rank schedule of the imperial civil service system), working his way up quickly to the Shangshu-Youcheng å°ä¹¦å³ä¸ level, i.e., almost to the position of prime minister. This is the origin of the Chinese idiom "Zhongnan Fast Track" "ç»åæ·å¾". Li Bai, however, did not meet with such fortune on Zhongnan Mountain. In 742, HÃ¨ Zhizhang è³ç¥ç« , about 83 years old at the time a leading light of literature and high-level imperial official, read Li's poems, marveled at his literary talent, and praised Li Bai as the "Transcendent Dismissed from Heaven" or "Immortal Exiled from Heaven" "è¬«ä»äºº". From this point forward the acclamation "Li Bai, the 'Transcendent Dismissed from Heaven' " began to spread throughout the empire. And the two cemented the bond of a lifelong friendship. In the late summer of the same year, Emperor Tang Ming Huang, who had caught wind of Li Bai's reputation, summoned him to the the capital Chang'an for an audience. From Li Bai's home to Chang'an was nearly a distance of 600 mi/965 km, as the crow flies. Li did not arrive until the autumn. Emperor Tang Ming Huang, an expert on military strategy who also excelled at literature, greeted Li Bai at the Grand Palace in person. During the banquet, Li's personality, wit, and political views fascinated Tang Ming Huang. The emperor even personally seasoned the soup for Li Bai. The next year, Li Bai was assigned a Hanlin ç¿°æ position at the Hanlin Academy ç¿°æå¦é¢ within the imperial court and appointed the state Grand Secretary. As a result of the emperor's favor, Li was never required to take the imperial examination to attain the title of jinshi, a usual prerequisite for selection and assignment to a Hanlin position. Indeed, Li Bai never attempted to take the imperial examination at all. It was rumored that this was because his ancestors had been banished to Central Asia for some kind of crime. The norm at the time was that offspring of criminals were automatically disqualified from taking the exam, but his ancestors were banished in the Sui Dynasty (581 - 618) and the Sui was overthrown by the Tang in 618, some 80 years before Li Bai was born! Being from a merchant family also would have disqualified him from taking the imperial examination, though. This policy was adopted most likely to prevent collusion between government employees and businessmen. But in reality, this policy was never consistently implemented. Highly wealthy merchants could always circumvent the rules and secure important government positions. One such example was Wu Shiyue æ¦å£«å½ , a successful lumber businessman with good connections to the Tang royal family, who secured several important government positions early during the dynasty and indirectly helped his daughter - Wu Zetian æ¦åå¤© âusurpâ the throne. This regulation was eventually repealed by the following Song (Sung) Dynasty å®æ, and almost all classes of males (and only males) were thereafter permitted to take the exam. In any event, during Li Bai's lifetime he often broke from convention and followed his own path. In the beginning, Li led a fairly pleasant life at court. The famous verse "Guifei grinding ink, Lishi pulling off boots" "è´µå¦ç£¨å¢¨, åå£«è±é´" describes this period. It depicts Yang Guifei æ¥è²´å¦, Tang Ming Huang's most adored consort, grinding Chinese black inksticks into ink for Li to pen down a poem, while Gao Lishi é«åå£«, Tang Ming Huang's favorite eunuch å®¦å®, (and the most politically powerful figure in the palace), assists in pulling off Li's snow stained boots under Tang Ming Huang's request. All to facilitate Liâs comfort and creative genius. It was also suggested that whenever Li Bai published a new poem, there would be a run on paper in Chang'an, sending the price soaring, with everyone rushing out to obtain copies of his new work. Li's main duty was to handle secretarial works and record tasks for Tang Ming Huang, which included accompanying Tang Ming Huang to important ceremonies and festivities and documenting them. Tang Ming Huang probably intended that through Li's exquisite writing, the records of his reign would be of particular interest to future historians and scholars. A secondary duty assigned to Li was composing poetry for the emperor. This resulted in the following poem, Qing Ping Ballad, which is a flattering and fawning piece about Yang Guifei and reflects the desires of Tang Ming Huang. poem #03 Traditional Chinese æ¸ å¹³èª¿ä¹ä¸ æç½ é²æ³è¡£è£³è±æ³å®¹ï¼ æ¥é¢¨ææª»é²è¯æ¿ã è¥éç¾¤çå±±é è¦ï¼ æåç¤èºæä¸é¢ã Simplified Chinese with pinyin æ¸ å¹³ è° ä¹ ä¸ æ ç½ qÄ«ng pÃng diÃ o cÃ zhÄ« yÄ« lÇ bÃ¡i äº æ³ è¡£ è£³ è± æ³ å®¹ï¼ yÃºn xiÇng yÄ« shang huÄ xiÇng rÃ³ng, æ¥ é£ æ æ§ é² å æµã chÅ«n fÄng fÃº kÇn lÃ¹ huÃ¡ nÃ³ng. è¥ é ç¾¤ ç å±± å¤´ è§ï¼ ruÃ² fÄi qÃºn yÃ¹ shÄn tÃ³u jiÃ n, ä¼ å ç¶ å° æ ä¸ é¢ã huÃ¬ xiÃ ng yÃ¡o tÃ¡i yuÃ¨ xiÃ fÃ©ng. Recitation 1 Recitation 2 Qing Ping Ballad ( 1 ) Li Bai A dress imagined by clouds, a look imagined by flowers, Spring breezes caress the threshold, a lustrous dew showers; If no meeting occurs at the cluster of Jade Mountain peaks, Then rendezvous at Jade Pavilion in the moonlight hours. * * * This was written at Sinking Incense Pavilion æ²é¦äº as Tang Ming Huang and Yang Guifei wandered among the peonies -- highly regarded ornamental flowers in Chinese tradition. At Tang Ming Huang's request, Li Bai wrote three poems -- Qing Ping Ballads I, II and III on that day. After each poem was completed, the court orchestra would accompany a chanting of it for the audiences to enjoy. The multi-talented Tang Ming Huang also appreciated music and had a talent for composing, but unfortunately none of his works are extant. In Qing Ping Ballad I, Li Bai metaphorically describes Yang Guifei's charms and the indulgent pampering she enjoyed from the emperor. The locations that Li Bai describes in the poem - Jade Mountain and Jade Pavilion - were inhabited by fairies in Chinese folklore, implying that Yang was a creature from an otherworldly realm. Yang had indeed been living in a fairy tale for 12 years, indulging in an extremely extravagant life style, courtesy of Tang Ming Huang. What she could not have imagined was the unexpected and tragic fate that awaited her. âDefinitions and âInterpretation of Characters, Terms, and Names: æ¸ å¹³ è° è¯ ä¹ ä¸: One of the Qing Ping Ballads ä¹ ä¸: one of it äº: cloud æ³: think, consider, speculate è¡£è£³: clothes è±: flower å®¹: looks, appearance, figure, formï¼ ... ... ... ... ... omitted ... ... ... ... After working for nearly two years at the imperial court, the incompatibility of Li's personality with court life began to take its toll, as Li was never one to be bound or driven by secular rules. Detesting the political machinations, and having his advice ignored by Tang Ming Huang, Li doubted if it was in his best interest to remain at the court. During this period, the treacherous Prime Minister Li Linfu ææç« held tremendous political power, running the country by himself and pushing aside all other capable individuals and potential rivals. All the while, Tang Ming Huang spent most of his time and energy indulging in a lascivious lifestyle with Consort Yang Guefei. More importantly, it was rumored that the eunuch Gao Lishi had always felt that being forced to pull off Li Bai's boots was exceedingly humiliating. So he started to badmouth Li Bai to Yang Guifei. He asserted that it was inappropriate for Li Bai to have compared her beauty to that of consort Zhao Yanfei in his second poem "Qing Ping Ballad #2". Zhao was originally of very low birth and status. She was a consort of Emperor Han Chengdi during the Han Dynasty, and was famous for her beauty and slender waist; in contrast, Yang's great-great-grandfather had been a key official during the previous Sui dynasty, and she had a plump figure, which was the fashion of the Tang Dynasty. Both were consorts doted on by the emperors of their times. Gao Lishi had been given command of the imperial military forces and had defeated several adversaries in the power struggle for Tang Ming Huang to win the kingdom back for Tang Ming Huang's father. Having established meritorious achievements, he was conferred with the rank of Biaoqi Great General éª éªå¤§å°å (4th level in military service systems) by Tang Ming Huang, thus holding substantial imperial court military power in addition to political power. He was the favorite eunuch of Tang Ming Huang and even the powerful Prime Minister Li Linfu sometimes publicly flattered him. With such a cast of powerful officials potentially arrayed against him, Li Bai saw the writing on the wall. In traditional Chinese culture, the most glorious purpose in life was to pursue meritorious honor and fame åå (pinyin: gÅng mÃng) in the imperial bureaucratic system. To be able to gain societal recognition in making one's mark on the people and the country was considered of the highest honor. Yet the quality and nature of being a great imperial statesman are quite different from that of being a successful poet, especially a romantic poet. Li finally had an epiphany and abandoned the traditionally defined path to success. Like a fabulous bird, he required an expansive space to fly and soar and not be bound in a golden cage. Hence, his poems began to reflect his desire to leave his bureaucratic mission. Recognizing that Li Bai was unwilling to continue serving in the court, Tang Ming Huang released him with a handsome severance in the spring of 744. After a series of farewell parties, Li Bai wrote a moving poem "The Difficult Journey" "é¾è¡ä¹æ " expressing his life's ambitions, difficulties he had encountered, and his outlook for the future. And then he said goodbye to the royal court - the center of world power and influence that he had once obsessed about. Li Bai was characteristically always an optimist; no setbacks ever seemed to frustrate him, and he could always find a way to see the bright side of life. Leaving Chang'an and the setting sun behind him in a relaxed and light mood on his way home, he traveled to and toured Luoyang æ´é³, which was once the capital during Empress Wu Zetian's reign. In fact, Louyang, about 200 mi/322 km east of Chang'an, had been the capital for more than six dynasties in China's history before Li Bai's time. Thus, by the Tang dynasty, it was already a famous historical cultural city and peony cultivation center. The poet Du Fu happened to be traveling in the area at that time, too, and so two of the greatest poets in Chinese history met for the first time. Li was 11 years Du's senior and was already an illustrious star poet. Du, on the other hand, had not yet garnered any fame for himself, and indeed, would not do so in his lifetime. Du, being younger than Li, exhibited the forthrightness, sincerity, and zeal in composing poems that Li had had in his earlier days. All these characteristics drew the two together and helped form a solid friendship right way. After touring Luoyang and before parting, they scheduled to meet up again in Kaifeng å¼å°, further east of Luoyang. view Luoyang via Google, Baidu, or wikipedia . view Luoyang cultural relic via Baidu. View a Luoyang cultural relic site - Longmen Grottoes æ´é³é¾é¨ç³çª via Baidu or wikipedia . In the autumn, Gao Shi é«é, a famous border and frontier fortress poet and also Li Bai's friend five years his junior, joined the two of them to tour the Liangsong area æ¢å®, which includes present-day Kaifeng å¼å° and Shangqiu åä¸ in Henan æ²³å Province. Kaifeng is a beautiful lake city with the Bian River æ±´æ²³ running through it. It was one of the busiest trading centers of the Qin, Han, Sui and Tang dynasties. Fifty some years after the end of the Tang, it became the capital of the Northern Song åå® Dynasty. The famous painting "Along the (Bian) River During the Qingming Festival" æ¸ æä¸æ²³å elegantly captures one prosperous section of the Bian River in Kaifeng during the Northern Song Dynasty. Since societal and structural changes generally evolved more slowly in former times than in the modern era, the painting is probably also a fair depiction of bustling daily life in Kaifeng during the High Tang period. One can imagine Li Bai, Du Fu and Gao Shi in the crowd happily crossing the arch bridge, to find a restaurant at which to enjoy gourmet food and fine wine, chattering into the night. * * View daily activities in ancient Kaifeng through the animated version of "Along the River During the Qingming Festival" via YouTube: River Q. M. - 6 minutes , River Q. M. - 12 minutes (with English narration) or 12 minutes (the same as above at different URL), River Q. M. (1/2) - 7 minutes , River Q. M. (2/2) - 7 minutes. The original painting, about 206 inches by 9.7 inches (528 cm by 24.8 cm) on silk, was orchestrated by Zhang Zeduan å¼ æ©ç«¯ (Wikipedia), a famous court painter. After touring Kaifeng, the three poets traveled to Shangqiu åä¸, a rich historical site. Two sets of "gold and jade weaved clothes" "éé¤çè¡£", dating from around 200 BC to 220 AD, were unearthed in the 20th century from one of the 18 mausoleums here. Of course, Li Bai, Du Fu, and Gao Shi did not have the luck to see or even know that there were such treasures hidden just right beneath their feet. View the mausoleum at Mangdang Mountain in Shangqiu via Google or view some unearthed items via Baidu. View the gold and jade weaved clothes from the Liang King Mausoleums in Shangqiu via Google or Baidu. (There have been more sets of such gold and jade weaved clothing discovered in mausoleums at different locations in China, with at least two of them from Shangqiu.) After a delightful trip together, they set off on their separate ways on a clear and refreshing autumn day. Du Fu went north, Gao Shi kept traveling south, and Li Bai continued on his trip home. According to Du Fu's poems and writings, during the early High Tang period, the cost of living was low and travel was safe, inexpensive, and pleasant. In the Tang Dynasty, the central government had a very comprehensive postal service system -the Youyi é®é©¿ - to deliver mail and goods, as well as provide lodging for Tang officials on their business trips; of course, the most important tasks were to deliver emergency military messages and government documents. At its peak, the system had over 1,600 postal stations, more than 20,000 employees, and covered the entire country, even extending into neighboring countries and regions such as Korea, Japan, Central Asia, India and Southeast Asia. In addition to the Youyi, there was a guifang æå organization run by private enterprise, which could issue IOUs similar to modern bank money orders. With these two efficient organizations, Li Bai, who had just received a handsome severance from Tang Ming Huang, could travel light and safe on his way home. Later in the same year at age 43, Li Bai became romantically involved with a young woman, Zong Shi å®æ° ("Shi" æ° is a character placed after a married woman's surname in ancient times. Her giving name was lost to history), who was proficient at literature, was physically attractive, and was also interested in the study of Taoism. Furthermore, she was a long time admirer of Li Bai and came from a prominent family; she was the granddaughter of former Prime Minister Zong Chuke å®æ¥å®¢, who had served in that position on three separate occasions for two Tang emperors. .... .... .... .... .... omitted .... .... .... .... .... .... After visiting so many natural wonders, Li Bai finally selected Mt. Lu as his permanent home due to its beautiful scenery and pleasant weather. The following poem was created during one of his many trips hiking Mt. Lu. poem #04 Traditional Chinese æå»¬å±±çå¸ æç½ æ¥ç §é¦ççç´«ç ï¼ éççå¸æåå·ã é£æµç´ä¸ä¸åå°ºï¼ çæ¯éæ²³è½ä¹å¤©ã Simplified Chinese with pinyin æ åº å±± ç å¸ æ ç½ wÃ ng lÃº shÄn pÃ¹ bÃ¹ lÇ bÃ¡i æ¥ ç § é¦ ç ç ç´« çï¼ rÃ¬ zhÃ o xiÄng lÃº shÄng zÇ yÄn ï¼ é¥ ç ç å¸ æ å å·ã yÃ¡o kÃ n pÃ¹ bÃ¹ guÃ qiÃ¡n chuÄn ã é£ æµ ç´ ä¸ ä¸ å å°ºï¼ fÄi liÃº zhÃ xiÃ sÄn qiÄn chÇ ï¼ ç æ¯ é¶ æ²³ è½ ä¹ å¤©ã yÃ shÃ¬ yÃn hÃ© luÃ² jiÇ tiÄn ã Recitation 1 Recitation 2 Lookout over the Mount Lu Waterfall Li Bai Sunlight illuminates the incense peak, Sparking a purple haze, I examine a distant waterfall Hanging before the riverways; Its flowing waters Flying straight down three thousand feet, I wonder - Has the Milky Way been tumbling from heavenly space? * * * .... .... .... .... .... omitted .... .... .... .... .... .... poem #06 Traditional Chinese éå¤æ æç½ åºåææå ï¼çæ¯å°ä¸éã èé æææï¼ä½é ææ éã Simplified Chinese with pinyin é å¤ æ 李白 JÃ¬ng yÃ¨ sÄ« lÇ bÃ¡i åº å æ æ å ï¼ ç æ¯ å° ä¸ éã chuÃ¡ng qiÃ¡n mÃng yuÃ¨ guÄng, yÃ shÃ¬ dÃ¬ shÃ ng shuÄngã ä¸¾ å¤´ æ æ æï¼ ä½ å¤´ æ æ ä¹¡ã jÇ tÃ³u wÃ ng mÃng yuÃ¨, dÄ« tÃ³u sÄ« gÃ¹ xiÄng ã Recitation 1 Recitation 2 Thoughts on a Still Night Li Bai Before the well lays the bright moonlight, As if frost blanketing the earth. My head tilts upwards at the glowing moon; My head lowers with thoughts of home. * * * While on âaâ tripâ far away from homeââ, Li Bai staring out on a moon-lit night, standing by a well in a courtyard, overcame with a melancholic sense of loneliness ââ and nostalgia. Such an event âinspired him to penâ his most famous poem - "Thoughts on a Still Night". This is one of the most popular poems of all time that almost allâ Chinese can âreciteâ by heart. Admiring and contemplating a bright, full moon, is a Chinese tradition, especially for a traveler away from home. Chinese believe that when people ââlook at a bright, full moon, âwhile âalone âon a tranquil night, their thoughts will naturally âwander towards their beloved onesâ. Severalâ famousâ classicâalâ versesâ reflecting this popular conception âinclude: â æµ·ä¸çææï¼å¤©æ¶¯å ±æ¤æã- ââWhen the bright moon âbreaks theâ âsurface of the âsea, âAll âunder heaven âare one âat this moment. ææåéå¯ç¸æ - ââThe bright moon carries âlovesickness âââa âthousandâ miles (to reach a beloved one). ææ¯æ éæ - âThe moon is brighterâ overâ home (implies thinking about and missing beloved ones âback in one'sâ hometown.) âThe moon represents a direct, shared spiritual connection, as it would be assumed that no matter what the physical distance was separating them, beloved âones would or could all be âlooking âat the exact same moon at the exact same time, sharing the same thoughts of far away beloved ones in their hearts. Li Bai's "Thoughts on a Still Night" has stirred feelings of homesickness in countless Chinese caught traveling far away from home on silent, moonlit nights, since the Tang Dynasty.â Why is the character "åº" (sleeping bed, the structure of ...) translated as "well" in the poem? While many school children (and translators!) take the Chinese characterâ åº âto mean "bed" in its modern sense, it is more likely to refer to "the structures around a well" in its ancient sense. Ancient Chinese windows were often framed with decorative carvings and overhead eave-like structures - specifically to provide shading from sunlight (and prevent break-ins, as they could be shut and locked), but consequently also equally adept at preventing moonlight from entering a room. It would thus seem unlikely that light âcould haveâ enterâedâ âa bedâ room âexpansively enough to be mistaken as frost by the bedside. â It is more likely that Li Bai was referring to the platform structure or fence skirting a well, which was an alternate ancient meaning of åºâ. Li Bai also wrote another famous poem "Chang Gan Xing" é¿å¹²è¡ employing the character åº in the sense of a wood structure surrounding a well - Just starting to wear my hair banged, I plucked flowers playing by the door. He came on bamboo hobby-horse to the scene; Circling the "well" and pinching plums green. Neighbors we were in Changgan alley, Two little ones so trusting and carefree. å¦¾ååè¦é¢ï¼æè±é¨åå§ã ééªç«¹é©¬æ¥ï¼ç» "åº" å¼éæ¢ ã åå± é¿å¹²éï¼ä¸¤å°æ å«çã There is no doubt that the "bed" "åº" here never meant a bed for sleeping. â.... .... .... .... .... omitted .... .... .... .... .... .... View the following images: 1. Chinese calligraphy éå¤æä¹¦æ³: view thru Google or Yahoo. 2. View architectural window style in Tang Dynasty thru Google or Baidu. 3. View architectural window style in ancient China thru Google or Baidu. 4. View a well with a surrounding platform "bed" thru Google or Yahoo. 5. Search results from the Kangxi Dictionary åº·çåå ¸ (Wikipedia) about "bed" "åº": "åº" means both: (1) a bed for sleeping or, (2) a structure around a well. The character for "bed" åº can also be written as ç. "åäºæ¦¦æ°ç" - "Again, the wooden structure around a well is called a bed". "å¾åé¿äºéä½ç" - "To dig a well in the back garden and fence it with stakes or other structures." poem #07 Traditional Chinese æä¸ç¬é æç½ è±éä¸å£ºé ï¼ç¬é ç¡ç¸è¦ªï¼ èæ¯éææï¼å°å½±æä¸äººã ææ¢ä¸è§£é£²ï¼å½±å¾é¨æèº«ï¼ æ«ä¼´æå°å½±ï¼è¡æ¨é åæ¥ã æææå¾å¾ï¼æèå½±é¶äºï¼ éæåäº¤æ¡ï¼éåååæ£ã æ°¸çµç¡æ éï¼ç¸æéé²æ¼¢ã Simplified Chinese with pinyin æ ä¸ ç¬ é æ ç½ yuÃ¨ xiÃ dÃº zhuÃ³ lÇ bÃ¡i è± é´ ä¸ å£¶ é ï¼ ç¬ é æ ç¸ äº²ï¼ huÄ jiÄn yÄ« hÃº jiÇï¼ dÃº zhuÃ³ wÃº xiÄng qÄ«n, ä¸¾ æ¯ é æ æï¼ å¯¹ å½± æ ä¸ äººã jÇ bÄi yÄo mÃng yuÃ¨ï¼duÃ¬ yÇng chÃ©ng sÄn rÃ©n. æ æ¢ ä¸ è§£ é¥®ï¼ å½± å¾ é æ èº«ï¼ yuÃ¨ jÃ¬ bÃ¹ jiÄ yÇnï¼yÇng tÃº suÃ wÇ shÄn, æ ä¼´ æ å° å½±ï¼ è¡ ä¹ é¡» å æ¥ã zÃ n bÃ n yuÃ¨ jiÄng yÇngï¼xÃng lÃ¨ xÅ« jÃ chÅ«n æ æ æ å¾ å¾ï¼ æ è å½± é¶ ä¹±ï¼ wÇ gÄ yuÃ¨ pÃ¡i huÃ¡i, wÇ wÇ yÇng lÃng luÃ n é æ¶ å äº¤ æ¬¢ï¼ é å å å æ£ã xÇng shÃ tÃ³ng jiÄo huÄn, zuÃ¬ hÃ²u gÃ¨ fÄn sÃ n æ°¸ ç» æ æ æ¸¸ï¼ ç¸ æ é äº æ±ã yÇng jiÃ© wÃº qÃng yÃ³u, xiÄng qÄ« miÇo yÃºn hÃ n Recitation 1 Recitation 2 Drinking Alone by Moonlight Li Bai A jug of wine amidst the flowers, I drink alone with no soul around.Â I raise my wine cup to the moon and invite her down; Now we are three with my shadow. The moon, she does not drink, And my shadow follows my every move; But for the moment, The moon is my partner and I hang with my shadow. To enjoy life is to take advantage of youth.Â I sing, the moon hovers all around; I dance, the shadow follows in a messy stumble. Lucid, we enjoy each other knowingly; In drunken sleep, we go our separate ways. Bound to forever travel carefree, We shall meet again in cosmic paradise. * * * Li Bai was a wine lover. Wine seemed to be catalyst that could ignite his poetic prowess with such speed that he could reportedly pen a poem in a matter of seconds after a few drinks. Thus, he was accorded the name of Jiouxian é ä», literally, "wine immortal." As a wine connoisseur he wrote numerous poems on the subject. "Drinking Alone by Moonlight" is one of the most famous among all "wine poems" written by East Asian poets through the ages. Induced by just a jug of wine, Li Bai dances into a fanciful world; and by the magic of his pen brush, he brings the reader along with him into his fantastical reverie. âDefinitions and âInterpretation of Characters, Terms, and Names: ... ... ... ... omitted ... ... ... ... #11 Longing in Spring æ¥æ Traditional Chinese æ¥æ Â æç½ çèå¦ç¢§çµ²ï¼ ç§¦æ¡ä½ç¶ æï¼Â ç¶åæ·æ¸æ¥ï¼ æ¯å¦¾æ·è ¸æãÂ æ¥é¢¨ä¸ç¸èï¼ ä½äºå ¥ç¾ å¹ï¼Â Simplified Chinese with pinyin æ¥ æÂ æ ç½ chÅ«n sÄ«Â lÇ bÃ¡i ç è å¦ ç¢§ ä¸ï¼ ç§¦ æ¡ ä½ ç»¿ æï¼Â yÃ n cÇo rÃº bÃ¬ sÄ«, qÃn sÄng dÄ« lÇ zhÄ«; å½ å æ å½ æ¥ï¼ æ¯ å¦¾ æ è æ¶ãÂ dÄng jÅ«n huÃ¡i guÄ« rÃ¬, shÃ¬ qiÃ¨ duÃ n chÃ¡ng shÃ. æ¥ é£ ä¸ ç¸ è¯ï¼ ä½ äº å ¥ ç½ å¸ï¼Â chÅ«n fÄng bÃ¹ xiÄng shÃ, hÃ© shÃ¬ rÃ¹ luÅ wÃ©i Recitation 1 Recitation 2 Longing in Spring Li Bai Yan grasses like strands of emerald jade silk, Qin mulberries weighing down branches green. The day when your sire thinks of coming home, Is when this lady's heart will be dying in tortured waiting. O! Spring breeze - I dare not know you, Why slip into the silk curtain surrounding my bed? * * * Li Bai uses symbolic imagery to delicately portray the mood of a young woman whose amorous feelings are aroused by the onset of spring, but who has no way to satisfy them, except through a deep yearning for her husband stationed far away. Yet a gently, titillating spring breeze blows into her bedroom to tease and arouse her even more. Li Bai could be said to have had an intricate and precise understanding of women. âDefinitions and âInterpretation of Characters, Terms, and Names: æ¥æ: longing in spring ç: Yan, located in present-day northern Hebei æ²³å Province and western Liaoling è¾½å® Province -- the frontier in the Tang Dynasty. Hundreds of thousands of soldiers were stationed there, including, no doubt, the husband of the young lady in the poem. è: grass, lawn, straw å¦: as, as if, such as ï¼ ç¢§ä¸: green jade,Â bluish green,Â blue,Â Â jade, blush green silk, blue silk ç§¦: Qin, located in present-day Shanxi éè¥¿ Province. During the Tang Dynasty, a great many soldiers were drafted from this area and sent to the bordering Yan area to guard the country. æ¡: mulberry ä½: low, beneath, to lower (one's head), to let droop, to hang down, to incline ç»¿æ: green branch å½: when, to be, to act as, during å: you (a respectful form of address towards a man), monarch, lord, gentleman, ruler æ: to think of, mind å½æ¥: return day æ¯: is, are, am, yes, to be å¦¾: a polite term used by a woman in olden days to refer to herself when speaking to her husband, concubine æè : heartbroken. However, in the poem, it may imply to be heart-pounding, like butterflies in the stomach æ¶: time, o'clock æ¥é£: spring breeze, good education, happy smile, sexual intercourse ä¸: no, not ç¸è¯: acquaintance, to get to know each other ä½: what, how, why, which äº: matter, thing å ¥: to enter, to go into, to join ç½å¸: curtain of thin silk (around the bed), women's apartment, tentÂ View the following images related to the poem: 1. Locations that the young wife's husband might have been deployed to and stationed: (1). The Great Wall garrison bases in Hebei Province æ²³åé¿åæå°: View thru Google or Baidu. or (2). The Great Wall garrison bases in Liaoning Province è¾½å®é¿åæå°: View thru Google, Baidu or Yahoo. 2. Mulberry æ¡ (the mulberry leaves are the sole food source for the silkworm.): View thru Google or Yahoo. 3. Chinese calligraphy æ¥æä¹¦æ³: View thru Google or Yahoo. ... ... ... ... ... ... In December 755, the An Lushan Rebellion å®ç¥¿å±±ä¹ä¹± broke out in Youzhou. Not long afterwards, the whole empire was thrown into turmoil. (âThere is an entire chapter dealing with An Lushan and the antecedents and consequences of the rebellion.) Seven months later, An Lushan overcame a key military fortress - the Tong Pass, and Emperor Tang Ming Huang hurriedly fled towards Chengdu, Sichuan Province æé½, åå·ç, while the Crown Prince Li Heng æäº¨ took refuge in Lingwu, Ningxia Province çµæ¦, å®å¤ç and soon declared himself the new Tang emperor. After hearing news of the declaration, Prince Li Ling æç, the 16th son of Tang Ming Huang, rose up in Jiang Ling æ±éµ, present-day Jingzhou city, Hubei Province èå·å¸, æ¹åç against his brother, in the name of protecting his emperor father's sovereignty. Appreciating Li Bai's fame and his literary talent, Li Ling continually sent messengers to Mt. Lu in order to cajole Li Bai into accepting a position as his key propaganda advisor and secretary. Li Bai's poems, such as "The Song of Youth" "å°å¹´è¡", "The Song of Knights" "ä¾ å®¢è¡", as well as many others, reflected his life attitude, which had long been of the chivalrous sort. Thus, after Li Ling's repeated and earnest invites, Li Bai, in spite of his wife's attempts as dissuasion, agreed to join with Li Ling in 756. Proceeding with a knight-errant spirit, he hoped to be able to contribute and do something for the good of the country, The next year, the new Emperor Li Heng defeated Li Ling, capturing and executing him. Li Bai was likewise jailed and awaited his fate. Upon hearing the shocking news, Du Fu wrote several poems to Li Bai to express his deep concerns and worries. During Du Fu's lifetime, he wrote many poems and letters to Li Bai, as the latter's talent, charisma, and the attitude towards life deeply attracted Du Fu. During this critical period, Li Bai's wife, Zong Shi, sought help from all corners to mitigate a finding of treason, which would have almost certainly resulted in a death sentence. ... ... ... ... omitted ... ... ... ... ... ... ... ... omitted ... ... ... About Li Bai's Life Journey in Details (1). Li Bai's Birth and Childhood Li Bai (701 - 762; lived mostly in the High Tang period and only a few years into the beginning of Mid Tang period), the most famous romantic poet in Chinese history, penned numerous masterpieces that are still memorized and chanted by Chinese of all ages today. He went by many names; his most popular and well-known title being Shi Xian è¯ä» - "the Poet Immortal" or "the Poet Transcendentâ. His name has also been romanticized as Li Po or Li Bo. Thirty-four of Li Bai's poems are included in the popular anthology "Three Hundred Tang Poems," second only to Du Fu's thirty-nine poems. Li Bai's ancestors were from Longxi, Chengji éè¥¿, æçºª, in present-day northern Qinan county, Gansu Province ç§¦å®å¿å, çèç. They were banished to Tiaozhi æ¡æ in the Western Regions è¥¿å, today's Central Asia, during the Sui Dynasty by the Sui ruler. As for Li Bai's birth place, according to Guo Moruo éæ²«è¥, a historian and ancient writing scholar, Li Bai's ancestors moved from Tiaozhi to a prosperous silk trading city Suiye ç¢å¶, also in Central Asia, within the Ansi Protectorate å®è¥¿é½æ¤åº, and Li Bai was born over there. Suiye was also known as Suyab, once a flourishing trading city on the Silk Road and now an archaeological site in modern day Ak-Beshim, Kyrgyzstan. View present-day Ak-Beshim (Suiye) in Kyrgyzstan thru Google or Yahoo. View details regarding Ak-Beshim: Wikipedia. Li Bai's father, Li Ke æå®¢, was probably a very successful merchant, since the family was installed in one of the thriving commercial centers of the empire. In 705, Li's father moved the family back to China and settled down in Jiangyou, Sichuan Province æ±æ²¹, åå·ç. ( View Jiangyou thru Google or Baidu.) (Jiangyou is bordered on the northeast side by Mianyang City ç»µé³å¸ - today's "Silicon Valley" in China.) Speculated birthplace of Li Bai- Suiye (the blue drop shape) and his second "hometown" (the green drop shape): (Source: Google Map) The young Li Bai read extensively, devouring not just Confucian classics, but also various tracts on astrological and metaphysical subjects, including the Chinese classic text - Tao Te Jing/Dao De Jing éå¾·ç» (Wikipedia). He was also skilled in swordsmanship. His place of birth, his tall girth, and his angular facial features, suggested that he was possibly of mixed race. It was said that he was conversant in at least one foreign language due to his background and upbringing. In 725 at age 24, Li Bai left his second hometown, Jianyou, to explore the world. Being young, ambitious, and without financial constraint, he embarked on a knight-errant-like journey. Heading east down the Yangtze River, he explored all the most popular cities and interesting spots along the Yangtze River including the Three Gorges, the largest lake Dongting Lake æ´åºæ¹, the famous Mount Lu åºå±±, all the way to Jingling ééµ (present-day Nanjing åäº¬, in Jiangsu æ±è Province). While passing through the Jingmen Gorge, he left behind a beautiful poem "Bid Farewell at Jingmen" èé¨éå«. Along the way he met and befriended various poets and social elites, including Meng Haoran, who Li Bai had long admired. Li Bai wrote several poems in admiration and praise of Meng, including the very popular one - Seeing Meng Haoran off at Yellow Crane Tower é»é¹¤æ¥¼éåæµ©ç¶ä¹å¹¿éµ. While touring Hubei, Li Bai was introduced by friends to the family of the former Prime Minister Xu Yushi è®¸åå¸. Li, at age 26, was young, handsome, and well-built. He excelled at both swordsmanship and literature, and had about him a chivalrous and gentlemanly demeanor. A budding poet, he was well-received by Xu's family and eventually married the former Prime Minister's granddaughter, Xu Ziyan è®¸ç´«ç. The couple settled down at Peach-flower Rock, near Li's in-laws in present-day Anlu, Hubei Province å®é¸, æ¹åç. Although Li Bai would travel from time to time or take short mountain sabbaticals (to enhance study and reflection) for the purposes of obtaining a position in the imperial court, the couple led a content married life with little financial burden, with Xu Ziyian bearing a daughter, Li Pingyang æå¹³é³, and a son, Li Boqin æä¼¯ç¦½. While away from home, Li Bai wrote many letters and poems to his wife to express his loneliness and longings, some of which were very witty and humorous. The blessed marriage lasted for 12 years. In 740, Xu Ziyian passed away. Since several of Li's close relatives lived in Renchen ä»»å, located on the south side of present-day Jiling city, Shandong Province æµå®å¸, å±±æ±ç, Li Bai moved his family there. This was not far from Lu county, where Confucius' hometown is located. After settling down at Renchen, Li Bai managed to spend some time living in seclusion with five other hermits on Mt. Culai å¾å¾å±± ( view Mt. Culai thru Google or Baidu). They settled by a scenic brook in a bamboo forest, and hence the six of them earned a collective name - "The Six Hermits of Leisure of the Bamboo Brook" ç«¹æºªå é¸. Needless to say, Li Bai spiritually enjoyed his time there, taking in the surrounding mountain scenery, drinking wine, enjoying tea, playing music, practicing his fencing, and especially chanting poems together with his like-minded companions. While living on Culai Mountain, Li Bai continued to maintain contact with the local intelligentsia and gentry through letters and visits in order to get his name heard. This was the fashion during Tang Dynasty for ambitious scholars to obtain a central government appointment in the imperial court. Li Bai lived on Culai Mountain intermittently on three separate occasions. Mt. Culai, the sister mountain of Mt. Tai æ³°å±±, lies about 12.5 mi/20 km to the southeast of Mount Tai. In Chinese âfeudal âtradition, emperors would come to this area atop Mt. Tai and hold Heaven-and-Earth worship ceremonies ç¥å¤©ç¥å°, also called fÄngchÃ¡n å°ç¦ , â during prosperous periodsâ to pay gratitude âtoâ Heaven and Earth. Another main purpose was to âjustify and reifyââ âtheirâ â"âsuperpowerâ"â and authority âover their people. After the ceremony, âthe emperors would also often stop at nearby Qufu æ²é in Lu county, the birthplace of Confucius, to hold a ceremony honoring him ç¥åå¤§å ¸. Early in the Han Dynasty, Emperor Han Wudi æ±æ¦å¸ had paid three visits to the area, performing the aforementioned ceremonies. Several Tang emperors did so as well. Emperor Tang Ming Huang performed the ceremonies for the first and only time in 725, the year Li Bai was just stepping out of Sichuan to explore the world. While holding ceremony in Lu county, Tang Ming Huang composed a poem called "Passing through Zou Lu âand offering a sacrifice to ââConfucius with a âsâigâhâ" "ç»é¹é²ââç¥ååèå¹ä¹"â. This is the only poem âby the emperor, himself, that is included in the anthology "Three Hundred Tang Poems". Living on nearby Culai Mountain and cultivating a reputation as a learned, self-sufficient, capable man, Li Bai provided himself the chance of being recognized and introduced to the Tang emperor during these ceremonies and would have had the opportunity to be possibly "fast track" into the imperial service. Before his wife passed away, Li had lived in seclusion on several other mountains as well. One of these was Zhongnan Mountain çµåå±± ( view the mountain, hermits and monks thru Google or Baidu,) about 10 miles south of the Tang capital of Chang'an. He lived there around age 29 for less than a year. During the early Tang, the famous scholar hermit Lu Cangyong å¢èç¨ lived on this same mountain and was called in by Empress Wu Zetian æ¦åå¤© to work for the central government. Lu began at the position of a remonstrative official - Zuoshiyi å·¦æ¾é ( duties of remonstrative officials in the Tang Dynasty and rank schedule of the imperial civil service system), working his way up quickly to the Shangshu-Youcheng å°ä¹¦å³ä¸ level, i.e., almost to the position of prime minister. This is the origin of the Chinese idiom "Zhongnan Fast Track" "ç»åæ·å¾". Li Bai, however, did not meet with such fortune on Zhongnan Mountain. In 742, HÃ¨ Zhizhang è³ç¥ç« , about 83 years old at the time and a leading light of literature and high-level imperial official, read Li's poems, marveled at his literary talent, and praised Li Bai as the "Transcendent Dismissed from Heaven" or "Immortal Exiled from Heaven" "è¬«ä»äºº". From this point forward the acclamation "Li Bai, the 'Transcendent Dismissed from Heaven' " began to spread throughout the empire. And the two cemented the bond of a lifelong friendship. (2). Li Bai's Ambitious Dream Starts to Bud - An Audience with the Tang Emperor In the late summer of the same year, Emperor Tang Ming Huang, who had caught wind of Li Bai's reputation, summoned him to the the capital Chang'an for an audience. From Li Bai's home to Chang'an was nearly a distance of 600 mi/965 km, as the crow flies. Li did not arrive until the autumn. Emperor Tang Ming Huang, an expert on military strategy who also excelled at literature, greeted Li Bai at the Grand Palace in person. During the banquet, Li's personality, wit, and political views fascinated Tang Ming Huang. The emperor even personally seasoned the soup for Li Bai. The next year, Li Bai was assigned a Hanlin ç¿°æ position at the Hanlin Academy ç¿°æå¦é¢ within the imperial court and appointed the state Grand Secretary. As a result of the emperor's favor, Li was never required to take the imperial examination to attain the title of jinshi, a usual prerequisite for selection and assignment to a Hanlin position. Indeed, Li Bai never attempted to take the imperial examination at all. It was rumored that this was because his ancestors had been banished to Central Asia for some kind of crime. The norm at the time was that offspring of criminals were automatically disqualified from taking the exam, but his ancestors were banished in the Sui Dynasty (581 - 618) and the Sui was overthrown by the Tang in 618, some 80 years before Li Bai was born! Being from a merchant family also would have disqualified him from taking the imperial examination, though. This policy was adopted most likely to prevent collusion between government employees and businessmen. But in reality, this policy was never consistently implemented. Highly wealthy merchants could always circumvent the rules and secure important government positions. One such example was Wu Shiyue æ¦å£«å½ , a successful lumber businessman with good connections to the Tang royal family, who secured several important government positions early during the dynasty and indirectly helped his daughter - Wu Zetian æ¦åå¤© âusurpâ the throne. (There is an entire chapter devoted to Wu Zetian -- another Tang poetry promoter and grandmother of Tang Ming Huang -- in "Tang Poems" volume 2.) This regulation was eventually repealed by the following Song (Sung) Dynasty å®æ, and almost all classes of males (and only males) were thereafter permitted to take the exam. In any event, during Li Bai's lifetime he often broke from convention and followed his own path. In the beginning, Li led a fairly pleasant life at court. The famous verse "Guifei grinding ink, Lishi pulling off boots" "è´µå¦ç£¨å¢¨, åå£«è±é´" describes this period. It depicts Yang Guifei æ¥è²´å¦, Tang Ming Huang's most adored consort, grinding Chinese black inksticks into ink for Li to pen down a poem, while Gao Lishi é«åå£«, Tang Ming Huang's favorite eunuch å®¦å®, (and the most politically powerful figure in the palace), assists in pulling off Li's snow stained boots under Tang Ming Huang's request. All to facilitate Liâs comfort and creative genius. It was also suggested that whenever Li Bai published a new poem, there would be a run on paper in Chang'an, sending the price soaring, with everyone rushing out to obtain copies of his new work. Li's main duty was to handle secretarial works and record tasks for Tang Ming Huang, which included accompanying Tang Ming Huang to important ceremonies and festivities and documenting them. Tang Ming Huang probably intended that through Li's exquisite writing, the records of his reign would be of particular interest to future historians and scholars. A secondary duty assigned to Li was composing poetry for the emperor. This resulted in the poem, Qingping Song (1) æ¸ å¹³è°è¯ä¹ä¸ which is a flattering and fawning piece about Yang Guifei and reflects the desires of Tang Ming Huang. After working for nearly two years at the imperial court, the incompatibility of Li's personality with court life began to take its toll, as Li was never one to be bound or driven by secular rules. Detesting the political machinations, Li doubted if it was in his best interest to remain at the court. During this period, the treacherous Prime Minister Li Linfu ææç« held tremendous political power, running the country by himself and pushing aside all other capable individuals and potential rivals. All the while, Tang Ming Huang spent most of his time and energy indulging in a lascivious lifestyle with Consort Yang Guefei. More importantly, it was rumored that the eunuch Gao Lishi had always felt that being forced to pull off Li Bai's boots was exceedingly humiliating. So he started to badmouth Li Bai to Yang Guifei. He asserted that it was inappropriate for Li Bai to have compared her beauty to that of consort Zhao Yanfei in his second poem "Qing Ping Ballad #2". Zhao was originally of very low birth and status. She was a consort of Emperor Han Chengdi during the Han Dynasty, and was famous for her beauty and slender waist; in contrast, Yang's great-great-grandfather had been a key official during the previous Sui dynasty, and she had a plump figure, which was the fashion of the Tang Dynasty. Both were consorts doted on by the emperors of their times. Gao Lishi had been given command of the imperial military forces and had defeated several adversaries in the power struggle for Tang Ming Huang to win the kingdom back for Tang Ming Huang's father. Having established meritorious achievements, he was conferred with the rank of Biaoqi Great General éª éªå¤§å°å (4th level in military service systems) by Tang Ming Huang, thus holding substantial imperial court military power in addition to political power. He was the favorite eunuch of Tang Ming Huang and even the powerful Prime Minister Li Linfu sometimes publicly flattered him. With such a cast of powerful officials potentially arrayed against him, Li Bai saw the writing on the wall. ... ... ... omitted ... #17 Writings of a Night Lodging æ å¤ä¹¦æ Traditional Chinese æ å¤æ¸æ· æç« ç´°èå¾®é¢¨å²¸ï¼å±æª£ç¨å¤èã æåå¹³ééï¼ææ¹§å¤§æ±æµã åè±æç« èï¼å®å èç ä¼ã é£é£ä½æä¼¼ï¼å¤©å°ä¸æ²é·ã Simplified Chinese with pinyin æ å¤ä¹¦æ 杜甫 LÇ yÃ¨ shÅ« huÃ¡i dÃ¹ fu ç»èå¾®é£å²¸ï¼å±æ¨¯ç¬å¤èã xÃ¬ cÇo wÃ©i fÄng Ã n, wÄi qiÃ¡ng dÃº yÃ¨ zhÅu. æåå¹³ééï¼ææ¶å¤§æ±æµã XÄ«ng chuÃ pÃng yÄ kuÃ², yuÃ¨ yÇng dÃ jiÄng liÃº. åå²æç« èï¼å®å èç ä¼ã MÃng qÇ wÃ©n zhÄng zhe, guÄn yÄ«n lÇo bÃ¬ng xiÅ«. é£é£ä½æä¼¼ï¼å¤©å°ä¸æ²é¸¥ã PiÄo piÄo hÃ© suÇ sÃ¬? TiÄn dÃ¬ yÄ« shÄ'Åu. Recitation 1 Recitation 2 Traveling Thoughts at Night Du Fu A soft breeze stroking fine grass on the shore; A tall mast soaring alone in the night. Over the vast plain, do the stars descend, Out of the flowing river, does the moon rise. Could a lifetime of writing ever bring glory? Retired I am, sickly and aged, my plight. Drifting, drifting, what am I? A lone seagull floating between earth and sky. * * * Around the year of 766, Du Fu, his wife, and their four children, had moved onto a simple and crude boat along the Yangtze River starting their drifting life. Writings of a Night Lodging æ å¤ä¹¦æ was written during that difficult period. This poem ironically employs the majestic, natural beauty of a night scene to accentuate the cruel indifference of fate. In the vastness of the night, the author reflects upon his chronic illness in old age, the aimless drifting of his life, and the unmoored tumult of his desolate mood. The scene evokes an emotional response enough to fill the eyes of the reader with tears of sympathy for this talented poet. ... ... ... HÃ¨ Zhizhang è´ºç¥ç« HÃ¨ Zhizhang (659 - 744; lived in the Early and High Tang periods) was born in Xiaoshan, Zhejiang Province è§å±±, æµæ±ç. Only one of his well-known works "Coming Home" "åä¹¡å¶é¦" is included in the popular anthology "Three Hundred Tang Poems." The poem actually has eight verses, but since only the first four verses are popularly recited, only this part is reproduced below. His other very popular poem is called "Chanting Willow" "åæ³". As with many others of his time, he, too sought his fortune through the imperial examination system, passing the exam and entering into the civil service during Empress Wu Zetian's reign. HÃ¨'s career was long and smooth-sailing. In 710 at age 51, during Emperor Li Xian's reign (Empress Wu Zetian's third son) he was promoted to the honorable position of a Hanlin Scholar ç¿°æå¦å£«. He had a bold and unconstrained personality. After reading Li Bai's poems, he was highly impressed and praised Li Bai as "An Immortal Exiled from Heaven!" "å¤©ä¸è°ªä»äººä¹!" Hence, people began referring to Li Bai as the "Poet Immortal" "è¯ä»" (pinyin: shÄ« xian). In 742, HÃ¨ (about 83 years old and a leading figure in the literary world by that time), met Li Bai for the first time. Appreciating Li Bai's talent, HÃ¨ made Li a close friend, even though he was 41 years Li Bai's senior. Both were fond of bottle and were listed in Du Fu's work "Eight Immortals of the Wine Cup" "é¥®ä¸å «ä»". He was not only a leading figure in the literary world but also well-known for his cursive script èä¹¦ and clerical script é¶ä¹¦ calligraphy. #19 Random Musings on a Homecoming åä¹¡å¶ä¹¦ Traditional Chinese åéå¶æ¸ è³ç¥ç« å°å°é¢å®¶èå¤§åï¼ éé³ç¡æ¹é¬¢æ¯å¬ã å ç«¥ç¸è¦ä¸ç¸èï¼ ç¬åå®¢å¾ä½èä¾ï¼ Simplified Chinese with pinyin å ä¹¡ å¶ ä¹¦ 贺知章 HuÃ xiÄng Çu shÅ« hÃ¨ zhÄ« zhÄng å° å° ç¦» å®¶ è å¤§ åï¼ shÃ o xiÇo lÃ jiÄ lÇo dÃ huÃ, ä¹¡ é³ æ æ¹ é¬ æ¯ å¬ã xiÄng yÄ«n wÃº gÇi bÃ¬n mÃ¡o cuÄ«. å¿ ç«¥ ç¸ è§ ä¸ ç¸ è¯ï¼ Ãr tÃ³ng xiÄng jiÃ n bÃ¹ xiÄng shÃ¬, ç¬ é® å®¢ ä» ä½ å¤ æ¥ï¼ xiÃ o wÃ¨n kÃ¨ cÃ³ng HÃ¨ chÃ¹ lÃ¡i? Recitation 1 Recitation 2 Random Musings on a Homecoming HÃ¨ Zhizhang I left home a young buck and returned an old man. My accent's the same, but sideburns silver have run. They greet me, the children, but know not who I am. Smiling they ask me, "you come to us, dear sir, from which faraway land?" * * * HÃ¨ outlasted 4 emperors through his long career, and there are no records showing he was ever banished, which was a somewhat unusual achievement for any imperial official, especially outspoken ones. After a lifetime of service with the imperial court, HÃ¨ retired at a very late age. Thus, he returned to his hometown only after some 50 years. "Random Musings on a Homecoming" describes his experience after having been away for so many years. Upon arriving, a group of cheerful children greet him as an old "stranger". Time has passed and things have changed, including himself. There is an undercurrent of sentimental regret for being away so long mixed with the joyful emotion of finally coming home. This is a poem universally appreciated by all Chinese, for whom home and family are so important. âDefinitions and âInterpretation of Characters, Terms, and Names: å: return, come back ä¹¡: home village or town, Â native place, country or countrysideÂ å¶: accidental, pair, mate ä¹¦: book, letter, document, to write å°å°: young, ç¦»å®¶: left hometown, left home, èå¤§: old age, eldest child in a family, leader of a group, boss, leader of a criminal gang å: return, turn around, a time ä¹¡é³: local accent, accent of one's native place æ æ¹: no change é¬æ¯: hair on the temples å¬: to urge, to press, to hasten, to prompt , to rush. Some âversions of the poem âuse âthe word âè¡° (weak and old) instead of ââå¬. A popular Chinese phrase with å¬ is "Time has pushed âoneâ intoâ âold age with gray hair mercilessly runningâ downâ âtheâ temples" "æ²æå¬äººè, æ æ ç½åç." å¿ç«¥: child, kid ç¸è§: to see each other, to meet in person ä¸: not, no, negative prefix ç¸è¯: to get to know each other, acquaintance ç¬: smile, laugh é®: to ask å®¢: guest, customer, visitor ä»: from ä½å¤: where æ¥: to come View the following images related to the poem or the poet: Chinese calligraphy åä¹¡å¶ä¹¦ä¹¦æ³: view thru Google or Baidu. HÃ¨ Zhizhang "cursive Xiaojin" calligraphy è´ºç¥ç« "èä¹¦åç»" ä¹¦æ³: view thru Google or Yahoo. Wang Han çç¿° Wang Han (687 - 726; lived during the Early and High Tang periods) was born into an affluent family in present-day Taiyuan, Shanxi Province å¤ªå, å±±è¥¿ç. In 710 at age 23, Wan Han passed the imperial examination, obtaining a jinshi degree-title and began his short-lived civil service career. In 721, Wang Han's close associate Zhang YuÃ¨ å¼ è¯´ (è¯´ usually pronounced as shuÅ, meaning "to say", but if it is used as a name, pronounced as yuÃ¨), who excelled at both politics and military affairs, as well as poetry, rose to serve as prime minister for the third time, and aided Wang Han in his career. Wang had a vigorous and unrestrained personality like a runaway horse. His poems paint deeply affecting andÂ emotionally provocative scenes that move the reader's thoughts and feelings. Thirteen of his poems are extant, but only his most famous "Beyond the Border" is in the popular anthology "Three Hundred Tang Poems." Coming from a wealthy family, Wang Han led a luxurious and decadent lifestyle - breeding thoroughbred horses and maintaining a household harem. His self-promotion and self-indulgent noble airs resulted in his being demoted upon Zhang Yue's retirement. After being demoted, he continued to indulge in a lascivious lifestyle which contributed to his being banished and passing away at age 39 while on his way into exile. #20 Beyond the Border (Fine grape wine...)åºå¡ Traditional Chinese åºå¡ çç¿° è¡èç¾é å¤å æ¯ï¼ æ¬²é£²çµç¶é¦¬ä¸å¬ã éè¥æ²å ´åè«ç¬ï¼ å¤ä¾å¾æ°å¹¾äººåï¼ Simplified Chinese with pinyin åºå¡ ç ç¿° ChÅ« sÄi wÃ¡ng hÃ n è¡ è ç¾ é å¤ å æ¯ï¼ pÃº tÃ¡o mÄi jiÇ yÃ¨ guÄng bÄi, æ¬² é¥® çµ ç¶ é©¬ ä¸ å¬ã yÃ¹ yÇn pÃ pÃ¡ mÇ shÃ ng cuÄ«. é å§ æ² åº å è« ç¬ï¼ zuÃ¬ wÃ² shÄ chÇng jÅ«n mÃ² xiÃ o, å¤ æ¥ å¾ æ å äºº åï¼ gÇ lÃ¡i zhÄng zhÃ n jÇ rÃ©n huÃ? Recitation 1 Recitation 2 Beyond the border Wang Han A fine grape wine, A luminous jade cup, A lust to drink, A lute calls to saddle up! Lying drunk on the battle fields, My lord, Laugh not, Since days of yore, From battle, How many have come back? * * * This is a soul-stirring "frontier fortress" genre poem. While enjoying a relaxing and entertaining moment at the tavern, upon hearing the urgent summon of the lute call, the soldiers drop everything and are ready to mount their horses to ride into heroic battle, facing death with equanimity. The poem is full of vitality and patriotism, representing the High Tang spirit, but also tinged with the sadness of the inevitable. âDefinitions and âInterpretation of Characters, Terms, and Names: åºå¡: beyond the border; this poem is also known as Liangzhou Ci åå·è¯. In the Tang Dynasty, it was a popular trend to sing frontier poems accompanied by central Asian music called Hu Yue è¡ä¹. The poem was, thus, also called "Liangzhou Ci," Liangzhou being one of the more populous counties in the Hexi Corridor area, and "ci" meaning "lyrics". è¡è: grape ç¾: fine, beautiful, very satisfactory, good é : wine å¤å : luminous, glowing in dark æ¯: classifier for certain containers of liquids: glass, cup å¤å æ¯: drinking cup made of fine jade which glows in the dark, like moon light. It comes in different colors, white being the most popular variant. æ¬²: desire, appetite, passion, lust, greed, to wish for, to desire é¥®, drink çµç¶: pipa, Chinese lute, usually with 4 or 5 strings, with a large pear-shaped body and a fretted fingerboard. é©¬ä¸: on horseback (i.e., as quick and responsive as a military force), at once, right away, immediately å¬: to urge, to press, to prompt, to rush, to hasten something, to expedite é: drunk, intoxicated å§: to lie, to crouch æ²åº: battlefield, battleground, sandpit å: you - a respectful address, monarch, lord, gentleman, ruler è«: not to ç¬: laugh, smile å¤æ¥: since ancient times å¾æ: battle, campaign, expedition å : how many, how much, a few, several äºº: man, person å: to return, to revolve, to circle, to go back, to turn around View the following images related to the poem: 1. Lute çµç¶: View thru Google or Yahoo. 2. Video - music being played on a pipa/lute çµç¶ä¹å¨æ¼å¥: View thru YouTube, Baidu or Bing. 3. The night-luminous-cups, made of jade, are produced in Jiuquan é æ³, Hexi Corridor. At night, if the cup is filled with wine, the moonlight can make the cup appear transparent, from hence the name: view thru Baidu , or view other Jiuquan jade products thru Baidu. 4. Chinese calligraphy è¡èç¾é å¤å æ¯ä¹¦æ³: view thru Google or Yahoo. Wang Changling çæé¾ Wang Changling (698 - 756; lived in the High Tang period) was originally from Taiyuan, Shanxi Province å¤ªå, å±±è¥¿ç, though some other sources claim that he actually came from Jiangsu Province æ±èç, near modern day Nanjing åäº¬. Eight of his poems are collected in the popular anthology "Three Hundred Tang Poems." In 727 at age 29, he passed the imperial examination obtaining the title-degree of jinshi and eventually becoming a secretarial official. Seven years later, he passed the advanced imperial examination and was further promoted. In 739, due to his outspoken criticisms, he was banished to the remote region of Lingnan å²å (a southwest border region known at that time for its instability) but was called back the next year to the capital of Chang'an. Then in 753, he was again banished to Longbiao é¾æ at Yelang å¤é, an extremely "underdeveloped" tribal area to the southwest of present day Hunan Province æ¹åç, to serve as the county administrator. Right after hearing the bad news about Wang's banishment, Li Bai wrote a consolation letter to provide encouragement on his lonely journey: "A letter for Wang Changling heading for Longbiao -- ...I send with you my anxious heart in the company of the luminescent moon, to chaperone you all the way to Yelang in the west!" "é»çæé¾å·¦è¿é¾æ é¥ææ¤å¯ -- ...æå¯æå¿ä¼´ææï¼ é¨åç´å°å¤éè¥¿!" Five years later, Li Bai was also being banished to Yelang; however, Wang was unable to reciprocate the kind thoughts. In 756, Wang quit his post at Longbiao and set off for home to take care of his aging parents. While passing through Haozhou county, Anhui Province äº³å·ç, å®å¾½ç, he was executed by the county prosecutor, LÃ¼ Qiuxiao é¾ä¸æ at age 58. No records have ever been found detailing any accusations against Wang of any purported crimes. The very next year in 757, LÃ¼ was sentenced death for military incompetence and negligence by Zhang Kao å¼ é, the Military-Governor of Henan Province æ²³åç. Before his execution, LÃ¼ begged for mercy from Zhang Kao, pleading that his aged parents needed him to take care of them. Zhang Kao retorted, "So tell me, who is going to take care of Wang Changling's aged parents?!" Wang Changling is best known for his poems describing battles in the frontier regions. During his early middle age, he had traveled to the furthest northwest border areas for years. Due to his experiences in that desolate region and his contacts with native peoples, his poetry is diverse and colorful. His genre of frontier poetry is filled with a joyously unrestrained and enthusiastic outlook, reflecting the zeitgeist of the High Tang era. Wang also became good friends with Meng Haoran, Li Bai, Cen Can, Wang Zhihuan, Gao Shi (åæµ©ç¶, æç½, å²å, çä¹æ¶£, é«é), and other poets, drawing further synergistic inspiration from them. #21 Beyond the Border (Moon in the times of Qing, ...) åºå¡ Traditional Chinese åºå¡ ç æ é½¡ ç§¦ææææ¼¢æéï¼ è¬éé·å¾äººæªéã ä½ä½¿é¾åé£å°å¨ï¼ ä¸æè¡é¦¬åº¦é°å±±ã Simplified Chinese with pinyin åº å¡ ç æ é¾ ChÅ« sÄi WÃ¡ng ChÄng LlÃng ç§¦ æ¶ æ æ æ± æ¶ å ³ï¼ qÃn shÃ mÃng yuÃ¨ hÃ n shÃ guÄn, ä¸ é é¿ å¾ äºº æª è¿ã wÃ n lÇ chÃ¡ng zhÄng rÃ©n wÃ¨i huÃ¡n. ä½ ä½¿ é¾ å é£ å° å¨ï¼ dÃ n shÇ lÃ³ng chÃ©ng fÄi jiÃ ng zÃ i, ä¸ æ è¡ é©¬ åº¦ é´ å±±ã bÃ¹ jiÃ o hÃº mÇ dÃ¹ yÄ«n shÄn. Recitation 1 Recitation 2 Beyond the Border Wang Changling The brilliant moon in the times of Qin, The frontier fortresses in the times of Han, A war expedition of a myriad miles, With no one yet returned to the homeland. If but the Flying General of the Dragon Fortress were still alive, No barbarian cavalry would dare cross Yinshan. * * * The Qin ç§¦ and Han æ± were two of the greatest dynasties in Chinese history -- the former uniting all of China for the first time, and the latter consolidating the achievements of the Qin. The poem starts with the image of the two mighty dynasties, with the brilliant, ascending moon of the Qin eventually shining over the Great Wall (the military passes) of the magnificent Han -- a view many Chinese want to describe as "so stunning as to take one's breath away and sweep aside the clouds." At the same time, the poem underscores the sentimental longing that has stretched over centuries -- as represented by the image of a yet incomplete, ten thousand mile long, military expedition -- for the recapture of former glory. The poem then ends in a wistful yearning for a great general to bring back the achievements of a bygone era in which the state shined so brightly and powerfully. The martial sentimentality leaps off the page through Wang's vivid writing and is, indeed, considered a particularly exceptional poem by Chinese literature enthusiasts. The Flying General referred to here is General Li Guang æå¹¿ (born ? - 119 BC), a famous general of the Han Dynasty (206 BC - 220 AD). He was off and on at war with the Huns/Xiongnu åå¥´ for four decades. The Huns feared his bravery, nicknaming him the "Flying General", and dared not cross the Yin Mountains during his lifetime. Li Guang was of husky build with extraordinarily long and strong arms. He excelled at archery and was a renowned "sharpshooter" and the poet Lu Lun wrote a very popular poem praising his archery skills. Li Guang was incorruptible, upright, and cared for his subordinates, which earned him the respect and love of his soldiers. Due to his political naivety, however, and bad luck late in his military career, he was never attained the honorific title of Marquis åçµ, which had been his lifelong dream. In 119 BC, Emperor Han Wudi launched a military campaign -- the Battle of Mobei æ¼ åä¹æ (literally "Battle of the Northern Desert") -- to fight the Huns in the northern part of the Gobi Desert. Li Guang became lost in the desert due to a sudden sandstorm and was blamed for failing to arrive at the battlefield in time, contributing to the Huns' escape. Refusing to accept the humiliation of a court martial, Li Guang, with unbending character, took his own life. âDefinitions and âInterpretation of Characters, Terms, and Names: åºå¡: beyond the border (also known as Liangzhou Ci åå·è¯); this was a popular generic title for "frontier" genre poems. ç§¦: the Qin Dynasty æ¶: time, season, era, age, period æ: bright, light, brilliant, clear æ: moon, month æ±: the Han Dynasty å ³: frontier pass, fort, mountain pass, to close, to shut, to turn off ä¸: ten thousand, thousands and thousands, a great many é: also called huali åé, a measurement of distance in China. The length of a "li" é has varied during the course of China's long history. One li is approximately equal to 0.31 English imperial miles. é¿å¾: expedition, long journey, long march, Long March (retreat of Mao and the Red Army to evade Chiang Kaishek's Nationalist assault in China from 1934 to 1935) äºº: man, person, people æª: not yet, did not, have not, not Two ways to pronounce è¿: (1). huÃ¡n - to come back, to return, to payback, to restore, to give back. æªè¿: not returning back yet. (2). hÃ¡i - still, still in progress, yet, even more, in addition, also, else ä½: but, yet, however, only, merely, still ä½¿: to make, to cause, to enable, to use, ä½ä½¿: only if, if only é¾å: Longcheng (literally "dragon fortress/city") district, where General Li was stationed. é£: to fly Two ways to pronounce å°: (1). jiÃ ng - a general, a military leader of high rank. examples - é£å° FÄi JiÃ ng (flying general), å°å® JiÃ ng guÄn (a general officer), (2). jiÄng - will, shall, also general, commander-in-chief. example - å°è» JiÄng jÅ«n (general). é£å°: refers to the famous General Li Guang æå»£ in Han Dynasty. å¨: (located) at, (to be) in ä¸: no, not æ: make, cause, tell, teaching, religion è¡: the barbarian, the Huns/Xiongnu, esp. in central Asia, reckless, outrageous, to complete a winning hand at mahjeong (éº»å° MÃ¡jiÃ ng), beard, mustache, whiskers é©¬: horse åº¦: pass, pass through, go across, degree é´å±±: Yinshan, also called the Yin Mountains, are a mountain range situated on the steppes forming the southern border of the eastern Gobi Desert æå£å¤§æ²æ¼ in the Inner Mongolia Autonomous Region å §èå¤èªæ²»å and the northern border of Hebei Province æ²³åç. The Great Wall of the Qin and Han dynasties follows its southern slopes. View the following images related to the poem: 1. The Yin Mountains é´å±±å±±è - where General Li Guang was stationed at for many years and guarded for the Han royal court. view thru Google, Yahoo, Baidu or Bing. 2. The northern reaches of the Gobi Desert - the location of last battle where Flying General Li Guang fought, after becoming lost in a desert sand storm: view thru Google, Yahoo, Bing, or Baidu. 3. Chinese calligraphy ç§¦æ¶æææ±æ¶å ³ä¹¦æ³: view thru Google or Yahoo. ... ... ... ... ... ... \ ... ... ... 2. The Historical Path that Led Tang to Glory The sequence of the major influential dynasties in Chinese history prior to the Tang: Xia å¤ -- around 2070 â 1600 BC; the legendary first dynasty of China. ("X" is pronounced as the English "see" in pinyin.) Shang å -- from 1600 to 1046 BC; the beginning of written Chinese history East Zhou æ±å¨ -- from 770 to 256 BC; era of Confucius åå, Laozi èå, Sun Tzu åå, etc.; mostly a time of warring states and factions, but also the flowering of Chinese philosophy. Qin ç§¦ -- from 221 to 206 BC; from which the western name "China" arose. ("Q" is pronounced as the English "Ch" in pinyin.) Han æ± -- from 202 BC to 220 AD; by which the Chinese are known as the "Han" people. Sui é -- from 581 to 618; the dynasty that set the stage for the Tang. Tang å - from 618 to 907; by which the Chinese are also known as the "Tang" people. A brief history on the rise of the Tang dynasty: During the Qin ç§¦ Dynasty, Emperor Qin Shi Huang ç§¦å§ç not only standardized Chinese written language, but also standardized the monetary, measurement, and "highway" systems (setting the road width for chariots, the drainage and pavement codes, etc.). As for state defense, he connected together various wall barriers into the Great Wall to protect the northern border. During the following Han æ± Dynasty, the wall was extended and re-enforced, and the Hexi Corridor æ²³è¥¿èµ°å» was developed, helping to form a "Silk Road" to facilitate trading with the western world. Likewise, the Panyu area çªç¦ºå (ancient sections of present-day Guangzhou å¹¿å· city) on the southern coast also developed into an international trading entrepot for silk and other merchandise commerce. Following the Han Dynasty, was the short lived Sui é Dynasty, which nevertheless, linked together various canals into the Grand Canal å¤§è¿æ²³ with a total length of nearly 1,110 mi/1,786 km (mi: miles; km: kilometers), connecting five major rivers from south to north. Food and merchandise could therefore be transported much faster from the prosperous southeast coastal regions to the north and west. The canal further benefitted the agriculture and irrigation systems. The Sui Dynasty also solidified and extended various sections of the Great Wall. In the very early Tang Dynasty the practice of "guifang" æå, also known as "jiugui" å¦æ, played a similar role to that of today's modern banking system, by issuing paper "money orders" or "payable notes", which greatly helped to facilitate commerce and develop the domestic Tang economy. For large trades, merchants no longer needed to carry around heavy and inconvenient coins or precious metals that could be lost or stolen. The guifang æå eventually developed into feiqian é£é±, literally "flying cash," the earliest form of paper money ever issued in the world. "Paper bills were first used by the Chinese, who started carrying folding money during the Tang Dynasty (A.D. 618-907) â mostly in the form of privately issued bills of credit or exchange notes -- and used it for more than 500 years before the practice began to catch on in Europe in the 17th century. It took yet another century or two for paper money to spread to the rest of the world" (source: Time - the First Paper Money - http://content.time.com/time/specials/packages/article/0,28804,1914560_1914558_1914593,00.html or Wikipedia). Thus, by the time of the rise of the Tang, China was blessed with a unified internal infrastructure defended by an "impregnable" Great Wall. These included an extensive water and road system built by the previous Qin and Sui dynasties, a securely guarded Silk Road along the Hexi Corridor developed by the Han Dynasty, and a convenient trade and exchange transaction system refined by the Tang itself. All these allowed the Tang to dance onto the world stage, reaching its peak during Tang Ming Huang's reign. Note: coins - The coins used in daily life and trade in ancient China were round in shape with a square shaped hole in the middle for stringing together (so that they could be carried around easily) but it was clumsy and inconvenient for large trades. View coins of different dynasties via Google or Baidu. Map A - The major sections of the Great Wall (light brown lines) for state defense, and the Silk Road along the Hexi Corridor (a winding route strung out along four major cities) for international trade during the Tang Dynasty: The map's outline is retrieved from Joowwww [Public domain], via Wikimedia Commons in 2016. (Tang territory varied during different periods.) View the extent of the Tang as overlaid upon China's modern day provinces. For details about the Great Wall: wikipedia There were, in fact, two major "Silk Roads" -- Chang'an (the yellow spot in the middle of China) was the hub of the inland Silk Road routes (in red), while Canton, on the southern coast, was the hub of sea routes (in blue) plying mainly silk products overseas. (The two yellow spots to the west of Chang'an were the Jade Gate and the Yang Gate - two important defense and customs bases.) (source: By NASA/Goddard Space Flight Center http://upload.wikimedia.org/wikipedia/commons/7/74/Silk_route.jpg) For details about the Silk Road: wikipedia. The Grand Canal sped up domestic north-south transportation. (source: Yug (talk) East Asia topographic map.png: Ksiom (East_Asia_topographic_map.png) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/)], via Wikimedia Commons). For details about the Grand Canal: wikipedia. * * * The Tang Dynasty can be divided into four periods based on the strength of the empire. The spirit and mood of Tang poems are more or less in sync with these time periods. The four periods (which overlap to a certain degree): (1). The Early Tang from the beginning of the dynasty in 618 until around 712 -- about 100 years of thriving development. (2). The High Tang -- the most prosperous period -- from around 712 until the An Lushan Rebellion å®ç¦å±±ä¹ä¹± in 756. This corresponds with Emperor Tang Ming Huang's åæç 40 plus year reign. And it was also the peak period of Tang poetry. (3). The Mid Tang from around 756 to 827 -- about 70 years of slow decline. (4). The Late Tang from around 827 until the fall of the dynasty in 906, about 80 years of further decadence and accelerated decline. Continue reading or return to "âââI encourage you toâ firstâ read Chapter 3 â-âThe Historical Path that Led Tang to Glorây". ... ... ... ... omitted ... ... ... ... (1). The Imperial Examination System While the first stirrings of the imperial examination system ç§ä¸¾å¶åº¦ (pinyin: KÄ jÇ zhÃ¬ dÃ¹) began in the Han dynasty around 165 BC, its coalescing into a regularized regime can be traced back to Emperor Sui Wendi éæå¸ of the Sui é Dynasty in 587. The system was consolidated and officially established, however, only in 605 by Emperor Sui Yangdi Â éçå¸ (Yang Guang æ¨å¹¿) and improved upon during the Tang Dynasty. The system was set up for the purpose of ensuring that only the most capable individuals were selected for government and administrative positions by means of competitive categorized examinations (éç¨åç§åå£«çåæ³ï¼æä»¥å«åç§ä¸¾). It encompassed more than 20 subject categories, including medicine, law, math, history, calligraphy,...etc. Among all the different degree-titles that issued from the examinations, the jinshi degree-title was the hardest to obtain. However, securing this would lead to a bright future -- a great many Tang prime ministers were jinshi title holders. At the beginning it was a two-tiered system, consisting of a county and then a court exam (in following dynasties, it morphed into three or even four-tiers, with each tier progressively more difficult than the last), each of which was held once a year. There were also occasional ad hoc imperial examinations held by the emperor for special purposes (in addition, there was a special imperial examination for selecting high military officials called wuju æ¦ä¸¾ which was not as heavily relied upon as the civil service examination system). To sit for the jinshi degree-title exam, the candidate was required to write policy essays on current event issues, individually interpret quotations from the Confucian classics (among others) compose poetry, and engage in other technical writings. It required literary talent and the ability to craft insightful, policy-oriented analyses, as well as possess acumen in interpreting passages from the Four Books, the Five Classics, and other ancient tomes. The success rate for jinshi examinees was only between 1 and 2 percent compared to 10 to 20 percent for mingjin degree-title applicants (limited to mastering the Four Books, the Five Classics and other classics) (source: ãTongdianã Chapter 15 [in Chinese only] ãéå ¸ã å·15 ãé¸èä¸ãï¼ âå ¶é²å£«å¤§æµåäººï¼å¾ç¬¬è ç¾ä¸äºï¼æç¶åä¹ï¼å¾ç¬¬è åä¸"). A total of 6,504 jinshi titles were conferred during the course of the Tang Dynasty, an average of only around 23 per year. (the Confucian classics -- the Four Books and the Five classics were included across all exams, weighted differently depending on the exam) After passing the last tier of court exams, a candidate would then be assigned to a local civil service position to begin his career. The exception to this wa
2073	dbpedia	0	4	https://english.visitbeijing.com.cn/article/47ONHQDE3nB	en	Chinese Painter, Poet and Calligrapher			[ "https://r1.visitbeijing.com.cn/images/20200904092248/010b7874ba93d5ce0d9a051b2e846c1a.png", "https://img-rs.huanqiucdn.cn/dp/api/files/imageDir/764c9c8a56ef636cc8088ebdedb545ae.jpg", "https://img-rs.huanqiucdn.cn/dp/api/files/imageDir/1aba53ca14afdaab5c0ac7bf3e6837cd.jpg", "https://img-rs.huanqiucdn.cn/dp/ap...	[]	[]	[ "Mi Fu" ]	null	[]	null	Mi Fu (Chinese: 米黻; 1051–1107), also k	en	//rs.visitbeijing.com.cn/visitbeijing/sites/english/images/favicon.ico		null	Mi Fu (Chinese: 米黻; 1051–1107), also known as Mi Fei (米芾), was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. As a personality Mi Fu was noted as an eccentric. At times they even deemed him "Madman Mi" because he was obsessed with collecting stones and even declared one stone to be his brother. Hence he would bow to his "brother" rock in a display of the filial devotion given to older brothers. He also was known as a heavy drinker. His son, Mi Youren, would also be a famous painter in his father's artistic style. Unlike his father Mi Youren lived to be quite elderly, dying at the age of 79.
2073	dbpedia	1	34	https://www.amazon.com/Chinese-Calligraphy-Mi-Fu/dp/7547200516	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/perumqgc/Captcha_ykjvboxyog.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=4HQCT20RX72AWZ3YB9T5&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
2073	dbpedia	3	56	https://www.abebooks.com/9787547902554/Calligraphy-WorksFamous-Chinese-Inscription-Edition-7547902553/plp	en	Mi Fu Calligraphy WorksFamous Chinese Inscription 79 (Chinese Edition)	https://pictures.abebook…547902554-us.jpg		[ "https://pictures.abebooks.com/isbn/9787547902554-us.jpg", "https://pictures.abebooks.com/isbn/9787547902554-us.jpg", "https://pictures.abebooks.com/inventory/6257135021.jpg", "https://assets.prod.abebookscdn.com/cdn/shared/images/Shared/css/seller-rating/fivestar.svg", "https://assets.prod.abebookscdn.com/...	[]	[]	[ "" ]	null	[ "Ben She" ]	2011-08-11T00:00:00	Mi Fu Calligraphy WorksFamous Chinese Inscription 79 (Chinese Edition) by Ben She - ISBN 10: 7547902553 - ISBN 13: 9787547902554 - Shanghai Painting and Calligraphy Press - 2011 - Softcover	en			https://www.abebooks.com/9787547902554/Calligraphy-WorksFamous-Chinese-Inscription-Edition-7547902553/plp	Mi Fu Shu posts Suthep Tiaoxi poem famous Chinese rubbings BEN SHE paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Pages Number: 55 Publisher: Shanghai Fine Art Pub. Date :2011-08-01 version 1. Mi Fu (one thousand and fifty-one - one thousand one hundred and seven). the Song Dynasty calligraphers. Early name fu. 41-year-old changed after the Department Fu. Chapter characters. numbers Lumen lay. Xiangyang Shi Man. Haiyue Gaishi so. the Bank said. Meenan Palace. Taiyuan (Shanxi Province. this is a) people. Xiangyang Xi Ju (now part of Hubei Province). late home Runzhou (now Zhenjiang. Jiangsu Province). to build Hai Yue Temple. Vision and painting when Dr. Green. then to the Board of Rites Yuanwai Lang. Good clean addiction. store more rocks. known as rice Britain. The law books were promoted to the second king for the return. old age out of the rules. won an unexpected purpose; from those that only a good book. surrounded by unique I know are of course. Su Shi. Huang. Cai Xiang (one for CAI) par. later known as the Song four. Shu Doi Suthep Poem poetry book from Wing-four. seven-character verse four. silk. vertical 27.8 cm. 270.8 cm horizontal. Mi Fu running script for the masterpiece. Total seventy-two Ding. five hundred and fifty set by leaders. Su Shu Song Qingli this is four years (one thousand and forty-four) beam Chuan made. Lin Xi (sub in framed into a volume. note its tail to its first virtual storage is a good book by. Xining eight years (one thousand and seventy-five ) After Husband concept in Hu Lin. has only questions of its tail. to Wu Yu three years (one thousand and eighty-eight) September 23. the book began as a Mi Fu. seal have item Yuan Bian India. Gao Shiqi . Wang Hongxu India. Qianlong Yu Lan's treasure. Jiaqing Yu Lan's treasure. Yu Lan Xuantong treasure and collectors such as India. Thess Gaozong Emperor Qianlong sign problem Mi Fu Shu Doi Suthep book: character . after post completion husband Hu. Dong Qichang. Shen Zhou. Zhu Yun and other Postscript. Wen Zhengming Chen scorpion and other concept models. this possession of the National Palace Museum in Taipei. Tiaoxi poem quote. Song Yuanyou three years (one thousand and eighty-eight) August 8 Mi Fu essays on poetry books. paper. vertical and three three centimeters horizontal 189.5 cm. running hand. Five of 36. 290 words. This is when the Mi 38 the book. seal of Shaoxing. Rui Si Temple and India. Item Wu Bian India. Qianlong Yu Lan's treasure. product Qing Yu Lan treasure. Yu Lan Xuantong treasure and collectors such as India . post the first line under the item's collection of independence word number. post after m Tomohito. Li Dongyang Postscript. Song Shaoxing has been classified within the government. Ming Yang Shiqi. land and water village. item Wu Bian. clear within the government. this possession of the Palace Museum. which the Mi Fu Shu Doi Suthep Tiaoxi poem quote. a Famous Chinese rubbings. one of the series. Mi Fu Shu Doi Suthep Tiaoxi poem quote. published by the Shanghai book painting. Contents: Su-Shu Posts Tiaoxi poetry postFour Satisfaction guaranteed,or money back. Seller Inventory # LR8092
2073	dbpedia	3	17	http://drawingatduke.blogspot.com/2016/03/mi-fu-my-favorite-calligrapher_3.html	en	DRAWING AT DUKE: Mi Fu, My Favorite Calligrapher	https://3.bp.blogspot.co…%25282%2529.jpeg	https://3.bp.blogspot.co…%25282%2529.jpeg	[ "https://3.bp.blogspot.com/-zE8b-aNrn9Y/VthQnJ1QnJI/AAAAAAAAADE/I_JW_mNJCL0/s400/images%2B%25282%2529.jpeg", "https://4.bp.blogspot.com/-Ft_0-D8EV9w/VthOAUOwDKI/AAAAAAAAACE/uW11u5sj3uw/s640/2015063012454140.jpg", "https://4.bp.blogspot.com/-T5_3zJ9qABQ/VthOOs2X4jI/AAAAAAAAACU/uThfLGIw-9w/s400/images.jpeg", "h...	[]	[]	[ "" ]	null	[]	null	Born in 1501, Mi Fu was an artist in the Northern Song Dynasty. He was listed as one of the "four great calligraphers in Song Dynasty". The...		http://drawingatduke.blogspot.com/favicon.ico		http://drawingatduke.blogspot.com/2016/03/mi-fu-my-favorite-calligrapher_3.html	Born in 1501, Mi Fu was an artist in the Northern Song Dynasty. He was listed as one of the "four great calligraphers in Song Dynasty". The other three in the list being Su Shi, Huang Tingjian, and Cai Xiang. I put family names in front of given names in accordance with Chinese convention. Like most Chinese intellectuals of the day, Mi Fu served in the imperial Song government. However, unlike most of his contemporaries, he did not go through the Imperial Examination (Keju), through which most government officials were selected. Shen Zong, the emperor in Mi Fu's time, appointed him to a secretary because Mi Fu's mother was Shen Zong's wet nurse. Below is a portrait of Mi Fu. Mi Fu had no interest in higher positions in the government and devoted himself fully to the pursuit of art. His style underwent several profound changes and did not completely develop until he was in his fifties. As a child prodigy, Mi Fu displayed a remarkable talent in memorizing and imitating the works of the ancient masters. At first, Mi Fu studied the style of many Tang masters, including Yan Zhenqing, Ouyang Xun and Chu Suiliang. At the age of 31, Mi Fu followed the advice by Su Shi, who was 14 years his elder, to learn from the masters in the Jin Dynasty. Before Mi Fu formed his own calligraphic style, he was often criticized for being too imitative of the ancient masters.His works were even ridiculed as "montages of characters of existent masterpieces". I was drawn to his calligraphy the first time I encountered "Shusu Scroll". "Shusu" was the name of the kind of silk on which Mi Fu recorded eight poems of his own, and hence the name of the piece. He was already in his fifties when creating this masterpiece, and it faithfully reflected his personal style. Just as musicians would , masters of the cursive style often intentionally create tension and resolve it . However, Mi Fu went to extremes in doing so and hence imbued his work with dynamism and power. I selected two characters from the scroll as examples. Some may find his style slightly protruding. Yet others, including me, find it exciting. Silk of the type used in the Shusu scroll is very difficult to write on as it does not readily absorb ink. Few calligraphers dare to write on it, but Mi Fu did. This very quality of the silk gave his calligraphy work even more power by making the contrast between the heavier and lighter strokes more vibrant, the rhythm of his writing more apparent, and his attention to detail more awe-inspiring. Calligrapher Dong Qichang commented that Mi Fu wrote like “a lion fighting against an elephant with all his might” on this scroll. According to Stanley-Baker, "Calligraphy is sheer life experienced through energy in motion that is registered as traces on silk or paper, with time and rhythm in shifting space its main ingredients." Through imitating a master’s work, I believe, one can feel the mental state of the master. After I came to Duke, I rarely have had the chance to practice calligraphy. However, whenever I get a chance to do so, I imitate Mi Fu’s work. Mi Fu’s burst of impulses can often penetrate through the paper and reach my heart. Below is my imitation of one of the poems in Shusu Scroll. Bibliography 1. Ledderose, Lothar, Mi Fu and the classical tradition of Chinese calligraphy, Princeton University Press, 1979. 2. Chang, Leon Long-yien, Four Thousands Years of Chinese Calligraphy, University of Chicago Press, 1990.
2073	dbpedia	0	15	https://www.pinterest.com/pin/526850856409652147/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2019-08-13T18:25:49+00:00	Mi Fu(米芾) . Mi Fu (米芾 or 米黻 1051–1107) was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court.	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.com/pin/526850856409652147/
2073	dbpedia	2	6	https://en.wikipedia.org/wiki/Timeline_of_Chinese_history	en	Timeline of Chinese history	https://upload.wikimedia…_History.svg.png	https://upload.wikimedia…_History.svg.png	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Text_document_with_r...	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-11-15T10:12:56+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Timeline_of_Chinese_history	Year Date Event 1901 7 September Boxer Rebellion: The Qing dynasty and Eight-Nation Alliance signed the Boxer Protocol, under which the Alliance was granted war reparations and the right to station troops in the capital Beijing. 1908 14 November The Guangxu Emperor died of arsenic poisoning. 1911 27 April Second Guangzhou Uprising 29 December 1911 Chinese provisional presidential election: Sun Yat-sen was elected president of the Provisional Government of the Republic of China, with a majority of sixteen of the seventeen provincial representatives of the Tongmenghui in Nanjing. 1912 1 January Xinhai Revolution: Sun Yat-sen was inaugurated president of the Provisional Government of the Republic of China. 10 March Sun Yat-sen resigned in favor of Yuan Shikai. 25 August The Tongmenghui and several smaller revolutionary parties merged to form the Kuomintang (KMT). December 1912 Chinese National Assembly election: An election to the National Assembly under the Provisional Constitution of the Republic of China began which would produce pluralities for the KMT in the House and Senate. 1913 20 March Assassination of Song Jiaoren: Song Jiaoren, founder of the KMT was assassinated, most likely by then-president Yuan Shikai. 12 July A failed Second Revolution started in Southern China in response to Yuan Shikai's dictatorial policies and the assassination of Song Jiaoren 1915 8 January Japan issued the Twenty-One Demands to the Republic of China, including demands for territory in Shandong, Manchuria and Inner Mongolia, rights of extraterritoriality for its citizens in China, and influence in China's internal affairs. 15 September Chen Duxiu founded the magazine New Youth.[8] 12 December Yuan declared himself the Hongxian Emperor of the Empire of China. The progressive, anti-Confucian New Culture Movement was founded. 25 December National Protection War: The republican generals Cai E and Tang Jiyao declared the independence of Yunnan from the Empire of China. 1916 16 June Yuan died.[9] 1917 7 November History of the Chinese Communist Party: Bolsheviks led by Marxist leader Vladimir Lenin seized power in Russia in the October Revolution. 1919 4 May May Fourth Movement: A student protest against the Treaty of Versailles took place at Tiananmen. 28 June The Treaty of Versailles, among whose provisions was the transfer of German territories in Shandong to Japan, was signed. 1920 14 - 23 July Zhili–Anhui War, a conflict between the Zhili and Anhui cliques for control of the Beiyang government. 1921 23 July The Chinese Communist Party (CCP) was founded.[10] 4 December The first installment of Lu Xun's novel The True Story of Ah Q, the first work written in written vernacular Chinese, was published. 1923 January The Radio Corporation of China was founded.[11] 6 January The KMT and CCP agreed to the First United Front, under which Communists would join the KMT as individuals to help combat warlordism. 1924 5 November The last Emperor of China, Puyi, is evicted from the Forbidden City, severing the last imperial connection to the palace. 1925 26 January Sun Yat-sen, China's Father of the Nation, dies from cancer. 1926 9 July Northern Expedition: The KMT general Chiang Kai-shek launched an expedition of some hundred thousand National Revolutionary Army (NRA) soldiers from Guangdong against the warlords Zhang Zuolin, Wu Peifu and Sun Chuanfang. 1927 12 April Shanghai massacre: KMT forces led by Chiang attack Communist allies in Shanghai, initiating a full-scale purge of Communists in regions under KMT control. 1 August Nanchang uprising: Communist forces launched an uprising against the KMT in Nanchang. 1928 7 May Jinan incident: The Japanese general Hikosuke Fukuda tortured and killed seventeen of Chiang's representatives in Jinan. 4 June Huanggutun incident: Zhang Zuolin's train was blown up by the Japanese Kwantung Army, killing him. 10 October Chiang became chairman of the Nationalist government of the Republic of China. 1931 July Encirclement campaign against the Northeastern Jiangxi Soviet: The NRA encircled and invaded the Northeastern Jiangxi Soviet. July - November 1931 China floods: Flooding began in the valleys of the Yellow, Yangtze and Huai Rivers, which would claim as many as four million lives. As of 2024, it was the deadliest natural disaster ever recorded. 18 September Mukden incident: In a false flag operation against the Republic of China, Japanese agents set off a dynamite explosion near a South Manchuria Railway line. Japanese invasion of Manchuria: The Kwantung Army invaded all Manchurian territory along the South Manchuria Railway. 7 November The Chinese Soviet Republic was established in Ruijin. 15 December Chiang resigned under pressure from the KMT. Lin Sen became acting chairman of the Nationalist government. 1932 1 January Lin Sen became chairman of the Nationalist government. 28 January January 28 incident: Japanese aircraft carriers began bombing Shanghai in a series of raids which would kill some four thousand soldiers of the 19th Route Army and as many as twenty thousand Chinese civilians. 4 February Defense of Harbin: Japanese bombs and artillery forced the Jilin Self-Defence Army to retreat from Harbin. 18 February The independent state of Manchukuo was established on the territory of Japanese-occupied Manchuria. 9 March Pacification of Manchukuo: The Big Swords Society rebelled en masse against the government of Manchukuo. 1934 February Chiang and his wife Soong Mei-ling established the quasi-fascist New Life Movement. 16 October Long March: The Chinese Workers' and Peasants' Red Army broke through the KMT lines attempting to encircle them at Ganzhou. 1935 5 February First Encirclement Campaign against Hubei–Henan–Shaanxi Soviet: Red Army forces forced the retreat of a KMT army attempting to encircle the soviet of Hubei, Henan and Shaanxi. 9 December December 9th Movement: A student protest took place in Beijing demanding internal liberalization and stronger anti-Japanese resistance. 1936 Japan opened a biological warfare operation called Unit 731 in Manchukuo. 12 December Xi'an Incident: Zhang Xueliang arrested Chiang in Xi'an due to concerns he was insufficiently committed to anti-Japanese resistance. 1937 7 March Marco Polo Bridge incident: Roughly one hundred Chinese soldiers were killed defending the Marco Polo Bridge in Beijing from a Japanese attack. 22 September The KMT and CCP joined to establish the Second United Front, which led to the Communists recognizing at least for the moment Chiang Kai-shek as China's leader and the official dissolution of the Chinese Soviet Republic. The Red Army was reorganized into the Eighth Route and New Fourth Armies, which were nominally part of the NRA chain of command. 25 September Battle of Pingxingguan: The Eighth Route Army wiped out a Japanese force of a few hundred attempting to bring supplies through Pingxing Pass. 26 October Battle of Shanghai: The NRA began withdrawing from downtown Shanghai in the face of a Japanese onslaught. 10 December Battle of Nanking: The Japanese Central China Area Army launched a full-scale assault on Nanjing. 13 December Nanjing Massacre: Nanjing fell to the Japanese Central China Area Army. A six-week massacre began in which tens of thousands of women were raped and as many as three hundred thousand civilians were killed. 1938 18 February Bombing of Chongqing: The Japanese army and naval air services began a bombing campaign against civilian targets in Chongqing which would kill some ten thousand people. 7 April Battle of Taierzhuang: The Japanese army was forced to withdraw after suffering heavy losses in an attempted conquest of Tai'erzhuang District. 5 June 1938 Yellow River flood: KMT forces destroyed a major dyke in an effort to create a flood to slow down Japanese forces. Nearly a million citizens died. 1939 1 September The nominally independent Mengjiang was established on the Mongol territories of the Japanese-occupied Chahar and Suiyuan provinces. 17 September Battle of Changsha: The Japanese army attacked Changsha. 1940 20 August Hundred Regiments Offensive: Communist NRA soldiers under Peng Dehuai began a campaign of terrorism and sabotage against Japanese targets in North China. 1941 1 February The Communist official Mao Zedong gave a speech in Yan'an entitled "Reform in Learning, the Party and Literature," establishing the Yan'an Rectification Movement and beginning an ideological purge which would claim some ten thousand lives. 30 September Battle of Changsha: A Japanese army began a general retreat after failing to take Changsha. 1942 15 January Battle of Changsha: A Japanese army crossed the Xinqiang River after suffering heavy losses in a failed attempt to conquer Changsha. 1943 1 August Lin Sen died. Chiang became acting chairman of the Nationalist government. 27 November Cairo Conference: Chiang, United States president Franklin D. Roosevelt, and British prime minister Winston Churchill issued the Cairo Declaration, under which the three powers expressed their desire for the independence of Korea and the return of Chinese territories. 1944 27 May Battle of Changsha: The Japanese army launched a general offensive against Changsha. 1945 26 June The United Nations Charter establishing the United Nations (UN) was signed at the San Francisco War Memorial and Performing Arts Center by fifty nations including China. 6 August Atomic bombings of Hiroshima and Nagasaki: As many as eighty thousand Japanese, largely civilians, were killed in the atomic bombing of Hiroshima by a United States aircraft. 9 September Surrender of Japan: Japanese forces in China formally surrendered to Chiang Kai-shek. 25 October Surrender of Japan: China regains control of Taiwan from Japan and was proclaimed as Retrocession Day. Chen Yi of the Kuomintang was appointed Chief Executive. November Campaign to Suppress Bandits in Northeast China: The Communist People's Liberation Army (PLA) launched a campaign against bandits and KMT guerillas in northeast China. 1946 20 July Chinese Civil War: The NRA invaded PLA-held territory en masse. 1947 28 February February 28 Incident: Nationalist forces violently suppressed an anti-government protest in Taiwan Province. 25 December The Constitution of the Republic of China came into force, dissolving the Nationalist government and renaming the NRA the Republic of China (ROC) Armed Forces. 1948 2 November Liaoshen Campaign: The last ROC garrison in Manchuria, in Yingkou, retreated in the face of a PLA advance. 15 December Huaihai Campaign: The PLA encircled an ROC army in Xuzhou. 1949 21 January Chiang resigned the presidency of the Republic of China due to military failures and under pressure from his vice president Li Zongren, who succeeded him as acting president. 31 January Pingjin Campaign: The PLA took Beijing. 23 April Chinese Civil War: The PLA conquered the ROC capital Nanjing. The ROC moved its capital to Guangzhou. 19 May The ROC government imposes the 38-year martial law in Taiwan 1 October Mao declared the establishment of the People's Republic of China (PRC). 10 December The ROC moved its capital from Chengdu to Taipei. 1950 5 March Landing Operation on Hainan Island: Chinese forces landed on ROC-controlled Hainan. 25 June Korean War: The North Korean army launched a 135,000-man surprise assault across the 38th parallel into South Korea. 25 November Battle of the Ch'ongch'on River: The Chinese 38th Group Army broke the UN line between the 7th Infantry Division and 8th Infantry Division in the valley of the Chongchon River. Mass executions of political prisoners took place in the Canidrome. 1951 23 May Representatives of the Dalai Lama of Tibet the 14th Dalai Lama and of the Central People's Government of the People's Republic of China signed the Seventeen Point Agreement for the Peaceful Liberation of Tibet, which guaranteed Tibetan autonomy within China and called for the integration of the Tibetan Army into the PLA. 1952 January The five-anti campaign, which encouraged accusations against the bourgeoisie of crimes such as bribery and tax evasion, was founded. see Three-anti and Five-anti Campaigns 1953 The first of the five-year plans of China, which called for construction of heavy industry, began to be carried out. 1955 20 January Battle of Yijiangshan Islands: People's Liberation Army captures the Yijiangshan Islands near Zhejiang from the ROC forces. 1956 An outbreak of the Influenza A virus subtype H2N2 occurred in China. 1957 27 February Mao published a speech entitled "On the Correct Handling of the Contradictions Among the People," marking the founding of the Hundred Flowers Campaign which encouraged criticism of the government and the Communist Party. July Mao instigated the Anti-Rightist Movement during which hundreds of thousands of alleged rightists, including many who had criticized the government during the Hundred Flowers Campaign, were purged from the CCP or sentenced to labor or death. 1958 Great Leap Forward: The CCP led campaigns to massively overhaul the Chinese economy and society with such innovations as collective farming and the use of backyard furnaces. Mao launched the Four Pests Campaign, which encouraged the eradication of rats, flies, mosquitos and sparrows. Second Taiwan Strait Crisis: PLA fails to capture ROC-held islands of Quemoy and Matsu Islands in Fujian. 1959 10 March 1959 Tibetan uprising: A rebellion broke out in the Tibetan regional capital Lhasa after rumors the government was planning to arrest the 14th Dalai Lama at the local PLA headquarters. Great Chinese Famine: A famine began which would claim as many as forty million lives over three years. 1960 16 April Sino-Soviet split: A CCP newspaper accused the Soviet leadership of "revisionism." 1962 20 October Sino-Indian War: The PLA attacked Indian forces across the Line of Actual Control. 1964 5 January Quotations from Chairman Mao Tse-tung was first published. 16 October 596: The Chinese government detonated its first nuclear weapon at Lop Nur. The ROC government outlaws Taiwanese Hokkien language in schools and official settings The second of two volumes of Simplified Chinese characters ordered by the State Council of the People's Republic of China was published. 1966 19 August Cultural Revolution: The CCP launched a campaign to destroy the Four Olds. The Three-Self Patriotic Movement, the sole government-sanctioned Protestant church, was abolished. 1968 Deng Pufang was thrown from a third-story window at Peking University by Red Guards, crippling him. 22 December The People's Daily published an editorial entitled "We too have two hands, let us not laze about in the city," invigorating the Down to the Countryside Movement under which the sent-down youth, many former Red Guards, were relocated from the cities to the country. 1969 2 March Sino-Soviet border conflict: PLA forces attacked the Soviet Border Troops of the Soviet Union on Zhenbao Island, killing 59. 1 October The Beijing Subway opened in Beijing. 1970 24 April China launched Dong Fang Hong I, its first satellite. 1971 July United States secretary of state Henry Kissinger visited Beijing. 13 September Cultural Revolution: Lin Biao dies in mysterious air crash after failed coup. 25 October China and the United Nations: The People's Republic of China is admitted to the United Nations, replacing the Republic of China. 1972 28 February 1972 Nixon visit to China: The United States and China issued the Shanghai Communiqué pledging to normalize relations during the visit of the former's president Richard Nixon. 1974 19 January Battle of the Paracel Islands: Some fifty South Vietnamese soldiers were killed in a Chinese conquest of the Paracel Islands. 1975 5 April Chiang Kai-shek died. 1976 8 January The premier Zhou Enlai died. 5 April Tiananmen Incident: Some four thousand people were arrested during a protest against the removal of wreaths, flowers and poems laid at the Monument to the People's Heroes in Zhou's memory. 27 July 1976 Tangshan earthquake: An earthquake with its epicenter near Tangshan killed roughly a quarter of a million people. 9 September Mao died. 6 October The Gang of Four, a political faction including Mao's wife Jiang Qing, was arrested on the orders of the premier Hua Guofeng. 7 October Hua became Chairman of the Chinese Communist Party. 1977 Beijing Spring: A brief period of political liberalization began. 1978 11 October The poet Huang Xiang pasted pro-democracy, anti-Mao poems on the Democracy Wall in Beijing. December The Communist official Deng Xiaoping became paramount leader of China. December Chinese economic reform: Economic liberalization measures including the replacement of collective farming with the household-responsibility system began to be instituted. December Deng Xiaoping first advocated for the Four Modernizations, of agriculture, industry, national defense and science and technology. 1979 1 January China and the United States issued the Joint Communiqué on the Establishment of Diplomatic Relations, under which the latter recognized the PRC as the legitimate government of China and terminated its participation in the Sino-American Mutual Defense Treaty with Taiwan. 6 March Sino-Vietnamese War: China declared that the punitive objective of its invasion of Vietnam had been achieved and began to retreat. 30 March Deng Xiaoping declared in a speech the Four Cardinal Principles not subject to debate within China. 1980 The first of the Special Economic Zones of China, characterized by low regulation and the encouragement of foreign investment, were established. 28 June Sino-Vietnamese conflicts 1979–90: Chinese forces began shelling the Vietnamese Cao Bằng Province. 18 September The one-child policy, under which Chinese couples are heavily fined for additional children after their first, with some exceptions, came into force, and then phased out in 2015. 1984 19 December The Sino-British Joint Declaration, under which China and the United Kingdom agreed to the transfer of Hong Kong to China and the preservation there of democracy and capitalism under the one country, two systems model, was signed during the visit of the British prime minister Margaret Thatcher. 1987 7 May 1987 Lieyu massacre: 19 people killed by the Republic of China Army targeting Vietnamese boat people near the coast of Kinmen. Martial law in Taiwan lifted. 1988 14 March Johnson South Reef Skirmish: The PLA took control of the Johnson South Reef after a short naval battle in which some seventy Vietnamese soldiers were killed. 1989 15 April Tiananmen Square protests of 1989: A crowd gathered at the Monument to the People's Heroes. 4 June Tiananmen Square protests of 1989: Anywhere from 241 to 5 thousand people killed in the Tiananmen Square Massacre. 24 June Jiang Zemin became General Secretary of the Chinese Communist Party. 1990 18 March Wild Lily student movement in Chiang Kai-shek Memorial Hall which saw less bloodshed compared to the Tiananmen protests in Beijing. Shanghai Stock Exchange re-opened on 26 November and began operation on 19 December. 1991 1 May Legislative Yuan and National Assembly delegates elected in 1947 resigns. 26 December The Soviet Union officially dissolves leaving the People's Republic of China as the only major communist state on Earth. The first McDonald's restaurant in mainland China opened in Beijing. 1992 First free democratic elections for the Legislative Yuan held since 1948 in Taiwan only. Deng Xiaoping traveled south to reassert the economy policy. 1993 27 April Wang–Koo summit took place in Singapore: the first public meeting between figures of non-governmental organization (NGO) since 1949. 1994 8 December 1994 Karamay fire: A fire at a theater in Karamay killed some three hundred people. 1996 The first direct presidential elections in Chinese history took place in Taiwan with Lee Teng-hui and the Kuomintang retaining power. 1997 19 February Deng Xiaoping died. 1 July Hong Kong handover ceremony: A ceremony marked the return of sovereignty over Hong Kong to China from the United Kingdom under the terms of the Sino-British Joint Declaration. The term Great Firewall was coined to describe the tools of Internet censorship in China. 1998 June 1998 China floods: China experienced massive flooding including floods of the Yangtze River, the Nen River, the Songhua River and the Pearl River. The People's Liberation Army gained further respect for their actions amongst the people. 1999 7 May United States bombing of the Chinese embassy in Belgrade: United States bombers under the command of the North Atlantic Treaty Organization accidentally bombed the Chinese embassy in Belgrade. 22 July The Chinese government declared the religious organization Falun Gong illegal. 20 December Transfer of sovereignty over Macau: Sovereignty over Macau was transferred from Portugal to China. 2000 China passed Japan as the country with which the United States has the largest trade deficit. Year Date Event 2000 Chen Shui-bian, the opposition candidate from the native DPP, elected president by a lead of 2.5% of votes marking the end of the KMT rule of China. Voter turnout was 82.69%; first peaceful transfer of power since the formation of the Chinese Republic in 1912 and in Taiwan since 1945. Four Noes and One Without 2001 23 January Tiananmen Square self-immolation incident: Five declared by Chinese government members of Falun Gong may have burned themselves to death in Tiananmen Square. 1 April Hainan Island incident: A United States intelligence aircraft was intercepted and forced to make an emergency landing on Hainan. 10 November World Trade Organization Ministerial Conference of 2001: The PRC joined the World Trade Organization, subjecting it to that body's free trade and dispute resolution agreements. The following year, the ROC joined the WTO under the name Separate Customs Territory of Taiwan, Penghu, Kinmen and Matsu to adhere with the One-China policy. 2002 15 November 16th National Congress of the Chinese Communist Party: Hu Jintao succeeded Jiang Zemin as General Secretary of the Chinese Communist Party. 16 November An outbreak of severe acute respiratory syndrome began in Guangdong. 2003 15 October The PRC launched its first crewed space mission Shenzhou 5. 2004 19 September Jiang Zemin resigned his position as chairman of the Central Military Commission of the Chinese Communist Party and succeeded by Hu Jintao. 2005 14 March The controversial Anti-Secession Law was passed, reasserting the PRC's desire for "peaceful reunification" with Taiwan and its right to resolve the issue by force. In response, 1.6 million people marched in Taipei against the PRC's "anti-secession law". Similar marches occur across the world by Taiwanese nationalists. Protests against the PRC were held worldwide, including, but not limited to: Chicago, New York City, Washington DC, Paris, and Sydney. 15 April 2005 anti-Japanese demonstrations: Mass demonstrations against Japan took place. 13 November 2005 Jilin chemical plant explosions: A series of explosions at a chemical plant in Jilin City killed six and forced the evacuation of tens of thousands. Pan–Blue leaders visit to mainland China President Chen is invited and attends the funeral of Pope John Paul II. He is the first ROC president to visit the Vatican. The National Assembly of the Republic of China convenes for the last time to implement several constitutional reforms, including single-member two-vote districts, and votes to transfer the power of constitutional reform to the popular ballot, essentially abolishing itself. 2007 7 May 2007 Chinese slave scandal: A local television station first reported on missing children kidnapped to work as slaves at brickyards in Shanxi. 10 July Zheng Xiaoyu, the former head of the State Food and Drug Administration, was executed for corruption. 3 August The State Administration for Religious Affairs issued State Religious Affairs Bureau Order No. 5, which required tulkus who planned to be reincarnated to submit an application to the government. 24 October The lunar orbiter Chang'e 1 was launched. 2008 25 January 2008 Chinese winter storms: A series of severe winter storms began which would claim over a hundred lives. 22 March 2008 presidential election; with 58.48% of the vote, KMT candidate Ma Ying-jeou defeats DPP candidate Frank Hsieh. Many voters boycott the referendum on whether and how to join UN so the level of voter participation required for referendum to be considered valid is not achieved. 1 May The Hangzhou Bay Bridge opened to the public. 12 May 2008 Sichuan earthquake: An earthquake with its epicenter in Wenchuan County killed nearly seventy thousand people. 20 May Ma Ying-jeou sworn into office as the 12th President of ROC. Second peaceful transfer of power with the Kuomintang regaining control of the presidency. Tsai Ing-wen inaugurate as the Chairperson of DPP. 16 July 2008 Chinese milk scandal: Sixteen infants were diagnosed with kidney stones in Gansu after drinking formula contaminated with melamine. 8 August 2008 Summer Olympics opening ceremony: A ceremony marked the beginning of the Olympic Games in Beijing. 6 September 2008 Summer Paralympics: The thirteenth Paralympic Games began in Beijing. 27 September The astronaut Zhai Zhigang completed China's first spacewalk on Shenzhou 7. Wild Strawberry student movement in Taiwan. 2009 5 July July 2009 Ürümqi riots: A riot of some thousand Uyghurs began which involved ethnic violence against the Han in Ürümqi. 1 October 60th anniversary of the People's Republic of China: A military parade on Chang'an Avenue in Beijing commemorated the establishment of the PRC. 2010 14 April 2010 Yushu earthquake: An earthquake with its epicenter in Yushu killed as many as three thousand people. 1 May Expo 2010: A world's fair began in Shanghai. 2011 21 September Wukan protests: Farmers in Wukan attacked a government building due to the government's seizure without compensation of their farmland. 29 September Tiangong-1 was launched as China's first prototype space station. 10 October The 100th Anniversary of the Xinhai Revolution and Republic of China was commemorated. 2012 6 February Wang Lijun incident: Wang Lijun, a deputy of Bo Xilai, the Party Committee Secretary of Chongqing, sought refuge at a United States consulate. 4 July The Three Gorges Dam went into operation. 19 August 2012 China anti-Japanese demonstrations: Anti-Japanese protests took place in China due to a dispute over ownership of the Diaoyu Islands. 15 November 18th National Congress of the Chinese Communist Party: Xi Jinping succeeded Hu Jintao as General Secretary of the Chinese Communist Party and the Chairman of the Central Military Commission. 2013 One Belt, One Road was proposed to connect and cooperate among countries primarily between China and rest of Eurasia. 29 September The Shanghai Free-Trade Zone was established. 28 October 2013 Tiananmen Square attack: A car was driven into a crowd in Tiananmen Square, killing the driver and two passengers, Uyghurs associated with the East Turkestan Islamic Movement, and two pedestrians. 14 December The lunar lander Chang'e 3 landed on the moon. 2014 China became the world's second largest economy. 1 March 2014 Kunming attack is a terrorist attack, killing 31 civilians and injuring more than 140 others. No group or individual stepped forward to claim responsibility for the attack. 18 March Sunflower Student Movement in Taiwan, students occupy the Legislative Yuan force to halt the enforcement of Cross-Strait Service Trade Agreement. 2015 17 June 2015–2016 Chinese stock market turbulence started. 3 September 2015 China Victory Day Parade was held on the Tiananmen Square. November Ma Ying-jeou meets with Xi Jinping, the first Cross-Strait leader meeting. 2016 16 January presidential election; with 56.3% of the vote, DPP candidate Tsai Ing-wen defeats KMT candidate Eric Chu. 20 May Tsai Ing-wen sworn into office as the 14th and current President of ROC. Third peaceful transfer of power and first female President in Chinese history. 4 September 2016 G20 Hangzhou summit was held in the city of Hangzhou. 15 September Tiangong-2 was launched with mission of more than ten scientific experiments. 2017 25 October 19th National Congress of the Chinese Communist Party: Xi Jinping was re-elected as the General Secretary of the Chinese Communist Party and the Chairman of the Central Military Commission. 2018 March Xi Jinping removed the term limits of the Presidency. 2019 24 May Same-sex marriage becomes legal in Taiwan. 1 October 70th Anniversary of the People's Republic of China military parade held in Tiananmen Square December First case of COVID-19 identified in Wuhan leading into the subsequent pandemic. 2020 16 January Tsai Ing-wen re-elected as ROC President continuing deterioration of relations with the PRC. 30 June Hong Kong national security law passed. 2021 2 April 2021 Hualien train derailment: A Taroko Express train was derailed at Hualien County killing 49 passengers and injuring 200 others. 1 July 100th Anniversary of the Chinese Communist Party was held as part of the Two Centenaries. 2022 23 October Xi Jinping was re-elected as General Secretary of the Chinese Communist Party for a precedent-breaking third term of paramount leader after Mao Zedong's death.[12] 30 November Jiang Zemin died 2023 27 October Li Keqiang died
2073	dbpedia	1	6	https://www.metmuseum.org/art/collection/search/39919	en	Poem Written in a Boat on the Wu River	https://collectionapi.metmuseum.org/api/collection/v1/iiif/39919/200723/main-image	https://collectionapi.metmuseum.org/api/collection/v1/iiif/39919/200723/main-image	[ "https://collectionapi.metmuseum.org/api/collection/v1/iiif/39919/200723/main-image", "https://images.metmuseum.org/CRDImages/as/web-additional/DP118649_CRD.jpg", "https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif", "https://www.metmuseum.org/Rodan/dist/img/1x1-d7dcde.gif", "https://www.metmuseum.org/...	[]	[]	[ "Mi Fu", "Paper", "Paintings", "Scroll paintings", "Handscrolls", "Ink", "Calligraphy", "Asia", "China" ]	null	[]	null	<strong>Inscription:</strong> Artist's inscription and signature (44 columns in semi-cursive and cursive scripts) <br/><br/>Yesterday’s wind arose from the west-north, <br/>And innumerable boats all took advantage of its favor	en	https://www.metmuseum.org/content/img/presentation/icons/favicons/favicon.ico?v=3	The Metropolitan Museum of Art	https://www.metmuseum.org/art/collection/search/39919	Sun Guoting's Manual on Calligraphy (687) states that calligraphy reveals the character and emotions of the writer. Few works demonstrate this principle as clearly as this handscroll by Mi Fu, the leading calligrapher of late Northern Song. Mi wrote Sailing on the Wu River with a suspended arm, working from the elbow rather than the wrist. It was not his aim to form perfect characters; instead, he entrusted his writing to the force of the brush, giving free reign to idiosyncratic movements, collapsing and distorting the characters for the sake of expressiveness. Su Shi (1036–1101) likened Mi's writing to "a sailboat in a gust of wind, or a warhorse charging into battle." Traditionally, calligraphy has been more highly esteemed in China than painting. In the 1950s when John Crawford began collecting it, most American scholars were unaware of its importance and the authenticity of many Crawford pieces was questioned. Today, these works are regarded as national treasures and the Metropolitan is the only leading museum in the West able to present major examples of this quintessential Chinese art form.
2073	dbpedia	1	13	https://english.visitbeijing.com.cn/article/47ONHQDE3nB	en	Chinese Painter, Poet and Calligrapher			[ "https://r1.visitbeijing.com.cn/images/20200904092248/010b7874ba93d5ce0d9a051b2e846c1a.png", "https://img-rs.huanqiucdn.cn/dp/api/files/imageDir/764c9c8a56ef636cc8088ebdedb545ae.jpg", "https://img-rs.huanqiucdn.cn/dp/api/files/imageDir/f0b60dbe4770d8cde9d9e64d347b8d33.jpg", "https://img-rs.huanqiucdn.cn/dp/ap...	[]	[]	[ "Mi Fu" ]	null	[]	null	Mi Fu (Chinese: 米黻; 1051–1107), also k	en	//rs.visitbeijing.com.cn/visitbeijing/sites/english/images/favicon.ico		null	Mi Fu (Chinese: 米黻; 1051–1107), also known as Mi Fei (米芾), was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. In painting he gained renown for his style of painting misty landscapes. This style would be deemed the "Mi Fu" style and involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai and his calligraphy that of Wang Xizhi. His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. As a personality Mi Fu was noted as an eccentric. At times they even deemed him "Madman Mi" because he was obsessed with collecting stones and even declared one stone to be his brother. Hence he would bow to his "brother" rock in a display of the filial devotion given to older brothers. He also was known as a heavy drinker. His son, Mi Youren, would also be a famous painter in his father's artistic style. Unlike his father Mi Youren lived to be quite elderly, dying at the age of 79.
2073	dbpedia	3	4	http://www.chinaonlinemuseum.com/calligraphy-mi-fu.php	en	China Online Museum - Chinese Art Galleries	http://www.chinaonlinemuseum.com/resources/zhong.png	http://www.chinaonlinemuseum.com/resources/zhong.png	[ "http://farm4.static.flickr.com/3419/3373271187_6da469e1b5_m.jpg", "http://www.chinaonlinemuseum.com/classes/components/FlickrLightbox/images/modern/modern_s_b.png?1001071", "http://farm4.static.flickr.com/3653/3374087902_6403e30eaf_m.jpg", "http://www.chinaonlinemuseum.com/classes/components/FlickrLightbox/i...	[]	[]	[ "Chinese art", "Chinese calligraphy", "calligraphy", "Chinese artist", "Chinese museum", "Chinese gallery", "Chinese artwork", "China", "Song Dynasty", "Mi Fu" ]	null	[]	null	Chinese Song Dynasty calligrapher Mi Fu and his artworks		resources/zhong.png		null	Mi Fu (米芾, 1051–1107) was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi during the Song Dynasty. Because his mother had been the wet nurse of the Emperor Yingzong (reigned 1063 –1067), he was brought up within the imperial precincts, mixing freely with the imperial family. As a young boy, Mi showed precocious talent, particularly in calligraphy. Although he expressed distaste for the formal lessons prescribed for a future official, he displayed a lively intelligence in his quick understanding of learned argument, his aptitude for excitingly original poetry, and his ability in painting and calligraphy. In later life Mi had a checkered official career, with frequent changes of post. He began as a reviser of books in the imperial library and subsequently served in three posts outside the capital of Kaifeng, in Henan Province. In 1103 he was appointed a doctor of philosophy and was briefly military governor of Wuwei in the province of Anhui. He returned to the capital in 1104 to serve as a professor of painting and calligraphy, taking this opportunity to present to the emperor a painting by his son, Mi Youren. He then undertook the position of a secretary to the Board of Rites before setting out on his final appointment as military governor of Huaiyang, in Jiangsu Province, in which post he died at the age of 57. Mi Fu was married and had five sons, of whom only the two eldest survived infancy, and eight daughters.
2073	dbpedia	1	68	http://m.blog.naver.com/balial2/220571849829	en	Complete Summary for Chinese Painting	https://blogimgs.pstatic…image_160610.png	https://blogimgs.pstatic…image_160610.png	[ "https://ssl.pstatic.net/static/blog/sp_blog72.png", "https://blogpfthumb-phinf.pstatic.net/MjAxNjExMDJfMTYy/MDAxNDc4MDczMzUxMDQx.wG0ClSTlvI9K-w73Zv--uiSNyRrC746AHzm1GNt8Xr0g.1Zi2bcf34NDqxehb5FqkLG7BgFoTLUgX4ZRUzyvpabUg.JPEG.balial2/pinktriangle.jpg?type=s1", "https://blogpfthumb-phinf.pstatic.net/MjAxNjExMDJfM...	[]	[]	[ "" ]	null	[]	null	Complete Summary for Chinese Painting   Harvey Ng     Day 1   Tim...	ko	/blog_192x192.png	네이버 블로그 \| 100년의 미술사 서재	https://blog.naver.com/balial2/220571849829	Harvey Ng Day 1 Time: Mon, Wed 13:00 - 14:15 Venue: 210 Blagen Hall Lecturer: Georgiana Podulke Syllabus Written Assignment: One paper on a work of art to be written in connection with fieldwork at the Minneapolis Institute of Arts, TBA Midterm Exam consisting of slide identification, term definitions, comparisons, and short answer questions: Wednesday, October 14 Final Exam consisting of slide identification, term definitions, comparisons, and short essays: Friday, December 18, 10:30 - 12:30 Images Painting on an ancient bowl Type literary painting - idea painting, amateurs. Ink and brush. Caligraphy and poetry is integrated. Zen buddhism painting - 보리달마 노조. Chan monks. Southern Song dynasty. Caligrpahy tradition - 왕희지, 3rd Century. Copy, hand scroll. Collector's seals stamped. A professional painting - Before the literary painting. (Dang dynasty?), it is not an ink painting. 공필, styleless brush stroke. 둔황 벽화 - Monasty complex. 동굴벽화. Central Asia. Monks came back from India through 둔황. Chiense Buddhism's development point. A representation of Buddha's life. Dang dynasty painting - 한강 (?) 7-9th century. Many people entered China through central Asian. A central Asian grrom mounted on a white horse leading a black horse. The caligraphy was added later by an empress. Landscape - Kansas City 미술관에서 소장. A sense of space and atmospheric effects appear. Pale ink usage to indicate water and mist. A part of a great landscape tradition in China 휘종황제의 회화 - Tang or Song? dynasty's emperor. 북송시대 Shaguwei? - A hand scroll. Reading direction from left to right. 원조 회화 - Literary painting, done by an ex-officer withdrew from service. 산조?의 그림 청나라 회화 - Absorbing western influences appears. Subject matter is Chinese but media is oil. Day 2 ~ 3 Neolithic Period Banpo, a village at Yangshao culture (Yellow River) area (4500 BCE), earliest paintings are excavated - Painted pottery, red earthenware, earliest painting, 4200 BCE, Neolithic period, drawing about fishing and ritual. Highly abstracted form. There are 8 marks on the bowl pointing to 8 directions, a first proto-painting Xia Dynasty (하) Shamanism, pottery for some ritual, ancient religious instrument * Sympathetic inducement (what is it?) Life Drawing, 4th Millinium - Painted pottery urn (gang), H 47 cm., base 19.5 cm., Yangshao culture (3500-3000 BCE) from Yancun, Linru, Henan Province * The urn's surface is used as ground for painting planned to be seen from a single direction. Bronze Period Shang dynasty (상) -> Zhou dynasty (주) * Paintings in Shang dynasty period are not much preserved. Paintings are assumed to have had been manipulated on perishable materials. Skipped entire Shang dynasty Eastern Zhou Dynasty (700-256 BCE) - Duck-shaped lacquer box (wooden), 535 BCE or earlier, Suixian, Hubei Province: lacquer worked as a natural plastic and preserved the work; two miniatures about dancing and music recital are inscribed on each side; the paintings imply strong shamanistic tradition in the southern Zhou culture - The Jannings-hu, bronze work, 4c BCE (text boos suggests instead 5-6th century BCE), Eastern Zhou dynasty, Warring States period, used as wine vessel: the vessel depicting hunting, ceremony, cooking, warfare, and music instruments; used a unique method unknown to the rest of the world * In ancient time, king represents agriculture and queen represents sericulture * Painting was a collective process, however, a story suggests that there was an idea of artists with intractable and independent spirits * Mural painting techniques were established around this time - A Lady, a Phoenix, and a Dragon, 3c BCE, considered first "true" painting, ink and brush on silk, Changsha, Hunan Province: its silhouette is somewhat coarse and uneven, suggesting that it was done by an unassured hand * Dragon later becomes a major symbol of emperor, signifying blessing and thunder (rain against drought) * An implication showing that ancient China was an agricultural society - A Gentleman Riding on a Dragon, 3C BCE, ink on silk, Changsha, Hunan Province: far better control of brush; remarkable quality of ink line, rhythmical; possessing independent value itself worthy of appreciation; a finely executed male figure * Dragon is a carriage, and check the umbrella and fish depicted. The dragon's countenance resembles laughing. * Flexible Chinese brush is extremely sensitive and exquisite: technical use of brush was highly emphasized, considered an essential quality in painting * Chinese painting at that time was about drawing boundaries: less concerned with volumetric expression; instead, vitality was the key issue * During the late Eastern Zhou, palace and mortuary art replaced ritual vessels, and figural representations replaced imaginary zoomorphs. It was greatly reinforced by the unification of country brought about by the Qin and Han dynasties Han Dynasty (208 BCE - 220 CE) * Qin Dynasty's Emperor 시황제, described as a madman (a despot): because he burned out books (분서갱유), early Han dynasty scholars and writers had to rewrite things from their memory * At the early time of Han, they were shocked to the loss of literary tradition * Silk Road: established at this period, a major access to Buddhist materials Four coffins of Lady Dai’s tomb Disinterred from Mawangdui Tomb I: four layers of the coffins indicating the symbols of death, rebirth, protection, and immortality; containing curving and vital motion brush, which combines the tomb's overall pictorial system - Painted Funerary Silk Banner (The Spirit Robe of Lady Dai), Mawangdui Tomb 1, ink and color on silk, 168 BCE, Western Han dynasty: found at the most inner layer of the coffins; consisted of four parts—heavenly, two sections for Lady Dai's existence in the afterlife, and underworld; a laughing dragon images with sinuous line appear again * The line of brush emphasizes vitality, linear stress, and sense of movement * Three-dimensional space is implied by the overlapping and recession of figures - Lady Dai's son's Tomb 3 shows a "Feyi" (Flying banner), a fabric that wraps coffin: this tomb also has a huge collection of ancient texts; the paintings in the tomb show two different lineages of ancient Chinese tomb painting tradition: one from the Eastern Zhou mortuary silk painting; other from the lacquer box and the Qin murals * Laozi (or Daodejing, 노자, 도덕경) and Yijung (the Classic of Changes, 역경-오경의 하나) were included found there: earliest version * Many paintings in old periods are excavated from murals of tombs, however, there were many palace murals aboveground later collapsed for its timber-framed palaces Han murals in horizontal burials - Two Peaches Kill Three Knights-Errant and Visit of Confucius and Laozi to Xiang Tuo, partition gable & lintel, Shaoguo Tomb 61, Luoyang, Hunan area, 1c BCE, Western Han dynasty: the tomb structure resembled that of freestanding buildings; its subject is a popular tale; the brush work used to depict a wild man is expressive; this is not a formal case * Standard compositions for the next two centuries * Most works of Chinese works of art were either preserved in the Royal Collection or recently excavated; for example, Shang dynasty was thought to be a fictional dynasty until 1929 excavation - Tales from History and Legends, lintel and pediment of a tomb tile, Western Han dynasty, late 1st Century BCE, earthenware hollow tiles of a tomb lintel and pediment; ink and color on a whitened ground; Museum of Fine Arts, Boston * Same part with Two Peaches . . . - Gentlemen in conversation, from above: the expressiveness of Chinese brushwork is striking; its quality is psychological and realist * Empty ground and volume is not much of a concern in this case; in other cases, such as Wangdu tomb's portraits, bold ink wash indicates strong sense of volume (* Comparison between Anping tomb and Wangdu tomb) After the establishment of the Eastern Han dynasty, pictorial carving (Eastern Han)'s popularity substituted that of funerary painting (Western Han), especially in Henan and Shandong Provinces. Stone funerary shrines were built for emperors. - Scenes of Hunting and Harvesting, rubbing of earthenware tile excavated from a tomb, Chengdu, Sichuan, Eastern Han dynasty: a tomb tile; lotus in lake is depicted indicating autumn; an early landscape; three-dimensionality implied by recession to the right side at the upper register; diagonal composition is implied - Paragons of Filial Piety, a lacquered painted basket excavated from an Eastern Han tomb of what was the Chinese Lelang Commnandery (present day North Korea near Pyongyang), 1st or 2ndc CE; 94 figures are depicted and painted; virtuous figures in Confucianism, which was adopted by Han Dynasty’s governing philosophy; it was opposed to Taoism; as an official institution, its lessons rigidified; the conversation between the figure looks intense and its depiction expressive; fine lines indicate an orthodox manner From Wu Family Shrines - The Archer Yi, the Fushan Tree, and Reception in a Mansion, from Wu Family Shrines (Wu Liang Ci), rubbing of stone relief on mulberry paper, Jiaxiang, Shandong, Eastern Han Dynasty, c. 145-151 CE: we see various social behavior and formality from this; lively line that expresses energy and vitality, which were central quality to Chinese painting; orthodox manner appears again; Han Wu-Ze brought the horses from Afghanistan area * The story of Yi the Archer was derived from a legend with ten Suns in the sky; references to severe droughts, saying that sun's heat was too strong; crow or raven are symbols of sun (remember Mahuang dui banner), and Yi hunted them in the legend except for one, thereby returning the world to a normal one; formally laid out three registers - Landscape from a bird's-eye view style appeared during the early Eastern Han dynasty. Observable mountains are depicted Caligraphy and Poetry Poetry: Han dynasty's aesthetic discourse was active - The Book of Poetry * It said that "poetry expresses heart”: this Han dynasty poet's notion is one of the highest promotion of the status of art among many societies, and this became a painting's definition in the later Song dynasty The Three Kingdoms, Two Jins, and Northern and Southern Dynasties Six Dynasties period (위진남북조) (220 – 589 CE) A great influx of non-Chinese people into the northern China, the entering of Buddhism; conversion of the nomadic people during the period; these converted nomad dynasties pushed han Chinese population to south * The characteristics of this period were disinitegration, variety, and individualism * Buddhist, religious ardor (Northern and Southern Dynasties) and Daoist sect movement rose up. * Before then, Chinese art was usually about people's daily life (including their afterlife happiness?) and was done collectively according to the changes in subject matter and styles determined by broad social and ideological movements, but it then changed during the third and fourth centuries. It was conducted in more individual idioms, critics emerged, collectors thrived, and portable scrolls became an important medium of painting. Painting became an independent art genre. This new trend continued with previous murals and other funerary arts. * A preparation period for the first peak of Chinese painting during the Sui and Tang dynasties. Northern Part - Drawing Water from a Well, mural in Dong Shou's tomb, ACE 357, Anak, North Korea. Distinguished from Koguryou murals, the image shows Dong Shou's Chinese origin. Confucian themes disappeared, and a keen interest in genre scenes and female imagery are observed. - Interior of Tomb 6 at Jiayu Pass, painted bricks in the interior, 3rd century, Gansu Province. Domed ceilings. The images show sweeping brush lines and bright colors. - Ascending to Heaven, a ceiling mural in Dingjiazha Tomb 5, Jiuquan, Gansu Province, 4-5th century. A source for the sinicized Buddhist caves in Dunhuang. Dunhuang cave-temple was built in 366 and continued to later centuries. Its styles gradually shifted from Indian and central Asian to a distinct Dunhuang stye. Foreign images with Chinese ceiling structure are also found. * Hindu motif with ancient Chinese dragon images. Two Daoist deities are shown in the ceiling murals. * Ancient Chinese Yin and Yang cosmology. Funerary art in the same era - Horsemen in tomb of Lou Rui, mural painting, 6th century (570), Taiyuan, Shanxi Province. Paintings became more independent entity in the structure, and its quality surpasses all known earlier and contemporary funeral paintings. Realism combined with other visual goals + abstraction. * Its tomb structure was simpler than that of Han dynasty. This structure provided the blueprint for the royal mausoleums of the Tang dynasty. - Official, 570, wall mural in Lou Rui's tomb. The best works of portraiture surviving from pre-Tang times. - Twenty-Eight Constellations, 570, ceiling murals in Lou Rui's tomb. Powerful, realistic drawings of animals, and its line drawing styles highlight the calligraphic quality of the brushwork. * The paintings' authorship is attributed to Yang Zi-hua, a master painter in the Northern Qi court. - Scholars of the Northern Qi Collating Texts, Yang Zi-hua, ink and color on silk, handscroll, original in 556, Song dynasty copy Southern Part Scroll painting was developed in the south: rapid growth of a literati culture with a strong emphasis on individualism; a virtual absence of painted tombs, and Buddhist murals embellished wooden temples Seven Worthies of the Bamboo Grove (죽립칠현); representing a nihilist revolt in the third century; they did not consider painting worthy of appreciation (suggesting a conservative characteristics of painting at that time) This radical antisocial convention changed in the fourth century to forge new conventions within society. This movement met with elite class patronage, and this became emblematic of a refined gentlemen. * Art for art's sake spirit formed. Attention was paid mainly to form, not meaning. Fresh, if not totally new, aesthetic appeared. Individual artist became well known. Artist's genealogy was founded, based on their teacher-student relationships (schools); for example, Wei Xie, a peerless master of the brush - Wang Xizhi (왕희지) and Gu Kaizhi (고개지) were unsurpassed in their two branches of the visual arts. The earliest writings on paintings also date back to the fourth century, on composition and evaluation, and techniques of painting. Criticism began to focus on aesthetic appreciation from the early fifth century. - Zong Bing - Wang Wei - Xie He, Classified Record of Ancient Painters (Gu hua pin lu). He used his Six Principles of Painted Forms (육법: spirit consonance, brushwork, shape, color, composition, and copying as a means of training) to evaluate 27 artists in his writings - Yao Zui - Zhang Yanyuan (815-875) left a detailed report on painting during the Southern Dynasties. * Royal patronage on paintings - Painted lacquerware in Zhu Ran's tomb, 3rd century, Ma'anshan, Anhui Provinc * Zhu Ran was Sun Quan(손권)'s general (주환인 듯). Party and drinking culture is illustrated Gu Kaizhi (344-406), a court artist and a writer on Chinese painting: none of his works have survived: Zhang Yanyuan gave extensive coverage on him in his Li-dai ming-hua ji (about AD 847); he was said to be “perfect in painting, literary composition and foolishness”; Gu’s three well-known scrolls that started the tradition of scroll painting were, - Wise and Benevolent Women * Based on the Han compilation Biographies of Exemplary Women. Depicting variety narratives in the text, this scroll indicates a growing interest in women's intellectual qualities. * Still stylistically and iconographically subordinated to convention - Admonitions of the Instructress to the Ladies of the Palace 8th century copy attributed to the artist, handscroll, ink and color on silk, British Museum: an earliest formalized type of Chinese seal writing; fine linear style typical to fourth century figure painting; neutral background, recession is indicated by the relative location of the figures standing; seals on the painting go back to the eighth century; its last seal is of Qianlong emperor; more advanced in styles than his Wise and Benevolent Women; the focus of representation has shifted from a literary, symbolic level to a pictorial, aesthetic level * Stories based on Zhang Hua’s political parody: attacking the excessive behavior of an empress; the first two scenes from the total nine scenes are missing; - Lady Ban refuses to ride in the imperial litter, scene 5 from the Admonition scroll: the litter is depicted in diagonal perspective, incomplete; the lady's stance is erect with full of grace; compare this scene with another similarly contemporary painter, Sima Jinlong's screen, The Story of Ban Zhao still conventional in its visual representations - People all know how to improve their visage, but not to refine their characters an unrefined character will fall short of propriety, integrated calligraphy and painting; despite the inscription's harsh admonition toward titivating one's look, the image itself shows the painter's individual interest in the scene - If the words you utter are good, people will respond from a thousand leagues away. If you offend against this principle, then even your bedfellow will view you with suspicion: the message is moralistic, Confucian lesson; drapery's depiction is very stylistic -Lady Feng and the Bear - No one can please forever; affection cannot be for one alone; if it be so, it will end in disgust. When love has reached its highest pitch, it changes its object; for whatever has reached fullness must needs decline. This law is absolute; emperor ditching a concubine; refers to the philosophy of cycle and rhythm, yin and yang; fluttering ribbon, a symbol to Gu Kaizhi's painting * Compare Gu Kaizhi’s works and the Boston tomb tile’s brushworks and facial expressions: - The Mountain and the Hunter, early landscape, Song dynasty copy; understanding the world as rise and fall, apogee and decline, repetitive cycle; naturalism and symbolic elements appear - The Nymph of the Luo River, after Gu Kaizhi (344-406), late Tang or early Song copy, handscroll, ink and slight color on silk, Smithsonian Institution, Freer Gallery of Art: early landscape elements are found; illustrates Zao Chi’s poem (whose nymph is assumed to be the poet's brother, 조비's wife 견씨); there are several versions of Gu Kaizhi's copy * Two significant advances: the invention of a continuous pictorial narrative in which same characters reappear several times; the development of landscape art, as components of a coherent physical environment; landscape is both representation and the symbol of the nymph's physical appearance * A new female image praised for her beauty instead of her moral superiority appeared: a new artistic tradition invented by the painter; introduces a new way of portraying a royal figure and his/her attendants * Fu is a Chinese prose-poem, 여덞걸음 안에 시를 지을 것 (or one may be executed). Seven Sages of the Bamboo Grove, Eastern Jin Dynasty * They have never met each other, but shared similar views to each other: later in Tang dynasty, they were grouped and savored as a famous topic for the arts; they were against moralism of Confucianism and later were grouped by people as an intellectual community - The Seven Sages of the Bamboo Grove and Rong Qiqi, molded brick relief, Eastern Jin Dynasty, Xishanqiao, Nanjing, Jiangsu Province: the figure is Xi Kang, a master of Chin; an instrument contradistinction to the musical ensemble in court ceremony; they became a new cultural symbol during the Southern Dynasties; designed by two different artists, probably * Xi Kang (223-262) one of the Seven Sages, a Wei dynasty scholar renowned for his music, an inventor of musical instrument. Day 4 After Gu Kaizhi (344-406), Nymph of the Luo River, 4th century, Freer Gallery & Liaoning Museum & Beijing Palace Museum: a first example of figural representation instead of symbolic representation; recurring motifs in later landscape are anticipated; figures are floating on the landscape, (indicating real world and dream world?) and landscape features were also floating sometimes - End section of Freer version, in which the poet contemplates his abandonment by the river nymph Shan-shui, Mountains and Water Painting * Chinese character's origin traces back to Shang dynasty's carved clay inscription. This carving may be the reason why the characters have thin line shape. Later seal script was developed from this. In Han dynasty, each regal reign recorded its histories in a vast amount of texts. This became a standard of calligraphy at the early stage (classics). After paper was invented, with flexible brush, literati began to use this format as a kind of personal expression. Wang Xizhi (303-361), 왕희지, a developer of artistic calligraphic script, running or walking script (신서?) and grass script (초서); the freely flowing line, executed spontaneously without a moment's hesitation; maintaining a sense of balance and wholeness - Wang Xizhi, Ritual to Pray for Good Harvest (Xingrang tie), letter mounted as handscroll, Tang dynasty tracing copy (7th century), ink on ying huang paper, Princeton University art museum * Colophones and seal scripts are later added by posterities * Many of his calligraphy are not fully intelligible these days. But people have enjoyed its look. * Extreme Confucian scholars did not like grass script for its "amorality": Xizhi had a Daoist sense of freedom, and often entered into the Confucian scholarly community; these two features are combined in his calligraphic art; compare his script with Gu Kaizhi's clerical script (Li shu), which is ornamental like his expression of garments; * Kai shu is later formalized script from Li shu - Wang Xizhi, Preface to the Poems Composed at Orchid Pavilion (Lanting xu), 353, Xingshu (running script), Palace Museum, Beijing: Wang's invitation of his literati peers to his spring purification festival; these members were aficionado of the spirits of seven sages; they made poems and played music, improvisational pieces; the preface for the collective artistic pieces Tao Qian (365-427), a poet, a literati scholar who worked in a government: after quitting his job he came back to his life unsullied by secular affairs; the idea of Lao Tzu, that words are very different from existence is obvious in his poems; first poet who used individual voice The Northern Wei Dynasty (386-534) During 한무제 (Han Wuze), China could not block all the northern nomads come into his dynasty: Yuezhi was nomadic pastoral people (originally from Kushan dynasty at current day Afghanistan and Pakistan) who later established the Northern Wei (need to check); silk road's Chinese side was very dangerous to travel through; early Chinese Buddhist monks travelled the way risking their lives; the earliest Buddhist scripts were translated at that time * Museum strives to prove the originality of art works especially paintings (forgery is relatively easy in this case) Caves of the Thousand Buddhas, Mogao Grottos, Dunhuang, Gansu Province, China: on the tradesmen and pilgrim's travel route; Buddhism entered China through this way; preserved many Buddhist works after the Great Persecution of Buddhism during the Tang dynasty - The Enlightenment Moment, Cave 254, Northern Wei: Siddhartha's meditation for 40 days under a Boddhi tree: Mara, a kind of evil demon, tried to distract him with various stratagem; colorful style, and strong figures (* Giving an oms? what does it mean?) - The Buddha Preaching, with Attendant Bodhisattvas and Apsaras, Cave 249, Dunhuang, Caves of the Thousand Buddhas, Northern Wei: Buddha shows some marks of his symbols, like long ears and halo; his hand gesture indicates "fear not (mudra?)"; curvilinear forms appear. * It is uncertain how much interconnected between Dunhuang and Changsha areas were: because Changsha was a very international city, there would have been interaction - The Sacrifice for a Hungry Tigress (Mahasattva jataka), Dunhuang, Cave 254, Northern Wei Dynasty: triangle forms are mountains; it shows early landscape and Buddhist worldview - Deer King Jataka (Ruru Jataka), Cave 257, West wall, fifth century, Northern Wei Dynasty: a golden deer with precious looking is Buddha's previous life; the silhouette shows a high quality of presence of the golden deer; the tale deals with a Buddhist principle, Karma; generosity is more stressed than justice (Asoka, a king of India, converted his nation to a Buddhist nation; he sent missionaries to outside India) - Mountain Landscape with Leaping Creatures, Cave 285, south wall, sixth century, Western Wei Dynasty: mountains and creatures appear - Northern Wei Emperor Worshiping the Buddha, relief, early 6th century, the Central Binyang cave, Longmen, Henan Province. This stone-carving image resembles the Nymph. * Around 494, both northern and southern artistic styles began to integrate under the Northern Wei's change of their capital to Luoyang. In this respect, the relief's visual resemblance to southern hand scroll painting is no coincidence. Northern Wei's royal members adopted southern way of living and customs, language, surnames, and rituals. - Stories of filial sons images (Filial Grandson) carved on stone sarcophagus, Luoyang, Henan Province, early 6th century, Northern Wei Dynasty: its content is overtly conservative, and women's image is generally neglected: but its compositional and figurative styles are extremely modern: striking three-dimensionality with recessional effects, and naturalistic * Besides linear perspective system, there is another mode of representing space: front and back and mirror images - Figures in Landscape, ink rubbing of an engraving on Ning Mao's shrine, 529, Luoyang, Henan Province. Filial stories are illustrated in vertical panel. - Three portraits of Ning Mao, from same shrine above. Ning Mao here is illustrated in his three different ages with distinct features, which seem to suggest from his vigorous youth to final spiritual enlightenment. - Gentlemen in Landscape, mural in Cui Fen's tomb, 551, Linxu, Shandong Province. Its landscape and figures both achieve the Fusion of southern and northern art in the sixth century. Day 5 * PPT plate is the only source for exams Review At the fifth century, early Buddhist murals at Dunhuang - Deer King Jataka (Ruru Jataka), Cave 257, west wall, Northern Wei dynasty, Dunhuang - Landscape from the Admonitions of the instructress . . . much realistic form, avant-garde and complex manner of depicting rock formation. Sophisticated approach to rocks combined each other, still linear. Lecture - The filial grandson, Stone Sarcophagus, stone carving on sarcophagus, 520-30, Northern Wei dynasty; it is a story of taking old grandfather to the woods to reduce a mouth in the house; grandson's cleverness warned his father from doing it; trees are depicted like the one from "the seven sages of bamboo" painting; one needs to guess what painting was like during the period; even wind is blowing the trees - Detail from the filial Wang, recessional effect, diagonal direction: coming and going Some Tang and Pre-Tang texts on Painting (from PDF) 9th century, Zhang Yanyuan, China's first art historian: he wrote an art history text titled, Lidai minghua ji [record of famous painters of all period] (847). * On Painting, "Now painting is a thing which perfects civilized teachings and helps social relationships. It penetrates completely the divine permutations of nature and fathoms recondite and subtle things." * On Gu Kaizhi, in a highly praising tone "His conception was kept whole in his mind before he used his brush, so that when the painting was all finished the conception was in it. . . ." * On Zong Bing/Tsung Ping (Gu’s contemporary, 375-443) a Shanshui painter: he painted things from his experience of a series of travels and roaming The painting of mountains and rivers (Shanshui) The idea of Yin - Yang is a very prevailing idea, opposites as complementary parts, opposites that constitute a whole: mountains are basically giant huge rock, contesting its hardness, and river is fluid and soft that complements the hardness of mountains; the vision of the wholeness of life, and nature is a greatness, and people dwell within it The Significance of Landscape (from PDF) Zong Bing, "As for landscape, it has physical existence, yet tends toward the spiritual. Landscapes display the beauty of the Tao through their forms, and humane men delight in this": “the Kun-lun mountains are immense and the eyes’ pupils small. If the former come within inches of the viewer, their total form will not be seen. If they are at a distance of several miles, then they can be encompassed by inch-small pupils. . . . A vertical stroke of three inches will equal a height of thousands of feet, and a horizontal stretch of several feet will form a distance of a hundred miles.” His art was derived from his experience in the mountains and rivers: the Dao of sage and the virtuous Tang Dynasty (618 - 906) - The Meditation of Queen Vaidehi on the Setting Sun, wall mural, Tang dynasty, 750, Cave 172, Dunhuang; a Buddhist painting; a recession of the space is a quite big development - Xuanzhang's Journey to India, mural painting, Cave 103, Tang dynasty, Dunhuang, Gansu Province: 당삼장! A monk is given a white elephant from a king in one of the kingdoms in India; he put all the scrolls on the elephant's back; overlapping triangles of mountains - Attributed to Li Zhaodao, Emperor Minghuang's Journey into Shu, hanging scroll, ink and color on silk, probably a Song-dynasty copy of a Tang-dynasty original created ca. 800 by a follower of the Li School: Blue-Green Landscape tradition; brush delineates the boundary of painting; 양귀비와 당현종의 이야기; a very romanticized story of an imperial scandal; actually not a journey, but a political exile to their refuge; Shu (today Sichuan); a series of images continue as a temporal procession of the narrative, and is meant to be hung vertically * Depicting horses very volumetrically, Tang dynasty expression; while the depiction of rocks follow Song dynasty tradition - Details of this painting, Emperor riding his horse, weary donkeys and people, rumbling donky . . . * Wilderness highway to Shu, a precipitous path made by wooden planks * Background scene carefully achieves a sense of distance with trees and ripples of mountains and hills - Musicians Riding on an Elephant, 8th century silk road object thought to be dated prior to 756, painting on leather decorating a biwa plectrum; a sense of distance and depth is well depicted; figures are Central Asian people (from PDF) * Zong Bing again, "Landscapes have a material existence, and yet reach also into a spiritual domain," “One approach to the Dao is by inward concentration alone; another, almost the same, is through the beauty of mountains and water . . . captured within a single picture.” * Confucius: "Set your intention on the Way (Dao), rely on integrity, follow human-heartedness, and wander in the arts." 도, 덕, 인, 예 from Lunyu (Analects, 논어) * Laotzu was a librarian of Zho dynasty, and thoroughly penetrated contents there: after then, he left to west to retire from his life, but the gatekeeper recognized him and asked him to leave few words on his thought; that is Daodaiji * "The country is broken; mountains and rivers remain" - Du Fu (712-70) Wang Wei (701-761), Wangchuan Villa, detail: ink rubbing of stone engraving, traced in 1617 after Guo Zhongshu’s copy of Wang Wei, Princeton university, Dept. of Art and Archaeology; Seattle Art Museum; turning away from narratives, to just mountains; famous for poetry and landscape; a Buddhist himself, immersed in Chan tradition from Indian dhina; in Chan tradition, one often finds analogies of blooming, spring up, opening up * He is considered to be in a monochrome painting tradition; earlier Chinese painting was usually color painting (Blue-Green Landscape for example) Figure Painting in Tang - Yan Liben (600-673), Emperors of the Successive Dynasties, detail: the last ruler of Chen (583-589) and Emperor Wu of the Northern Zhou (561-578), showing thirteen emperors from Han to Sui, handscroll, ink and color on silk; a court painter of early Tang dynasty; like Gu kaizhi, figures are floating; volume is not stressed, but drapery lines overlap each other; linear and ornamental approach; big struggle to depict volume of the object is implied - Detail, Emperor Xuan of the Chen Dynasty; depicting a strong character greatly by facial expression; the use of brush is very fine, depicting distinct hairs; Day 6 Additional material Seal script (zhuanshu), earliest historical one, from the Shang dynasty (16th c. ~1050 BCE) Clerical script (Ilshu), a standardized form, evolved under the Han dynasty (206 BCE ~ 220 CE) Running script (xingshu) and cursive script (caoshu), representing increasingly abbreviated forms of the standard character forms Standard script (Kaishu), the modern form from the 7th century Xie He, 6th century, Six Principles of Chinese Painting 1. Breath-resonance-life-motion (ch'i-yun'shen'tung, 기운생동) - chi 2. Bone method in the use of the brush (ku-fa yung-pi 구운용필) - brushwork 3. Responding to things by the representation of form (ying-wu-hsiang-hsing) - form 4. Following kind in applying colors (sui-lei-fu-ts'ai) - color 5. Plotting and planning position and place (ching-ying-we-chih) - composition 6. Transmitting and transferring in making copies (ch'uan-i-mu-hsieh) - imitation Sui and T'ang Dynasties There has seldom been a time in Chinese history as creative, vigorous and productive as the Sui-Tang period. Sui Dynasty Emperor Wendi (수문제, r. 581-604) Chinese population doubled during his rule. Emperor Yangdi (수양제, r. 604-618) Grand Canal and his unrestrained squandering shorted the life of his regime. Tang Dynasty In the dynasty's capital Chang'an, a cosmopolitan city, people from diverse ethnicity gathered, from the east and west, through the Silk Road. Tang dynasty was the most powerful country in the medieval world. Li Shimin (당태종) His ascension to the throne in 626 inaugurated more than a century of steady development in all social and cultural spheres. They merged a vast area in central Asia, and Silk Road came under their management. Their capital city, Chang'an's population was estimated more than a million. Tang made a truly global culture. Emperor Minghuang's reign is generally considered the most brilliant era in all Chinese history. There were so many great writers and artists lived at a single moment: the poets Wang Wei, Li Bai, Du Fu; the painters Wu daozi, Zhang Xuan, and Han Gan; and the calligrapher Yan Zhenqing, Zhang Xu, and Huaisu. An Lushan's rebellion in 755 brought end to the golden age. Because of this event Minghuang fled to Sichuan, and abdication. After the second half of the dynasty, its art never again approached its former greatness. Two major historical works were made after the decline. - Zhang Yanyuan, Record of Famous Paintings of Successive Dynasties, - Zhu Jingxuan, Celebrated Painters of the Tang Dynasty. Three periods of painting's development Sui and early Tang (581 -712) Highly politicized art in both religious and secular painting genres, and emperors themselves as strong patrons of art. Painters included Zhan Ziqian, Dong Boren, Weichi Bazhina, and Sakyamuni (Indian) + many others. Competition from schools abounded. Mural and scroll paintings Artists of this period were primarily engaged in mural paintings, involved in political and religious monuments for perhaps previous Northern Dynasties's influences. Scrolls also had strong political and religious implications. Figure Painting in Tang Yan Liben (ca 600-673), a member of aristocratic class, inherited his father's versatile talent. With is brother, Yan Lide, a famous architect and court designer, he supervised the construction of the emperor Taizong's mausoleum. Later, he became a prime minister, while his brother earned the title of grand duke. Due to Tang dynasty's emphasis on military forces and literature and arts, he took charge of the latter affairs in his country, and lived as a virtually a court historian. - A Battle Charger, attributed to Yan Lide and Yan Liben, stone carving, Emepror Taizong's tomb, Liquan, Shaanxi Province, 7th century - Attributed to Yan Liben, The Imperial Sedan Chair, handscroll, ink and color on silk, a Song dynasty copy. - Thirteen Emperors from . . . , the figure was intended to depict certain weaknesses in his character, though today's art historians do not exaggerate that much - Court Ladies, 706 CE, From a mural in Princess Yongtai's tomb in Qianxian, Shaanxi Province, the idea of feminine beauty had come from the Silk Road, the central Asia area. From the Silk Road: an International style - Pure Land Paradise, wall painting of Mogao Cave 217, early 8th century, Dunhuang, Gansu: originally Theravada (Hinayana) Buddhism (소승불교) saw Buddhas as individuals; but this work is influenced by Mahayana Buddhism (대승불교), which considers Buddhas not as individuals, and they also emphasized Bodhisattvas: Mahayana also promoted the idea of pure land paradise (극락정토); Amitabha Buddha (아미타여래) is the last Buddha who would come in the future - Amida Triad: Pure Land of Amitabha (replica of the original murals in the Horyuji temple kondo), late 7th century, Nara, Japan: symbols of various attributes in the depiction of the Buddha; the chakra symbolizes teaching of law, new dispensation; the central Buddha image has strong symmetrical composition; Bodhisattvas has more movement, with more diagonal posture; iconographically, bodhisattva is represented a previous life of Buddha, and is more approachable - The Buddha of the Amida Triad, Horyuji / The Bodhisattva Avalokitesvara of the Amida Triad, Horyuji: Comparison between two Buddhist icons * The Buddhist art came to China from Gupta, India, and then disseminated to adjacent countries: during the Tang dynasty, the depiction of Buddha became standardized, symmetry and balance were paid in great efforts. * There were great persecutions to Buddhist during the middle and end of Tang dynasty, destroyed many works in this tradition: caves in Dunhuang and other countries' Buddhist arts give us hints on Tang dynasty's Buddhist art: why so antagonism? One of the reasons for the persecutions was that they feared Buddhists abandoning their families: Confucian scholars originally emerged as a counterbalance to the military forces, criticized Buddhism and provided significant causes for the anti-Buddhist movements: emperors sometimes treated these scholars good or bad, and this, there were always tensions between power and knowledge - Amitabha Paradise, south wall, Cave 220, Dunhuang: its details show Worshipper on a lotus subject, Flute Player, dancers, and so on * Lotus imagery came from India, and the idea of lotus is enlightenment: its root in the mud, and its growing up to the water surface represented the idea of understanding; this imagery was widely applied in various traditions including Hindi, Buddhism and others; it has references from Ananda's story (he is the one who wrote Buddha's lessons) - Guanyin(관음), Cave 57, 617-704 CE, early Tang dynasty, Mogao Caves, Dunhuang: depicting a principal Bodhisattva, reincarnated into a feminine deity, divine mother, and this tradition would have some relation with river god tradition in China; Wu Daozi (680-740) - Vimalakirti in Debate with Manjusri, Cave 103, Dunhuang, Gansu: this work is thought to be a best reflection of Wu Daozi's art; born to a poor family, he was famous for the life-like use of calligraphic approach of brush strokes that dynamically thicken and thin; this painting depicts a debate between a Chinese Buddhist and an Indian Buddhist on their religious and social perspectives * Zhang Yanyuan called Wu his "painting sage"; he saw Wu's work completes Xie He’s all six principles Paintings of the Tang Court Classic Tang Dynasty landscape, "Blue and Green Landscape" is contrast to Wu Daozi's style: imperial Li Clan's members were most fervent practitioners of this landscape style; a legendary painting competition between Wu Daozi and a famous court artist tells us the difference between the two styles; * Three classes of artists, respectively, Nan (capable artists), Yao (honorable artists), Shan (Divine artists): Wu Daozi was of course among the Shan class - Spring Outing of the Tang Court, of Lady Guoguo's Spring Outing, Emperor Huizong's 11c copy of an 8th century painting by Zhang Xuan (713-755), handscroll painting, ink on silk: Huizong was also a great artist and calligrapher - Zhang Xuan, Lady Guoguo and Her Sisters on a Spring Outing, Song Dynasty copy. Another version of Zhang's copy: related to a historical event Minghuang's exile to shu, caused by a rebellion on 안록산 - Ladies Preparing Newly Woven Silk, Emperor Huizong's copy of an 8th century painting by Zhang Xuan, hand scroll, ink and color on silk. - Zhou Fang (active 780-810 CE), detail of Court Ladies Playing Double Sixes, ink and color on silk: Zhou is the most prominent figure in this Court painter tradition - Zhou Fang, Court Ladies Tuning the Lute and Drinking Tea, ink and color on silk, 9th century: its composition is great in balancing and shows high degree of symmetry as well as subtlety Horse painting is a genre developed when Minghuang collected 40,000 steeds in his royal stable. - Attributed to Han Gan (active 742 - 756), Two Horses and Groom, probably a Song copy of the original painting, ink and color on silk; the most famous horse painter; Gu Kaizhi’s brushwork type - Attributed to Han Gan, Night Shining White, 8th century, handscrool, ink on paper, The Metropolitan Museum of Art: two colophones from emperor Qianlong dated 1746 and 1747, and one from Song emperor Gaozong (1107-1187); Han Gan's authorship comes from a title and cipher of Li Yu, Southern Tang emperor, says "Han Gan's painting of Night-Shining White"; inscriptions are major sources in attributing works of art to their original artists Day 7 Lecture The Five Dynasties (906-960) and the Song Period (960-1279) Five dynasties and ten kingdoms, brief but artistically fertile era Three centers of the era's arts - Shu - Jiangnan - Chang'an and Luoyang and Bianliang (Kaifeng, 개봉), the capital of later Song dynasty Influx of non-Chinese population into Chinese civilization - Lu Hong, Ten Views form a Thatched Lodge, handscroll, ink on paper: first example of a scholar-painter painting himself living in hut, and also for the combination of painting, poem and calligraphy done by the artists. - Pine and Cypress Trees, frame of a Buddhist banner found in central Asia, 8th century, ink on silk The Introduction of Chan Buddhism into the Chinese Worldview Buddhism came into China through the Silk Road since 1st century CE, and meditation was an important means for the Buddhist training. Mahayana Buddhism Theravada Buddhism, proliferated in the Tang dynasty; this change happened in the north-west area of India * The shift from aniconic to iconic Buddha image at Kushan dynasty; * Bodhisattvas, a being postponing nirvana in order to succor the populations The Persecution of Buddhism Han Yu criticized Buddhism for its worshipping things such as bones; he was expelled for this criticism; the persecution was not actually derived from just such criticisms; Buddhism these days was restructuring (dissolving) China, especially the family-based culture; Leaders recognized that Buddhist shrines expand rapidly and wield too much clouts in local Chinese family culture causing dissolutions; * Chan Buddhist tradition and Bodhidharma, a founder of Chan Buddhism; long time before his time, Kashiappa, a disciple of Buddha, understood Buddha's silence in his lesson; 선종불, relying less on words and letters; Dharma’s idea was not favored by Chinese emperors; he retreated into mountain and meditated there (Dhayana, in Sanskrit means meditation); Chan Buddhism was often compared to Daoism as an ultimate form of Daoism; so people thought that Chan Buddhists were students of Laotsu; religious Daoism did not exist in 1st century Continuous tradition of figure and narrative painting Figure and narrative paintings in this era was less superior than those of the greatest Tang masters, but there are great paintings of landscapes and bird-and-flower subjects in the Five Dynasties and the Song. However, Guanxiu and the unknown wall painter's distinctive powers, internal spirituality with grotesque exterior, and refinement of techniques, are characteristic of the highest achievements in later Song painting; * From Tang to Song dynasties, continuity in its figure tradition implies strong claims on the superiority of an ethnocentric authenticity lies on Han tribe. Five Dynasties (the early and middle of 10th century) Shu kingdom of Sichuan, many fled from Tang capital its cultures remained there relatively intact, Tang's former miniature court in Chengdu Guanxiu (832-912), a late Tang painter-poet, he drew Arhans, Sakyamuni's disciples; having grotesque, tormented faces; reflecting the terrible persecution on Buddhism in the 9th century; "psychological archaism" The most celebrated Buddhist monk painter, poet, and calligrapher: first painter known for his three arts of painting, poetry, and calligraphy; extraordinarily, his works of these three arts still exist; - Two patriarchs Harmonizing Their Minds, ink on paper, 13th century copy after Shi Ke (c. 950); free brush work, clumsy and scratch brush or straw; yipin style, meaning expressive and spontaneous brush style; - Two Bodhisattvas Preparing Incense, fragment of a wall painting originally from the Cishengsi, Wenxian, Henan Province, 952 CE; sumptuous expression of the figure, still in a Tang dynasty's ideal tradition; survived the repeated persecutions on Buddhism in the 10th century; connected to the great Tang period wall painting, as well as tensile lines of Wu Daozi; its later reappearance is at 13th and 14th centuries in a large number; The Development of Bird-and-Flower Painting - Huang Quan (903-965), Sketches of Birds and Insects, handscroll, ink and color on silk; 960; study of individual bird species and insects; an indication of studying nature in a very careful manner; faithful depiction; he was famous for his subject in the realm of aristocratic and wealthy; there were no real distinction between landscape, figure, and bird and flower genre paintings; they were all based on a careful observation of nature - Huang Jucai, Pheasant and Small Birds by a Jujube Shrub, hanging scroll, ink and color on silk, 975; the son of Haung Quan; also a bird and flower format; silk was the most common material for hanging scroll; painting on silk tended to be more detailed; emperor Huizong's documentation; some motifs from his father's study into a finished picture; workshop and hereditary tradition, a family trade; The Huangs' family style later becomes the standard for the newly established Song court * Also similar was the transmission of the Buddhist and Daoist painting tradition by the Guo family From the 10th century, Chinese painting slowly began to change and by the end of 11th century its central trend shifted from previous broad, large-scale wall painting to those used for refined, precise, and elegant miniature; changes parallel to the change of the way of seeing pictures, relation between object and viewer; The Early Development of Landscape Painting in North China By the beginning of the Song dynasty, something called a national style of landscape existed: paintings in this period, due to too many copies and obscure authenticity, are today appreciated based on its style of the master or school rather than whether these are originals or not; the successive and systematic government collections, and their documents and catalogues were of great help; - Jing Hao (855-915), Mount Kuanglu, hanging scroll, ink and light color on silk, ca. 900; he invented Zun brush stroke, meaning depth brush; water falls cascading down in the view; the artist also fled to mountains to live there; one of the earliest example of the real landscape tradition 진경; recalled as a theorist, scholar as well as painter; too advanced and far too expressive to have matched to Jing Hao's early landscape style, probably a kind of homage to Jing Hao * Emperor's collections were symbols of national identity, and during the Chinese-Japanese War, those elements were crated in boxes in safe places; during the Chinese civil war, Chang Kai-shek brought significant portion of the collection to Taiwan; those were secured during the Mao's Cultural Revolution; today the imperial collection is divided in Beijing and Taibei Notes on the Art of the Brush (from PDF) Jing Hao (855-915), 10c, from his Pi-fa chi (Notes on the Arts of the Brush) "Painting is to fathom the significance of things not just things' likeness" * Jing Hao offers a modified scheme of the Six Laws established by Xie He, four centuries earlier. Max Loehr comments on Jing Hao’s Six Essentials Qi - spirit, life-breath, vitality, or aliveness Yun - harmony rhythm, resonance, harmonious rhythm Si - thought Jing - scenery or motif Bi - brush or brushwork Mo - the ink, or tonality The last two things were especially important to Jing Hao - Guan Tong, Autumn Mountains at Dusk, hanging scroll, ink on silk, ca. 925; Jing's student, founder of the northern landscape style which is suited to the representation of hard, high, sheer mountain peaks, narrow pathways, and difficult ascents; Early Landscape Style in the South China The Jiangnan landscape, southern landscape style; bearing tremendous influence over later artist; - Zhao Gan, Along the River at First Snow, c. 950, ink and color on silk; a minor artist employed at the Southern Tang court; snow falls depicted by blowing ink technique; southern landscape's signature brush stroke consisted of few sharp contour lines; Dong Yuan and Juran, two major painters; developing Zhao's prototype, into loose, wet technique of painting; - Dong Yuan (d. 962), Summer Mountains, c. 950, sections of a handscroll, ink and color on silk; detail, calm brush lines; lots of horizontal; emotional quality of the painting reflects the geography of the area; broad, flowing inkwashes mixed with tangled, ropy brush strokes; sheer contrast to any northern landscape of the time - Dong Yuan, Wintry Groves and Layered Banks, hanging scroll, ink and color on silk, ca. 950; its format gives it a vertical quality; he really saw things there; in monumental scale; like impressionistic in its broken and sketchy quality of representation - Dong Yuan, View of Longsu Village, ink and light color on silk; more decorative and narrative quality than his other works; Minghuang's Exile to Shu had lots of colors, but in this painting, it has different idea; countries are broken, and what remain are mountains and rivers - Juran, Buddhist Monastery by Stream and Mountain, hanging scroll, ink on silk; similar features to Jing Hao's work; evanescent quality; he was a Buddhist monk, showing most strikingly distinct style from the northern landscape of his time; phenomenal matter has no fixed form or reality; "in a state of flux; no fixed forms, no boundaries, no tactile substance, and no certainty at all as to the nature of existence or means by which we might pursue it"; almost ethereal sublimity - Juran, Distant Mountain Forests, hanging scroll, ink on silk, ca. 980; ethereal landscape with mists; * James Cahill's comment from PDF “The quest of the Five Dynasties and early Song landscapists was for pictorial unification. The subordination or elimination of color was a move toward that end, since the tapestry-like variegation of early landscape had tended to fragment the composition. A new emphasis on brushwork gave surface consistency to the painting. Most important of all, methods were developed to create a spatial continuum within the picture: the use of concealing mists, the convincing depiction of recessions into depth, the drawing of distant objects in thinner tones of ink to suggest a hazy atmosphere. A landscape was no longer an assemblage of individual images, but set forth a coherent vision.” Day 8 Lecture Minghuang's exile to Shu, an epitome of Tang dynasty landscape Wang Yu, the Tang dynasty theory of art sees a distinction between paintings embedded in philosophical traditions and merely concentrating on technical prowess Wu Daozi, a use of line into a highly independent and exalted form of painting, suggested indirectly by a wall painting Art from Shu and Southern Tang Shu and Southern Tang were two of the five dynasties, and many fled from the old capital, Chang'an to seek for refuge there. Shu and Southern Tang had rich artistic tradition including that of Guan Shu, and Shi Ke. Other these kingdoms' art entered into early Song dynasty art tradition. Landscape traditions from north and south Li Cheng, a recluse and scholar retreated from Chang'an and settled in Chu, began a landscape tradition in China: his family trade was to study Chinese classics, thus highly educated; Northern Song Dynasty (960-1126) - Li Cheng (919-961), A Solitary Temple Amid Clearing Peaks, hanging scroll, ink and slight color on silk; probably his original work: Monumental monochrome, using ink sparingly and delicately; tripartite structure, opposing atmosphere between front-middle and distant landscape views; waterfalls shed misty effect; spiky pine trees on hilltops strongly holding its ground, showing a certain ethical quality, especially with its fragrance; integrity under the harsh condition of life; unifying northern and southern traditions; not a portrait of single place; integrate multiple sources of, or one's sense of multiple landscape sources, into a spiritual portrait; sometimes interpreted as a political connotation; emperor as the highest mountain, his assistants surrounding it, and elements symbolizing various virtues; richness of tonality-density of form-harmony of shapes and features; three strengths by Bernhardt; * Important difference from textbook! Juran's evanescent air would have actually followed Li's art; it is often (incorrectly) thought Juran was followed by Li for Juran's more antecedent style; Juran is classified as Five Dynasties while Li is in Song painters; this chronological confusion is caused by Chinese art's focus on lineage in styles than individual artists * Hanlin Academy, meaning the forest of brushes: invited scholars, calligraphers, and painters: * A brush technique called chen is used, short strokes giving typical Song dynasty landscape: * Neo Confucianism, a scholarly institution on state - Li Cheng, Thick Forests and Distant Peaks, c. 960, handscroll detail, ink on silk: handscroll form is a more intimate way of seeing for viewers have to hold it close, rolling downward to see it; quintessence, the idea of yin-yang; new ways of thinking of the world and cosmology would come when the west and east become mutually aware of each other; - Fan Kuan (active c. 990-1030), Traveling among Streams and Mountains, hanging scroll, ink on silk, 11th century: early Song dynasty major painter after Li Cheng, but they differed in many things; a Daoist retired military officer in rustic mountains; monumental monochrome landscape painting; tripartite composition; humongous mountains nevertheless worn down and vegetation thrives on its top; big nature and small human being; first signed painting (?); massive and bold approach still exists, military-man kind vitality and stronger stroke than that of Li Cheng; impressionist approach to nature, he observed nature instead of copying his previous masters; interestingly, Li Cheng also did that; the leaves are depicted exquisitely in separate entities amassed together; same gesture over and over again - Yan Wengui (act. 975-1025), Pavilions and Mansions by the River, handscroll, ink and light color on paper, ca. 1000: view from the right side and moves to the left; gradual procession from soft to rustic landscape; * One example of western misinterpretation of Confucianism terms is 군자 = a superior man, an egregiously incorrect translation Research paper, it will be something in the MIA exhibition: present a real idea I have; 10-15 page of research paper in formal Chicago manual style; times in roman 12 point typeface; Day 9 Lecture Summer Mountains, 11th century, handscroll, ink and pale color on silk, attributed to Qu Ding (active ca. 1023-1056): once considered a work of Yan Wengui; a quality derived from Li Cheng and Fan Kuan; the whole scroll flows from right to left, gradually heightens and dampens down; intimacy between the landscape and the viewer holding the handscroll in his two hands; physical intimacy helps viewers more engage in the works; * Chinese elites thought that the identity of nation was deemed to be represented in the imperial collection: Imperial Painting Academy of Song dynasty; a system of meritocracy is based on civil elements (문치), and the Academy had a role under this system; - Xu Daoning, Fisherman's Evening Song, handscroll, ink and color on silk, c. 1049: the painter drastically increased a sense of depth in landscape, recession; * At this historical juncture, painting's goal was to be who you are as a painter, having one's own art; yes, rote practice and copying was the first state go achieve one's own style; later it became a stiff convention - Zhang Zeduan, Along the River during Qingming Festival, section of a handscroll showing Bianjing City Gate, ink and color on silk, 11th-12th century - Anonymous (formerly attributed to Wei Xian), Flour Mill Powered by a Watermill, handscroll: a city landscape focused on linear descriptions; geometrical structures; attesting commercial activities - Zhao Yan, Eight Gentlemen on a Spring Outing, hanging scroll, ink and color on silk, 10th century: outing in a park next to the Grand Canal; figural painting approach in imperial catalogue; big concern on composition, locating a big tree in the middle of the frame; secular painting; chi-yun(기운?), vitality from inside out * Two Songs: Northern Song Dynasty (960 - 1126~7) / Southern Song Dynasty (1127 - 1279) Huizong, the last emperor of the Northern Song dynasty was captured by Jin dynasty: Han Zhou became a new capital of the Southern Song dynasty; at the end of the Southern Song, the Mongols occupied the land Late Northern Song dynasty art around mid 1000s to 1100s: Emperor Huizong's imperial catalogue of paintings and calligraphies; - Liu Cai, Fish Swimming amid Falling Flowers, handscroll, ink and color on silk, ca. 1075: a decorative painting; - Anonymous, Portrait of a Buddhist Monk, detail of a hanging scroll, ink and color on silk, ca. 1100: the artist must have been a Buddhist himself given its depiction of inner status of a monk; exquisite brush work, tracing back to Gu Kaizhi's thin line brushwork; subdued mood, but has links to previous Bodhisattva paintings - Li Gonglin (ca. 1041-1106), Five Tribute Hourses, section of a handscroll, ink on paper, ca. 1090: black and white drawing; horse was a category of painting; tribute horses (조공으로 헌상된 준마) from Song dynasty's tribute states; this one is from Central Asia; depiction of a very tame and civilized horse; in China, central Asian people were deemed to be master horsemen; the horse' leg is accentuated with detailed depiction; the painter was a Buddhist, depicting the relationship between horse and horseman - Li Gonglin, The Classic of Filial Piety, ca. 1085, handscroll, ink on silk: a Confucian classic, stressing a family reverence; it extends to the level of state; the role of subject is to respect the sovereign, but they also remonstrate the sovereign when they ignore responsibilities; what historians had done, from the Han dynasty, was this giving "lessons"; * There is a rock looks impressive, tortuous and has implicated texture on it, appreciated as a symbol of nature Day 10 Lecture * Midterm next Monday - Cui Bai (Ts'ui Po), Magpies and Hare, dated 1061, hanging scroll, ink and colors on silk: first dated work so far; there is a moment, a certain moment in time; wind is blowing and the animals show interaction in a certain moment; this is a new quality that had emerged since the time; not transcendental; - Guo Xi (1020-1090), Early Spring, dated 1072, hanging scroll, ink and light colors on silk: faint brush expression; curvilinear landscape; a sense of movement, interaction between three registers; relativity of time, shifting perspective; Li Cheng's tradition culminates with Gui Xi (Li-Gui tradition); indicating some change in the Monumental Monochrome Song dynasty Landscape tradition; representing the idea of state, commented by his son; - Guo Xi, Old Trees, Level Distance, ca. 1080, handscroll, ink and color on silk, Metropolitan Museum of Art: hazy atmosphere; rhythmic movement; masterful brushwork; depicted small figures have some interaction; * There are contrasts between Li Cheng and Guo Xi, from monumental scale to relatively small, depicting people's events - Emperor Huizong (1082-1135; r. 1101-25), Finches and Bamboo, handscroll, ink and color on silk, inscribed with the cipher of the emperor, Northern Song dynasty: he had a distinctive calligraphy style; decorative; chi-yun - Scholars of the Liuli Hall, anonymous thirteenth-century copy of a Five Dynasties (907-960) painting by Zhou Wenzhi (act. ca. 940-75), handscroll, ink and color on silk: people are engaging in the scene in a moment; Confucianists and Buddhist scholars talk to each other, reflecting what was happening by the time around late Tang to Five Dynasty area, the rise of Neo-Confucianism; merging of Chan Buddhism, Confucianism, Daoism and so on; very close and intimate feeling; compositions and gestures were Five Dynasty's quality; Bamboo Painting, literati painter's favorite theme - Wen Tong (1019-1079) Wen Yuke (his hao), Bamboo, Northern Song dynasty; National Examination on Confucian Classic; meritocracy, based on literati prowess; the evaluation was made on a very perspicacious way not to expose the examinee's identity; literary painters came from this training tradition; one of the highest rank scholar in Song dynasty * Su Shi (Su Dongpo): Wen Tong's friend, his poem, based on improvisation, Chan Buddhism; the quality of art is on inspiration, spirit; Jin Dynasty 1115 ~1254, a northern tribal dynasty ruled northern China - Wang Tingyun (1151-1202 AD), Secluded Bamboo and Withered Tree, section of handscroll: brush stroke is all about the work; this tradition brings a great shift continuing into Yuan dynasty; bamboo in Chinese tradition symbolizes Gentleman, a Confucian idea; On Wednesday, review session Chinese Painting Summary for the Final Hyeongjin Oh Day 12 Lecture - Wen Tong, Bamboo, Northern Song Dynasty: a literati painter and noble, Song Dynasty's one of thirteen representative scholars; he began the bamboo painting genre; people considered this practice as play rather than painting; Literati Artist Circles in the Northern Song - Su Shi (Su Dongpo, 1037-1101), The Cold Food Observance, handscroll, ink on paper: one of three great calligrapher in Song dynasty; running script calligraphy; the expression of moment is conspicuous; a central figure during the Northern Song dynasty literati artists; - Huang Tingjian (1045-1104), The Hall of Pines and Winds, ink on paper: calligraphic style reflects the character of the person; * Su and Huang were exiled several times for their outspokenness: during the period Su was in a non-Chinese island for six years during which he did most important works; - Mi Fu (1052-1107), Written in a Boat on the Wu River, 1100, ink on paper: a sarcastic critic and painter, later Southern Song people's loving figure; distinctive calligraphic style relying on the force of the brush rather than some sort of perfection; * Sun Guoting (648-703), Manual on Calligraphy (see PDF): "calligraphy reveals the character and expresses the emotions of the writer"; stressing the artistic aspect of calligraphy rather than recording function; “His aim was not to form perfect individual character; instead he entrusted his writing to the force of the brush”; according to Su Shi, Mi’s calligraphy was a “sailboat in a gust of wind or a war-horse charging into battle. - Li Gonglin (1040-1106), Five Tribute horses, c. 1090, section of a handscroll, ink on paper, Yale University: Bai-hwa (white painting) style; one of Su’s circle members; - Li Gonglin, Pasturing Horses, c. 1081, section of a handscroll, ink and color on silk, Palace Museum, Beijing: these are not horses depicted decoratively in prancing steps, but these are horses running on pasture with dynamic forces; a massive number of horses, symbolizing distinction between the tightly socialized and formalized group and the more free-standing group; it was done by a royal order to copy an old master’s painting - Wang Shen (1048-1103), Light Snow over a Fishing Village, c. 1085, handscroll, ink and color on silk, Palace Museum, Beijing: Richard Bernhardt considered Wang as a representative literati artist who invented an exile artistic tradition; considered an uncle of Emperor Huizong; check out its formal characteristics written in the textbook, having many unrelated elements; - Wang Shen, Serried Hills over a Misty River, c. 1100, handscroll, ink and color on silk, Shanghai Museum; spaces are practically empty, depicting a massive landscape appearing above the mist; an image of an exile; a combination of monumental monochrome landscape and Blue-Green landscape elements; The Xuanhe Era (1119-1126), Emperor Huizong's period The establishment of painting academy; the categorization of painting began; imperial painting collection; overall artistic forms got soften - Wang Ximeng, A Thousand Li of Rivers and Mountains, prob. c. 1118-1126, section of a handscroll, ink and color on silk, Palace Museum, Beijing: deep saturated blue color; Blue and Green landscape tradition; signed by the artist who painted this in his 18 and died in his 25; a famous artistic genius during the Northern Song dynasty (and related to death, genius cult is so morbid) - Emperor Huizong (1082-1135), Chimonanthsu and Birds, hanging scroll, ink and color on silk, National Palace Museum, Taibei: a curving shrug and sophisticated composition; subtle relationship between creatures; the emperor's distinctive calligraphy, recurring in the imperial collection; the dominant issue is aesthetic and compositional balance of the picture Jin Dynasty (1115-1254) - Wang Tingyun (1151-1202 CE), Secluded Bamboo and Withered Tree, Jin dynasty period (Southern Song dynasty period), section of handscroll, Collection of Fujii Kurinkan, Tokyo: succeeding Wen Yuke's bamboo painting; the relationship between calligraphy and painting became important; dry brush texture The Southern Song Dynasty (1127-1279) - Li Tang, Wind through the Pine Valleys, hanging scroll, ink and color on silk, 1124, National Palace Museum, Taipei: a conscious deviation and departure from Li-Guo tradition; ax-cut brush stroke (부벽준); like cubistic effect; still centrally composed; volumetric effect; - Li Tang, River Temple in the Long Summer, c. 1150, section of handscroll, ink and color on silk, Palace Museum, Beijing: blue color; - Zhao Boju, Autumn Colors over Streams and Mountains, c. 1160, handscroll, ink and colors on silk, Palace Museum, Beijing: its title was given by a Ming emperor, but it is a spring landscape, not autumn; impression of Yang Wengui's style; blue and green tradition continues; - Detail, above: more linear than previous monumental monochrome tradition; realistic and volumetric - Mi Youren (Chinese, 1074-1151), Cloudy Mountains, handscroll, ink on paper, Metropolitan Museum of Art: carrying on his father's style called Mi-dots; evoking post-impressionistic effect; unified and coherent composition, pictorial unification; a significant break from the detailed Northern Song landscape styles; the immediate predecessor of the evocative ink-wash landscape style of the later Southern Song period; ink-play, raising the status of painting to that of poetry and calligraphy - Li, Shi, Dream Journey on Xiao and Xiang, handscroll, ink on silk, Tokyo National Museum; using Mi-dots style, producing exquisite impression; very soft and dreamy characterizing the Southern Song; a misty, unreal quality; details of mountains and other contours are not depicted, but feels like one is entering into a dreamy watery world; Day 13 * The difference between the tenth century and eleventh century painting is important; check the pdf explanation, a good summary of Song dynasty landscape. Paper Assignment - the earliest painting to deal with is 13th century paintings. 10 Chinese paintings on the second floor in MIA, a balanced assessment of works of art; 9 to12 pages; research paper is not necessary. Lecture Su Dangpo's literati artist circle: Mi Fu started pointillism style, and people called this style as "Mi dots." - Mi Youren (Mi Fu's son, 1074-1151), Cloudy Mountains, handscroll, ink on paper image * MI Fu's works are not preserved - Li Shi (mid 12 c), Dream Journey on Xiao and Xiang, handscroll, ink on silk, National Museum, Tokyo: a good example of the integrity and sovereignty in the landscape of southern part of China; soft ink wash renders recession in the distance; the standing out tree in the lower left is interesting; Southern Song dynasty's romantic and dreamy quality; intimate and poetic quality inherited from the 11th century "Magpie and Hare" (really?); remember Tu Fu's "country is broken, nature remains"; included in Japanese national treasure; Japanese had a great appreciation to Chinese paintings. Ma Yuan & Ma Lin & Xia Gui - Ma Yuan (act. 1190-1225), Banquet by Lantern Light, hanging scroll, ink and color on silk, ca. 1200, National Palace Museum, Taibei: a court painter from a painter family, painting as a family business: imperial guests (empress' brothers) in a small house of palace with musicians playing behinds trees; see the amazing silhouette of mountains at distance; imperial painting academy in Hang Jou; Huizong's Northern Song painting academy stressed both theoretical aspects of literati artists and technically highly accomplished painting with literati references; - Ma Lin (Ma Yuan 's son), Sunset Landscape, hanging scroll, ink and color on silk, Nezu Institute of Fine Arts, Tokyo: following his father's styles, especially mountain silhouette with ink wash vestiges; extremely poetic quality; huge calligraphy overwhelms the frame; - A copy of Ma Yuan, Landscape in Rain, detail of hanging scroll also known as Pines and Rocky Peaks, Seikado Foundation, Tokyo; Japanese Samurai class, immersed in Chan Buddhism, was so into this type of landscape painting; - Ma Yuan, Bare Willow and Distant Mountains, album leaf, ink on silk, Boston Museum of Fine Arts: a round shape, probably a fan at first, then became a book page; thin tree contours, grace quality; "one corner quality" - Xia Gui (act. 1200-1230), Sailboat in Rainstorm, c. 1189-1194, ink and color on silk, round fan mounted as an album leaf, Boston Museum of Fine Arts: Xia Gui and Ma Yuan both used one corner quality; new kind of brush stroke, Zun; - Xia Gui, Streams and Mountains Pure and Remote (Pure and Remote View in the Streams and Mountains), c. 1200, handscroll, ink on paper, National Palace Museum, Taibei; a long monochrome landscape; he is not so much concerned in a stylized depiction, instead his painting is very freely composed; a quality of dwelling in the landscape; angular style mountain and rock depiction of Li Tang; different from Ma Yuan, his brush is rough and wild; a combination of previous painting styles; a strong contrast distinguishes its foreground and background, each representing styles of Northern and Southern Song paintings; - Xia Gui, Conversation under a Cliff, c. 1200, ink and color on silk, National Palace Museum, Taibei: Ma and Xia were together called sometimes Ma-Xia school with one corner quality; he served the emperor but not as much as Ma Yuan; his philosophy shows some connection to Northern Song dynasty painting's human heartedness (인, a character constitutive of two people); conversation between people is clearly sensible, a principle Confucian idea of 인 is well expressed; brisk brush work; - Xia Gui, Flying Geese over Distant Mountains & Returning to the Village in Mist from the Ferry from Twelve Views from a Thatched Hut, handscroll, ink on silk, Nelson-Atkins Museum of Art: originally twelve views were there, and only four left with two scrolls; an empress's calligraphy reveals each scene's title; - The Clear Sonorous Air of the Fisherman's Flute & Boats Moored at Night in a Misty Bay from Xia Gui's Twelve Views: close integration between humans; lyrical depiction of landscape; a true masterpiece; four scenes move from substance to non-substance; a quality that has become a part of the thinking of Chan Buddhism and educated people during the time, "what is beyond form and matter"; but note that Xia Gui is not necessarily linked to Chan Buddhist painters Day 14 Writing assignment due 12/16 * Analysis/thesis: in a holistic approach; emphasize what I see; Lecture - Bare Willow and Distant Mountains, Ma Yuan (act. 1190-1225), album leaf, ink on silk: detail. thin willow branch, different quality of ink line; graceful use of line; evanescent ink wash of background contrasted with stubby and strong impression in foreground (I don’t think so) - On a Mountain Path in Spring, Ma Yuan, National Palace Museum, Taibei: a lyrical depiction of an individual strolling in mountain; mountain is faint; a poetic approach, the figure is in reflection; detail, a careful treatment of portrait-like individual; is this person the emperor? Probably an imperial commission; Emperor is a literarus - Playing the Lute in Morning, Ma Yuan, ink on silk, National Palace Museum, Taibei: one corner composition of Xia Gui and Ma Yuan; a figure looking into distance; the landscape is not a rocky cliff, but a place to visit with baluster and well-gardened; highly civilized taste; far distant mountains are depicted with delicate lines fading smoothly; artificial aspects; overarching branches of willow tree, indicating highly mannered treatment of motifs—probably objects in his studio? * Painting is his family business and they ran a family studio with probably apprentices: - Sailboat in Rainstorm, Xia Gui, c. 1189-1194, ink and color on silk, round fan mounted as an album leaf, Boston Museum of Fine Arts: he was favored by many for his integration of court tradition and literati spontaneity; hazy mountain; in Mi Fu tradition; contrast between willow in foreground and fading effects of landscape; vaporousness achieved with his use of ink wash; simplified ax-cut brush stroke; looser and more simple complex composition than Ma Yuan’s; on the opposite side contains calligraphy, probably by the emperor; - Liang Kai, Shakyamuni Emerging from the Mountains, hanging scroll, ink and color on silk, 13thcentury, Tokyo National Museum: a court painter in Southern Song painting academy with the highest rank position; depicting Buddha, as a sage of Shakya clan in his ascetic training; Liang, a Chinese, depicts here the man from a different culture, India; the Buddhist god is depicted in a more personal form, instead of an idealized deity; Buddha’s asceticism by the time was a Hindu tradition; he later realized this extremity is to be eluded, and chose a middle way * Ascetic tradition in India is not just confined to Buddhist tradition; Shiva in Hindu tradition is also an ascetic, a yogi, uncivilized one; Hindu by the time had two traditions; one had developed an indigenous tradition, the other developed from a group came from the Caucasus area having their own icons and mythology; Shiva is from the indigenous culture, and other gods like Indra bears the Caucasus group - Li Po Chanting a Poem, Liang Kai, hanging scrool, ink on paper, Tokyo: a depiction of a poetry saint, Li Po; in a Chan Buddhist painting tradition; amazingly sparing brush stroke; the quality of feeling is distinctively depicted; a different type of brushwork; broader and quicker stroke using the absorbency of medium; painting to interpret a moment’s vision, which is also the goal of poetry; the idea of Chan Buddhism; the slight moment, 찰나 * Kashiappa, a disciple of Buddha, known to start Chan Buddhism; Ananda is another major disciple of Buddha; but Chan Buddhism is distinctively Chinese Buddhist practice; Boddhidharma is the true progenitor of Chan Buddhism; Diyahna (India), Chan (China), Zen (Japan); the idea of present moment is very important in this practice; - Hui Neng, the Sixth Chan Patriarch, Chopping Bamboo, Liang Kai, hanging scroll, ink on paper, Tokyo National Museum: sketchiness, but finished work; a scene depicting a man chopping bamboo; flying weight (?) brush stroke, using very dry brush stroke that is broad and has empty spaces within the stroke; - Evening Glow on a Fishing Village, one of four sections from an original handscroll, Eight Views of Xiao and Xiang, attributed to Muqi (b. ca. 1210, d. after 1296), section of a handscroll, Nezu Museum, Tokyo: Muqi is a sobriquet, and his last name is not known; he became an abbot of a Chan temple; dark and thick blots on the picture seems intentional emphasis; Mi Fu tradition, dreamy-like quality; unified pictorial elements; the texture of brush work overwhelms the whole frame; these dispersed dots might be automatist technique, first these were strewn on the paper and then landscape contour might have been derived from it; - Six Persimmons, Muqi, ink on paper, Daitoku-ji, Kyoto: a sense of distinctiveness; an emphasis of Buddha nature in every matter; in Buddha’s first sermon, he used persimmons; persimmons too have Buddha nature; the top of six persimmons shows a calligraphic manner; meditation to throw off the fantasy of “oneself”; spontaneous brush stroke; it allows something to happen; different degrees of moisture absorbed in the paper surface; - Evening Bell from Mist-shrouded Temple, one of four sections from an original handscroll, Eight Views of Xiao and Xiang, attributed to Muqi, hanging scroll, ink on paper, Tokyo National Museum: landscape and cloud, amazing expression; - Muqi (fl. mid 13c), Mountain Market in Clearing Mist, one of four sections from an original handscroll, Eight Views of Xiao and Xiang, ink on paper, Idemitsu Museum of Art: a well-known scene of a market village on a mountain - Chen Rong, Nine Dragons, 1244, handscroll, ink and color on paper, Museum of Fine Arts: a very powerful depiction; long handscroll with nine dragons; dragon is an auspicious animal symbolizing rain; from an ancient agricultural society, rain was important; Next Time, The Yuan dynasty Day 15 Lecture - Li Shi, Dream journey on the Xiao and Xiang, dated 1170, handscroll, Southern Song Dynasty, Tokyo National Musemm: Li Sheng was a Buddhist painter, on the Mi Fu tradition; Mi Fu emphasized the expression of painter; from distinct to less defined representation; this is a Japanese national treasure; * Muqi painted the same subject, Xiao and Xiang; comparison; dots in the frame are emphases, Mi Fu tradition; a Chan painter Buddhist Painting - Zhou Jichang, The Rock Bridge at Mount Tiantai, hanging scroll mounted on panel, ink and color on silk, Southern Song dynasty, Freer Gallery of Art; Zhou was not a Buddhist, but was interested in the Chan subjects; Luohans at the foreground and background of the scene, spiritual beings, followers of Buddha, looking at an old monk crossing the rocky bridge and about to enter the celestial palace; the cascade and the natural rock bridge are famous sights; the monk at the center's name is Tanyou; - Zhou Jichang, Louhans Bestowing Alms on Suffereing Human Beings, about 1178, hanging scroll mounted as a panel, ink and color on silk, Boston Museum of Fine Arts; highly mannered elegance depicted in the scene, particularly in the look of Louhans; - Ma Yuan, The Priest Dongshan Wading the Stream, ink on silk, Southern Song dynasty, 13th century, Tokyo National Museum; fine and traditional Gu Kaizhi style brushstroke is employed instead of typical Chan painting's bold strokes; he only appropriates the subject matter, keeping his family tradition - Muqi, Crane, Kannon, and Monkey, a triptych of three hanging scroll, ink on silk, Daitokuji, Kyoto; Quanyin sits at the center; monkeys are looking at us; everything there has Buddha nature; Bird and Flower - Li Di, Red and White Hibiscuses, dated 1197, ink and color on silk, Southern Song dynasty, Tokyo National Museum; there are outer contour, but no ink inner outline but the contour is clear; many Southern Song dynasty works are in Japan for many fled from Mongolian invasion to Japan; also a Japanese national treasure; - Gu De-Qian, Lotus Pond and Waterfowl, 13th century, ink and color on silk, Southern Song Dynasty, Tokyo National Museum; highly elaborated composition, colors; decorative effects, harmony between elements, lines; highly stylized subject matters and controlled lines; - Attributed to Zhao Chang (ca. 960-d, after 1016), Bamboos and Insects, ink and color on silk, Southern Song Dynasty, 13th century, Tokyo National Museum; a delicate sensitivity - Chen Rong, Nine Dragons, 1244, detail. handscroll, ink and touches of red on paper; Southern Song Dynasty, Boston Museum of Fine Arts; Chen was a scholar-officer; a low ranking officer, Chen pursued poetry, painting, and calligraphy, especially famous for dragon and bamboo painting; the application of red ink seems to be spontaneous; a drunk painting; smeared surface; embodying the male Yang principle of activity, opposed to the female yin principle of receptiveness; this dragon is depicted within the context of rain and thunder; - Attributed to Mao Song, Monkey, 13th century, Southern Song Dynasty, Tokyo National Museum; the nature of monkey is amazingly expressed; fine depiction of this fidgeting animal; his hairy body is smeared and blurred; Yuan Dynasty, 1271 ~ 1389 - Zhao Mengjian (1199-1295), Three Friends of the Cold Season, fanshaped album leaf, ink on silk, Yuan Dynasty, Shanghai Museum; the obligation of withdrawing was a huge tradition in Confucianism, the tradition of withdraw; many scholars followed this tradition after the conquest of Song dynasty by Mongol's Yuan Khanate; theree symbols of winter: pine tree, bamboo, and plum; very precise brushwork; yimin, a leftover subject; contrast between the bold brushwork of bamboo and fine treatment of plum and pine tree; one-corner composition; Qian Xuan - Qian Xuan (1235-1307), Lotuses, handscroll, ink and light color on paper, Shandon Province Museum; an important figure in the Yuan Dynasty, a friend of Zhao Mengfu; evanescent version of lotuses; also lush; - Traditionally attributed to Qian Xuan, Consort Yang Mounting a Horse, ink and color on paper, Freer Gallery of Art; painters in this period consciously referenced the past, blue-and-green tradition as well as Tang dynasty history; consort Yang is Yang Guo Fei of Minghuang; the Tang period was deemed an apogee of Han China; - Qian Xuan, Wang Xizhi Gazing at Geese, 1295, handscroll, ink, color and gold on paper, Metropolitan Museum of Art; another work to referring to the past; Wang as a significant figure of Chinese spirit; a sense of archaism, a primitive depiction of objects; Zhao Mengfu Zhao Mengfu (1254-1322), Kublai Khan invited Zhao Mengfu, a member of the Zhou Song household, to his court, and he agreed while his friend Qian Xuan rejected; Zhao Mengfu revived the national examination and this enabled Chinese to enter the Yuan offices; he was more famous for his calligraphy and painter, a model of literati artist - Zhao Mengfu, Autumn Colors on the Qiao and Hua Mountains, 1296, handscroll, ink and color on paper, National Palace Museum, Taibei; in general, Yuan dynasty artists wanted to skip the Southern Song style; blue-green-mountain tradition; artificially depicted obsoleteness; Day 16 Lecture - Zhao Mengfu (1254 ~ 1322), Autum Colors on the Qiao and Hua Mountains, 1296, handscroll, ink and color on paper, National Palace Museum, Taipei: a sea change happened; not to represent the reality; an expression of self, the seed came from the art of Northern Song dynasty; also blue-and-green landscape style from the past; the use of Dong Yuan's brushstroke; an antique air, archaism; a sense of depth in distance view; recession is achieved in an awkward way; an intentional rejection of professionalism; triangular mountain shape reminisces that of Deer King Jataka; into the world of symbolism; a schematic treatment of the landscape; Li Cheng's twisted strokes of branches in a more calligraphic manner; Fan Kuan's stroke is also observed; - Zhao Mengfu, Villa by the Water, 1302, section of a handscroll, ink on paper, Palace Museum, Beijing; landscape features are simply indicated, and the use of Mi dots; a sense reminiscent of Guo Xi's Old Trees, Level Distance; visual representation is suppressed; more schematic * Compare: Guo Xi, Old Trees, Level Distance, ca. 1080, Metropolitan Museum of Art; - Zhao Mengfu, Twin Pines, Leven Distance, ca. 1300, handscroll, ink on paper, Metropolitan Museum of Art; also compare to Guo’s Old Trees, Level Distance - Zhao Mengfu, Mounted Official, 1296, handscroll, ink and color on paper, Palace Museum, Beijing; this is a highly representational picture; he had various styles; very precise rendition; he uses a specific mode of representation to express himself as a scholar official; horse was especially a symbolic subject in Yuan dynasty; judging good horses is often described as choosing good officials; * He had access to various artistic traditions for he was a member of Song household, and must have known Li Gonglin's horse painting - Zhao Mengfu, The First Ode on the Red Cliff with frontispiece of Su Shi; calligraphy - Two Odes on the Red Cliff: Portrait of Su Shi, 1302, album leaf, frontispiece to an album of 21 leaves of calligraphy of Su Shi's poems, ink on paper, Natioanl Palace Museum, Taipei - Zhao Mengfu, Elegant Rocks and Sparse Trees, section of a handscroll, ink on paper, Palace Museum, Beijing; rocks, old trees, and bamboo; a typical combination; dry brush stroke to indicate a rough characteristic of the rock; for bamboo, the use of wet and thick ink; three different ways of using the brush to three different objects; using a centralized composition, with a dub of asymmetry, overall well balanced; a sense of moment; the color of ink is not just black, but there are various qualities in the dark; * Though basically a Confucian scholar, Zhao Mengfu, like other scholars of the time, was also a Daiost, and a Chan Buddhist; it is hard to clearly distinguish one from the other; not to say that these philosophies were fundamentally syncretic; Confucianism, in its orthodox tradition, was highly exclusive; but not always * The Zhongyong (Doctrine of the Mean) by Zu Xi (Zu Tsu) Check the PDF; became a national ideology, education principle; a philosophy of “all things are connected to one another”; heaven, earth and human trinity; - Li Sheng, Saying Farewell at Lake Dianshan, section of a handscroll, ink and light color on paper, 1346, Shanghai Museum; he depicts in styles Zhao Mengfu refused to adopt; hazy and dreamy like quality, that is, Southern Song’s; a strong sense of representation; - Huang Gongweng (1269-1354), Dwelling in the Fuchun Mountains, dated 1350, handscroll, detail, section 1 & 2, ink on paper, National Palace Museum, Taipei; a master of Yuan dynasty; painted for a fellow Daist, Wuyung, took three years to finish but the whole design was conceived in a burst of feeling at the very beginning; a very long handscroll; relatively clear line; ink wash on leaves, a very different scheme from Fan Kuan’s meticulous depiction; elements are done with strokes rather than limning contours; dry brushstrokes to depict rock and soil texture; trees depicted with smudging and blurring ink wash might be addition of later artists? - Huang Gongwang, section 3; a tactile sense of place; a place to stroll, where I can belong; walk into the scenery; same stroke over and over; a consistency of brushwork imparting a unity of the picture; Dong Yuan's stroke, common to Zhao Mengfu; but overall schematic rule is different from Zhao; Li Cheng's hazy effect is not used here; but there are certain similarity; - Huang Gongwang, section 5; * Compare; Attributed to Dong Yuan (10th century), Scenery along the Xia and Xiang Rivers, part of a handscroll, ink and color on silk, early Song Period, Palace Museum, Beijing; a beginning of a tradition, that passes into Yuan dynasty painting Day 17 Lecture Ni Zan (1301-1374) - Ni Zan, Six Gentlemen, 1345, hanging scroll, ink on paper, Shanghai Museum; very different from other masters, distinctive styles; each artist developed distinctive individuation, a characteristics of Yuan dynasty artist; for example, Huang Gongweng had a slow rhythm, a Daoist air; Ni Zan was a wealthy figure, but became poor later; he visited friends and presented them paintings; in this painting, Huang Gongweng's calligraphy is shown; a very dry brush, and understated depiction; pingdan, a simple tranquility is his characterization; high horizon with simple composition; no shading and gradation; a man of timid and fastidious disposition; many of Southern Song painting's approaches were rejected here; * Some part of calligraphy is lop-sided; unbending trees, round rocks; different brushworks were used; its slanted expression is interesting - Ni Zan, The Rongxi Studio, hanging scroll, ink on paper, National Palace Museum, Taipei; he painted his studio, and there are not many people; verticality is emphasized; there is lightness, sparing ink; quiet and mild; he is also using Mi dots, indicating shrubberies; and Dong Yuan's horizontal use of brush strokes on gentle hills; resemblance was not his concern; considered the artist's most successful work; curvilinear brush stroke is his trademark, and is intensively used in the leaves; calligraphy is made slanted - Ni Zan, Autumn Wind in Gemstone Trees, hanging scroll, ink on paper, Shanghai Museum; his version of combination with bamboo, plum tree, and rock; again, different kinds of brush strokes; different from Zhao Mengful's version; it is more centrally organized; frugal use of ink; - Ni Zan, Woods and Valleys of Mount Yu, dated 1372, Metropolitan Museum of Art; - Ni Zan, Bamboo and Rock, hanging scroll, ink on paper, National Palace Museum, Taipei; plum leaves are suffused onto the rock; highly engaged in the objects Wang Meng (1308-1385) He also had a totally different category, radically different and far away from other contemporary masters - Wang Meng, The Simple Retreat, hanging scroll, ink and color on paper, Metropolitan Museum of Art; using a lot of brushstrokes, a sense of claustrophobia; monumental landscape's verticality; foreground is boldly approaching to the viewer; the mountain is falling on the viewer; fragmented, schizophrenic divisions makes one feel that the mountain is too close, giving a sense of suffocation; unlike Li-Guo tradition, the element of disturbance in the landscape resists the sense of unification; deeply disturbed; the place is not safe and secured; it is not properly staged - Wang Meng, Ge Zhichuan Moving His Dwelling, 1360s, hanging scroll, ink and color on paper, Palace Museum, Beijing; tortured and claustrophobic feelings; elements are placed on the top of the others, rooted not firmly into the ground; they will pour onto the viewer; Fan Kuan’s leaves; obsessive depiction; elements are built on another, a visual structure is based on such accumulative pleasure; Wu Zhen (1280-1354) - Wu Zhen, The Central Mountain, 1336, handscroll, detail, ink on paper, National Palace Museum, Taipei; highly understated, an intense pingdan feature; brushworks are absorbed into overall wash; you saw the tress from Huang Gong Wang; - Wu Zhen, River Landscape (Fishermen), c. 1350, a section of handscroll, ink on paper, Freer Gallery, DC & Metropolitan Museum of Art; a reclusive man, turned away from secular affairs; this philosophy is reflected on this work; interplay between elements, blank space and depicted space; fishermen are not working for living, instead, they are thinking and meditating; cliff formation with hatchings, Mi dots, reflected on the near water surface; drab and simple brushwork; a perfect example of integrated poem-painting; cursive calligraphy; fishermen are depicted with clear and sharp brush lines; * The integration of poetry, painting, and calligraphy * Huang Gong Wang, Ni Zan, Wang Meng, and Wu Zhen are the Four Great Masters of the Yuan; Zhao Mengfu is like a direct predecessor to them, but he is sometimes placed in the list instead of Wu Zhen; - Wu Zhen, Bamboo in the Wind, after Su Shi, 1350, hanging scroll, ink on paper, Freer Gallery of Art; it is said that he found a Su Dongpo's broken scroll during his stroll in a mountain; bamboo is the Confucian idea of gentlemen; chin sha, individual noble men, taking a burden to be a human heartedness; a sense of moment, it depicts present; bending branches; Day 18 Lecture - Wu Zhen, Bamboo in the Wind, after Su Shi, Yuan dynasty, 1350, hanging scroll, ink on paper; there is no depth; the Su Shi's work was an engraving; - Detail, artist's inscription of the Bamboo painting, cursive script that is worth to be labeled Wu Zhen script; - Wu Zhen, Bamboo and Rock, Yuan Dynasty, hanging scroll, ink on paper, National Palace Museum, Taipei; looks like an engraved image; indexical; bamboo's depiction is quite two-dimensional; an ample sense of chi-yun; the rock indicates some sense of space and volume by using dim ink wash; a balance between representation and calligraphic brushstroke; there is no bluntness in the strokes; * Later, many painters professionalized bamboo painting genre and it technically and illusionistically developed, but the genre's early emphasis on chi-yun overall deteriorated Plum blossoms A sub-genre of painting like bamboo painting; - Wang Mian (1287-1359), Frangrant Snow at Broken Bridge, inscriber: (Frontispiece), Gu Dadian, colophon writer: Zhang Fengshi, handscroll, ink on silk, Metropolitan Museum of Art; blossoms are depicted very finely; little twigs and petals are dealt so delicately; it is in the time, a depiction of vivid moment; a fantasized, symbolized image, so strongly moved the minds of Asians for several centuries; at the heart of Japanese Ukiyoe is not far from it; - Wang Mian, Branches of Blossoming Plum, 1355, hanging scroll, ink on paper, Shanghai Museum; “The paining conveys something of the springtime experience of being enveloped in a cloud of fragrant blossoms, one of the many ways to enjoy flowering plum" by Cahill; again, print-like quality - Zou Fulei, A Breath of Spring, handscroll, ink on paper, 1360, Freer Gallery of Art; one sweeps then a branch, powerful strokes governing the composition; holding chi-yun, the energy; it is less a calligraphic statement, but a direct expression exploding outward; the rough surface of bark; using every technique; he was a lesser known painter, but an “extremely” accomplished master; check out Cahill's explanation from the PDF; “his plum branch is one of the most perfectly controlled performances in brush and ink in all Chinese painting”; each petals are drawn by droppings of ink left untouched till dried; Fang Congyi (1301 ~ after 1378) - Fang Congyi, Romantic Spirit of the Eastern Chin, dated 1360, handscroll, ink and color on paper, C. C. Wang family collection, New York; the shore gradually fades away into the left scene; "gradually dissolving from dense dark mass into transparent emptiness"; people in the pavilion; ripples on the water surface; a reference to the Eastern Chin master calligrapher Wang Xizhi; "the religiosity in life equals religiosity in art"; check out Barnhart's PDF comments; the artist was a Daoist priest, 도인; "untrammeled spirituality"; great combination of ink wash and brush lines; one can see Muqi in it; why not noticing on the sheer sense of religiosity?; though many Yuan dynasty artists were Taoist, Fang was a Taoist priest himself; Buddhist and Taoist temples were major institutions of producing works of art along with royal academy; “This is not something that ordinary mortals can attain, but is a work of the highest order of the untrammeled class” - Fang Congyi, Could Mountain, ca. 1365, handscroll, ink and color on paper, The Metropolitan Museum of Art; again begins from dense dark mass moving to faint center, and then mountains appear only to finally dissolve into emptiness; echoing composition from the triangular shape of trees on the right and similar shape of mountain mass on the left; the mountain is delicately and lightly treated; Amano Yoshitaka-like mountain is obviously riveting * Form is a condensation of spirit; from shapeless to shape, again into shapeless “Among the three great visionary artists of late Yuan painting in southeast Chian, Fang Congyi’s legacy is the least transferable. Wang Meng gave to later masters the concept of rich painterly form—energized, dense, and tactile—which became the structural foundation of much later art. Ni Zan crystallized a bleak, barren state of mind and minimalist technique, which became a counter idea. Fang Congyi, however, pursued some private inner voice, which spoke to him of eternity, oneness, and the spirit. Perhaps Tao-chi (b. 1642) among all later painters most nearly shared Fang’s ideals. Fang’s achievement, which enters the realm of spirit, fittingly suggests the gradual internalization of expression that led from the fourteenth century to the Ming mystic Shen Chou [Shen Zhou] and beyond to the free spirit of seventeenth-century Chinese art, Tao-chi—and allows me to finish this appreciation without implying that there has been an end.” Day 19 Email topic for the final paper! Lecture The Ming Dynasty (1368 ~ 1644) * The first emperor Zhou Yuanzhang emerged from a lowest class, and he persecuted scholars and artists; the early Ming art pursued traditions of Yuan dynasty, but their specific qualities were not to be recaptured (why should they capture it in a different period?) - Shi Rui (act. 1426 ~ 1453), Greeting the New Year, handscroll, ink, color and gold on silk, Cleveland Museum of Art; a court painter of the early Ming; depicted in a typically Southern Song manner; more intimate and lyrical atmosphere; consciously archaistic mountains reminding one of the Northern or pre-northern Song dynasty landscape; super exquisite, as many other Chinese paintings; - Wang E (c. 1462 ~ 1541), Gazing at a Distant View from a Riverside Pavilion, hanging scroll, ink and color on silk, Palace Museum, Beijing; distance is depicted with hazy effect; - Bian Jingzhao, Bamboo and Cranes, hanging scroll, ink and color on silk, Palace Museum, Beijing; he is a very important early Ming painter; during the Ming, more emphasis was put on decoration and technical prowess; decorative and ornamental rather than realistic as it seem
2073	dbpedia	3	88	http://jameelcentre.ashmolean.org/collection/921/object/11485	en	Ashmolean − Eastern Art Online, Yousef Jameel Centre for Islamic and Asian Art	http://jameelcentre.ashmolean.org/static/amead/img/favicon/favicon.png	http://jameelcentre.ashmolean.org/static/amead/img/favicon/favicon.png	[ "http://jameelcentre.ashmolean.org/static/shared/img/base/logo-print.png", "http://jameelcentre.ashmolean.org/media/collection/w425/Collections/Single_Objects/EA/EA_1963/EA_1963_0000/EA_1963_2-a-L.jpg", "http://jameelcentre.ashmolean.org/media/10/exhibitions/cpg_chinese_landscapes_banner.jpg", "http://jameelc...	[]	[]	[ "Eastern Art", "Asian Art", "Islamic Art", "Indian Art", "Chinese Art", "Japanese Art", "Himalyan Art", "Ashmolean Museum", "Oxford", "Ceramics", "Textiles", "Sculpture", "Iznik", "Pottery", "Paintings", "arabesques", "Metalwork" ]	null	[ "Ashmolean Museum", "University of Oxford" ]	null	Welcome to the Yousef Jameel Online Centre, making the Eastern Art collections at the Ashmolean Musem available online. Discover art from the Islamic Middle East, China, Japan, Southeast Asia, India, and the Himalayas.	en	http://jameelcentre.ashmolean.org/static/amead/img/favicon/favicon.png		null	Wu Qingyun was from Nanjing, but lived and worked mostly in Shanghai, and also spent some time in Japan. He is considered by some to have developed Western stylistic features in his paintings, most evident in his use of chiaroscuro. This, however, might instead be the influence of the early Qing dynasty (1644-1911) painter Gong Xian (1618-1689) from Nanjing. Wu Qingyun is known for imitating the works of Mi Fu (1051-1107), the master calligrapher and landscape painter from the Song dynasty (AD 960-1279). Mi Fu's landscapes always depict the cloudy and misty hills of the Jiangnan region in South China through large wet dots of ink. In this painting, the artist inscribes how he is ‘Imitating the brushwork of Mi Fu’.
2073	dbpedia	3	30	http://tangshi.tuxfamily.org/mifu/	en	ç±³è¾è¯ Poems of Mi Fu			[ "http://tangshi.tuxfamily.org/img/mifu.png" ]	[]	[]	[ "" ]	null	[]	null					null	ç±³è¾è¯ Poems of Mi Fu æ°´è°æå¤´ ä¸ç§ - River Melody Sung in My Head, at moonviewing festival ä¸ç§ç»æ¥¼ææ - Moonviewing Festival, Climb Tower, Gaze Longingly at Moon è¶æè± æµ·å²±æ¥¼ç©æä½ - Butterflies Love Flowers, written on Haidai Tower to amuse the moon æ»¡åºè³ åè¶ - The Fragrance that Fills the Room, chanted over tea ææµ·æ¥¼ - Water-Gazing Tower æµªæ·æ² - Wave Beats the Shore è¥¿æ±æ - West River Moon ååæ¨å °è± - Fewer Words on Magnolia Blossoms ååæ¨å °è± - Fewer Words on Magnolia Blossoms (2) è¯è¡·æ - Self-Recriminations ç¹ç»å - A Touch of Red Lips é®éå½ - Officer Ruan's Leavetaking è©è¨è® - Bodhisattva Barbarians æ¸å®¶å² - The Proud Usurper ä¸å¥´å¿ - December's Slave é¹§é¸ªå¤© - Partridge Day é¹§é¸ªå¤© - Partridge Day (2) è¯è¡·æ - Self-Recriminations (2) åºè¯ Mi Fu (ç±³è¾\|ç±³é»»), 1051â1107, was a Chinese painter, poet, and calligrapher born during the Song Dynasty. He was strong-minded and peculiar. He was peculiar in the way he dressed, in the cumpulsive way he washed his face everywhere he went, in declaring that one of the big rocks in his garden was his brother, in the way he collected art and calligraphy. As a collector, he was always trading old for new, saying, "When a man of today obtains such an old sample it seems to him as important as his life, which is ridiculous. It is in accordance with human nature, that things which satisfy the eye, when seen for a long time become boring; therefore they should be exchanged for fresh examples, which then appear doubly satisfying. This is the intelligent way of using pictures.â For Mi Fu, calligraphy was intimately connected with the composing of poetry or painting. It required an alertness of mind and spirit, which he thought was best achieved through the enjoyment of wine. Through this he reached a state of excitement rather than drunkenness. His friend, Su Shi wrote that Mi Fu's "brush is like a sharp sword handled skillfully in fight or a bow which could shoot the arrow a thousand li, piercing anything that might be in its way.â Mi Fu's manner of painting was also peculiar. He took to painting late in life. It is said that he always painted on paper which had not been prepared with gum or alum, never on silk or on the wall. He did not necessarily use the brush in painting with ink; sometimes he used paper sticks or sugar cane from which the juice had been extracted, or a calyx of the lotus. Of painting, he wrote: âThe study of Buddhist paintings implies moral guidance; they are of a superior kind. Then follow the landscapes, then pictures of bamboo, trees, walls and stones, and then come pictures of flowers and grass. As to pictures of men and women, birds and animals, they are for the amusement of the gentry and do not belong to the class of pure art treasures.â The result of all these strong-minded peculiarities was that Mi Fu is esteemed as a painter, poet, and calligrapher. He substantially changed the path of painting landscapes and of calligraphy through his independence. Poetry translated from 4 - 18 December 2015
2073	dbpedia	2	1	https://www.newworldencyclopedia.org/entry/Mi_Fu	en	New World Encyclopedia	https://www.newworldency…avicon-32x32.png	https://www.newworldency…avicon-32x32.png	[ "https://www.newworldencyclopedia.org/images/nwe_header.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/7/7c/Mi_Fei_001.jpg/240px-Mi_Fei_001.jpg", "https://www.newworldencyclopedia.org/d/images/thumb/1/1d/Mi_Fu_Shu_Su_Tie.jpg/240px-Mi_Fu_Shu_Su_Tie.jpg", "https://static.newworldencyclopedia.org/ski...	[]	[]	[ "" ]	null	[]	null		en	https://static.newworldencyclopedia.org/favicon.ico		https://www.newworldencyclopedia.org/entry/Mi_Fu	Names Chinese: 米黻 Pinyin: Mǐ Fú Zi: Yuán Zhāng (元章) Also known as: Madman Mi (米顛) Mi Fu (Chinese: 米黻; pinyin: Mǐ Fú, 1051 – 1107), also known as Mi Fei (米芾), Pinyin Mi Fei, original name (Wade-Giles Romanization) Mi Fu, also called Yüan-chang, Hai-yüeh Wai-shih, or Hsiang–yang Man-shih, was a Chinese painter, poet, and calligrapher born in Taiyuan, Shanxi (太原) during the Song Dynasty (宋朝). In painting, he gained renown for his style of painting misty landscapes, the "Mi Fu" style, which involved the use of large wet dots of ink applied with a flat brush. His poetry followed the style of Li Bai (李白) and his calligraphy that of Wang Xizhi (王羲之). His uninhibited style made him disliked at the Song court. He is best known for his calligraphy, and he was regarded as one of the four greatest calligraphers in Song Dynasty. While he acquired his style by emulating other calligraphers from earlier dynasties, his style was unique and distinct. Mi Fu was raised in the imperial court alongside the imperial family, and exhibited exceptional talent in poetry, calligraphy, and memorization. However, his eccentric behavior resulted in his being frequently moved from one official post to another. In 1081, Mi Fu met Su Shih, the great poet, calligrapher, and art theorist, and together they formed a circle of brilliant artists who emphasized personal expression over mere technical excellence. The poetry of Su Shih, the figure painting of Li Kung-lin, and the calligraphy of Mi Fu became standards against which artists would be judged for the next five hundred years. Life Mi Fu was born in 1051, to a family that had held high office in the early years of the Sung dynasty (960–1279). His mother was the wet nurse of the emperor Ying Tsung (reigned 1063/64–1067/68), and he was raised within the Imperial precincts, mixing freely with the Imperial family. According to tradition, he was a very smart boy with a great interest in arts and letters and an astonishing ability to memorize. At the age of six he could learn a hundred poems a day and after going over them again, he could recite them all. He showed a precocious talent for calligraphy and painting. He disliked the formal lessons in the Confucian classics, but displayed a quick understanding of learned argument and an aptitude for poetry. His mother served the wife of the Emperor Renzong of Song (仁宗), and Mi Fu began his career as Reviser of Books in the capital of Kaifeng. In 1103, he was appointed a doctor of philosophy and was briefly military governor of Wu-wei in the province of Anhwei. He returned to the capital in 1104, as Professor of Painting and Calligraphy, and presented the Emperor with a painting by his son, I Yu-jen. He then served as Secretary to the Board of Rites, before being appointed Military Governor of Huaiyang. These frequent changes of official position were a result of Mi Fu's sharp tongue and his open criticism of official ways. He is said to have been a very capable official, but unwilling to submit to conventional rules; and he manifested a spirit of independence which caused him serious difficulties. He died in Huaiyang, in Kiangsu Province, at the age of fifty-two, and was buried in Tan-t'u, in Kiangsu Province; his epitaph was written by Mi Yu-jen. Mi Fu was married and had five sons, of whom only the two eldest survived infancy, and eight daughters. His son, Mi Youren, also became a famous painter in his father's artistic style. Unlike his father, Mi Youren lived to be quite elderly, dying at the age of 79. Mi Fu was noted as an eccentric. At times, he was referred to as "Madman Mi" because he was obsessed with collecting stones. He declared one stone to be his brother, and would bow to his "brother" rock in a display of the filial devotion usually given to older brothers. He also was known as a heavy drinker. Mi Fu was very peculiar in his manners and the way he dressed. Wherever he went, he attracted a crowd. He was also very fond of cleanliness. He used to have water standing at his side when working, because he washed his face very often. He would never wash in a vessel that had been used by someone else or put on clothes that had been worn by another person. Mi Fu's passion was collecting old writings and paintings. As his family wealth was gradually lost on relatives, he continued to collect and made every possible sacrifice to get the samples he wanted. According to one anecdote, once when Mi Fu was out in a boat with his friends, he was shown a sample of Wang Xianzhi’s writing and became so excited that he threatened to jump overboard unless the owner made him a present of it, a request which, apparently, could not be refused. Gradually his collection became a big treasury, and his simple house a meeting place for the greatest scholars of the time. He inherited some of the calligraphies in his collection, but others were acquired. He also exchanged the poorer quality ones for better ones. He wrote: “When a man of today obtains such an old sample it seems to him as important as his life, which is ridiculous. It is in accordance with human nature, that things which satisfy the eye, when seen for a long time become boring; therefore they should be exchanged for fresh examples, which then appear double satisfying. That is the intelligent way of using pictures.” Mi Fu was fanatical in regard to safeguarding, cleaning, and exhibiting of his pictures. He arranged his collection in two parts, one of which was kept secret or only for a few selected friends and another which could be shown to ordinary visitors. Historical background After the rise of the landscape painting, the creative activity which followed was of a more general kind and subject matter included both profane and religious figures, birds, flowers, and bamboo, in addition to landscapes. The painters were mostly highly intellectual scholars. To most of these men, painting was not a professional occupation but only one of the means by which they expressed their intellectual reactions to life and nature in visible symbols. Poetry and illustrative writing were in a sense even more important to them than painting, and they made their living as more or less prominent government officials if they did not depend on family wealth. Though some of them were true masters of ink-painting as well as of calligraphy, they avoided the fame and position of professional artists and became known as “gentleman-painters.” Artistic occupations such as calligraphy and painting were, to these men, activities to be done during leisure time while resting from official duties or practical occupations. The foundation of their technical mastery was training in calligraphy, which allowed them to transmit their thoughts with the same easiness in symbols of nature as in conventional characters. Their art became a very intimate kind of expression, or idea-writing as it was called in later times. The beauty of this art was closely associated with the apparent ease with which it was produced, but which could not be achieved without intense training and deep thought. Mi Fu was one of the highly gifted gentleman-painters. He was not a poet or philosopher; nevertheless he was brilliant intellectually. His keen talent for artistic observation, together with a sense of humor and literary ability, established him prominently among Chinese art-historians; his contributions in this field are still highly valued, because they are based on what he had observed with his own eyes and not simply on what he had heard or learned from his forerunners. Mi Fu had he courage to express his own views, even when these were different from the prevailing ones or from official opinions. His notes about painting and calligraphy are of great interest to art historians, because they are spontaneous expressions of his own observations and independent ideas and help to characterize himself as well as the artists whose works he discusses. Art In 1081, Mi Fei met Su Shih, the great poet, calligrapher, and art theorist. This was the beginning of the formation of a circle of brilliant artists. Other members of this group were Li Kung-lin, painter and antiquarian; Huang T'ing-chien, poet and calligrapher; and Chao Ta-nien, painter and art collector. Su Shih's cousin, the bamboo painter Wen T'ung, who had died in 1079, was also a key figure through his art and his influence on Su Shih. Out of their association came the theory and practice of wen-jen-hua, or literati painting, which has continued until the present to be the most dynamic and creative branch of painting. In place of the long-dominant view that painting was a public art, subject to public standards, scholar-painters held to the view expressed by Li Kung-lin: "I paint, as the poet sings, to give expression to my nature and emotions, and that is all."[1] These eleventh century scholars rediscovered the T'ang poet Tu Fu, now universally regarded as "China's greatest poet," who had been largely ignored; and rescued Ku K'ai-chih and Wang Wei, the two greatest scholar-painters of earlier centuries, from obscurity and lifted them to the eminence they have ever since enjoyed. The poetry of Su Shih, the figure painting of Li Kung-lin, and the calligraphy of Mi Fei became standards against which artists would be judged for the next five hundred years. For these scholar-artists, the personal relationships within their artistic and intellectual circle were very important. Art was nothing without personality, not in the sense of deliberate eccentricity, but as an expression and development of innate qualities such as strength of character, will, honesty, creativity, mental curiosity, and integrity. In 1060, Su Shih had written a poem comparing paintings by Wu Taotzu and Wang Wei, in which he declared that Wu Tao-tzu could finally be judged only in terms of the craft of painting, while Wang Wei, in contrast, "was basically an old poet" who "sought meaning beyond the forms."[2] Mi Fei was highly critical of art that was technically excellent but divorced from personal expression. He described the work of the imperial academicians and professional painters, who commanded a large popular audience, as "fit only to defile the walls of a wine shop." He even accused the academy of murdering one of its members because he was too gifted and original. Mi Fei and his friends admired the "untrammeled" masters of the ninth and tenth centuries, who had broken every rule and defied every classical model in their quest for artistic freedom, but felt they were far too uncontrolled and eccentric to be emulated. Instead, they admired the "primitive" and forgotten masters of the orthodox heritage. To Mi Fu, the brush was not only the sword of his proud spirit but a magic stick, which brought life whenever he held it in his hands to write or paint. The two arts of calligraphy and painting were to him essentially one and the same. In painting, he gained renown for his style of painting misty landscapes. This style, deemed the "Mi Fu" style, involved the use of large wet dots of ink, described as "Mi dots," applied with a flat brush. Starting with very pale ink, he began painting on a slightly wet paper, amassing clusters of shadowed forms, then adding darker ink gradually, building up amorphous, drifting mountain silhouettes bathed in wet, cloaking mist. The style is best seen in a large hanging scroll, the Tower of the Rising Clouds. On the painting is an inscription: "Heaven sends a timely rain; clouds issue from mountains and streams."[3] His poetry followed the style of Li Bai (李白) and his calligraphy that of Wang Xizhi (王羲之). His uninhibited style made him disliked at the Song court. Mi Fu has been admired by later critics as one of the most important representatives of the "Southern School" of landscape painting. Most of the paintings attributed to him represent a rather definite type or pictorial style which existed also in later centuries, but unfortunately it cannot be determined to what extent they are Mi Fu's own creations. The general characteristics of his style are known, but it is not possible to be sure that the paintings ascribed to him represent the rhythm and spirit of his individual brush work, as is possible with the authentic samples of his calligraphy, which still exist. Therefore, he is remembered more as a skilled calligraphist, and for his influence as a critic and writer on art, rather than as a skilled landscape painter. Mi Fu was regarded as one of the four greatest calligraphers in Song Dynasty. His style arises from that of calligraphers in earlier dynasties, but with a unique mark of his own. He was among those for whom writing, or calligraphy, was intimately connected with the composition of poetry or sketching. It required an alertness of mind and spirit, which he thought was best achieved through the enjoyment of wine, through which he reached a state of excitement rather than drunkenness. A friend of Mi Fu, Su Shi admired him and wrote that his brush was like a sharp sword handled skillfully in fight, or a bow which could shoot an arrow a thousand li, piercing anything that might be in its way. “It was the highest perfection of the art of calligraphy,” he wrote. Other critics claimed that only Mi Fu could imitate the style of the great calligraphists of the Six Dynasties. Mi Fu seems to have been an excellent imitator; some of these imitations were so good that they were taken for the originals. Mi Fu's son also testified that his father always kept some calligraphic masterpiece of the Tang or the Qin period in his desk as a model. At night he would place it in a box at the side of his pillow. According to some writings, Mi Fu did most of his paintings during the last seven years of his life, and he himself wrote that “he chose as his models the most ancient masters and painted guided by his own genius and not by any teacher, and thus represented the loyal men of antiquity.” The pictures which still pass under the name of Mi Fu represent ranges of wooded hills or cone-shaped mountain peaks rising out of layers of woolly mist. At their feet may be water, and closer towards the foreground, clusters of dark trees. One of the best known examples of this kind of Mi style is the small picture in the Palace Museum known as Spring Mountains and Pine-Trees. It is the size of a large album-leaf, but at the top of the picture is added a poem said to be by the emperor Emperor Gaozong of Song. The mountains and the trees rise above a layer of thick mist that fills the valley; they are painted in dark ink tones with a slight addition of color in a plumelike manner that hides their structure; it is the mist that is really alive. In spite of the striking contrast between the dark and the light tones, the general effect of the picture is dull, which may be the result of wear and retouching. Among the pictures which are attributed to Mi Fu, there are apparently imitations, painted in a similar manner with a broad and soft brush. They may be from Southern Song period, or possibly from the Yuan period, when some of the leading painters freely utilized the manner of Mi for expressing their own ideas. The majority are probably from the later part of Ming period, when a cult of Mi Fu followers that viewed him as the most important representative of the "Southern School" began. Mi Fu himself had seen many imitations, perhaps even of his own works, and he saw how wealthy amateurs spent their money on great names rather than on original works of art. He wrote: “They place their pictures in brocade bags and provide them with jade rollers as if they were very wonderful treasures, but when they open them one cannot but break out into laughter.” Mi Fu's own manner of painting has been characterized by writers who knew it through their own observation or through hearsay. It is said that he always painted on paper which had not been prepared with gum or alum (alauns); and never on silk or on the wall. In addition, he did not necessarily use the brush in painting with ink; sometimes he used paper sticks or sugar cane from which the juice had been extracted, or a calyx (kauss) of the lotus. Though Mi Fu was principally a landscape painter, he also did portraits and figure paintings of an old fashioned type. Nevertheless, he must have spent more time studying samples of ancient calligraphy and painting than producing pictures of his own. His book on History of Painting contains practical hints as to the proper way of collecting, preserving, cleaning and mounting pictures. Mi Fu was no doubt an excellent connoisseur who recognized quality in art. In spite of his rebellious spirit, his fundamental attitude was fairly conventional. He appreciated some of the well-recognized classics among the ancient masters and had little use for any of the contemporary painters. He sometimes had difficulty in admitting the values of others, and found more pleasure in making sharp and sarcastic remarks than in expressing his thoughts in a just and balanced way. Landscape painting was, to Mi Fu, superior to every other kind of painting; revealing his limitations and romantic flight: “The study of Buddhist paintings implies some moral advice; they are of a superior kind. Then follow the landscapes, then pictures of bamboo, trees, walls and stones, and then come pictures of flowers and grass. As to pictures of men and women, birds and animals, they are for the amusement of the gentry and do not belong to the class of pure art treasures.” Notes References ISBN links support NWE through referral fees