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dev-5026-194 | The Chernobyl Shelter Fund was established in 1997 at the Denver 23rd G8 summit to finance the Shelter Implementation Plan (SIP). The plan calls for transforming the site into an ecologically safe condition by means of stabilization of the sarcophagus followed by construction of a New Safe Confinement (NSC). While the ... | dev-5026 | Chernobyl disaster | 194 | 108,329 | 109,132 |
dev-5026-195 | The United Nations Development Programme has launched in 2003 a specific project called the Chernobyl Recovery and Development Programme (CRDP) for the recovery of the affected areas.[245] The programme was initiated in February 2002 based on the recommendations in the report on Human Consequences of the Chernobyl Nucl... | dev-5026 | Chernobyl disaster | 195 | 109,133 | 109,760 |
dev-5026-196 | The International Project on the Health Effects of the Chernobyl Accident (IPEHCA) was created and received US $20Â million, mainly from Japan, in hopes of discovering the main cause of health problems due to 131I radiation. These funds were divided among Ukraine, Belarus, and Russia, the three main affected countries,... | dev-5026 | Chernobyl disaster | 196 | 109,761 | 110,315 |
dev-5026-197 | Chernobyl Children International (CCI) is a United Nations-accredited,[citation needed] non-profit, international development, medical, and humanitarian organization that works with children, families and communities that continue to be affected by the economic outcome of the Chernobyl accident. The organization's foun... | dev-5026 | Chernobyl disaster | 197 | 110,316 | 110,981 |
dev-5026-198 | It works closely with the Belarusian government, the United Nations, and many thousands of volunteers worldwide to deliver a broad range of economic supports to the children and the wider community. It also acts as an advocate for the rights of those affected by the Chernobyl explosion, and engages in research[citation... | dev-5026 | Chernobyl disaster | 198 | 110,982 | 111,455 |
dev-5026-199 | The Front Veranda (1986), a lithograph by Susan Dorothea White in the National Gallery of Australia,[248] exemplifies worldwide awareness of the event. Heavy Water: A Film for Chernobyl was released by Seventh Art in 2006 to commemorate the disaster through poetry and first-hand accounts.[249] The film secured the Best... | dev-5026 | Chernobyl disaster | 199 | 111,456 | 111,917 |
dev-5026-200 | Chernobyl Way is an annual rally run on 26 April by the opposition in Belarus as a remembrance of the Chernobyl disaster. | dev-5026 | Chernobyl disaster | 200 | 111,918 | 112,039 |
dev-5026-201 | The Chernobyl accident attracted a great deal of interest. Because of the distrust that many people (both within and outside the USSR) had in the Soviet authorities, a great deal of debate about the situation at the site occurred in the First World during the early days of the event. Because of defective intelligence b... | dev-5026 | Chernobyl disaster | 201 | 112,040 | 112,487 |
dev-5026-202 | Journalists mistrusted many professionals (such as the spokesman from the UK NRPB), and they in turn encouraged the public to mistrust them.[186] | dev-5026 | Chernobyl disaster | 202 | 112,488 | 112,633 |
dev-5026-203 | In Italy, the Chernobyl accident was reflected in the outcome of the 1987 referendum. As a result of that referendum, Italy began phasing out its nuclear power plants in 1988, a decision that was effectively reversed in 2008. A referendum in 2011 reiterated Italians' strong objections to nuclear power, thus abrogating ... | dev-5026 | Chernobyl disaster | 203 | 112,634 | 112,988 |
dev-5026-204 | In Germany, the Chernobyl accident led to the creation of a federal environment ministry, after several states had already created such a post. The minister was given the authority over reactor safety as well, which the current minister still holds as of 2015. The events are also credited with strengthening the anti-nu... | dev-5026 | Chernobyl disaster | 204 | 112,989 | 113,447 |
dev-2912-0 | Citizen Kane is a 1941 American mystery drama film by Orson Welles, its producer, co-screenwriter, director and star. The picture was Welles's first feature film. Nominated for Academy Awards in nine categories, it won an Academy Award for Best Writing (Original Screenplay) by Herman J. Mankiewicz and Welles. Considere... | dev-2912 | Citizen Kane | 0 | 0 | 824 |
dev-2912-1 | The quasi-biographical film examines the life and legacy of Charles Foster Kane, played by Welles, a character based in part upon the American newspaper magnate William Randolph Hearst, Chicago tycoons Samuel Insull and Harold McCormick, and aspects of Welles's own life. Upon its release, Hearst prohibited mention of t... | dev-2912 | Citizen Kane | 1 | 825 | 1,178 |
dev-2912-2 | Kane's career in the publishing world is born of idealistic social service, but gradually evolves into a ruthless pursuit of power. Narrated principally through flashbacks, the story is told through the research of a newsreel reporter seeking to solve the mystery of the newspaper magnate's dying word: "Rosebud". | dev-2912 | Citizen Kane | 2 | 1,179 | 1,492 |
dev-2912-3 | After the Broadway successes 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. Unusually for an untried director, he was given the freedom to develop his own s... | dev-2912 | Citizen Kane | 3 | 1,493 | 2,133 |
dev-2912-4 | While a critical success, Citizen Kane failed to recoup its costs at the box office. The film faded from view after its release but was subsequently returned to the public's attention when it was praised by such French critics as André Bazin and given an American revival in 1956. The film was released on Blu-ray on Sep... | dev-2912 | Citizen Kane | 4 | 2,134 | 2,510 |
dev-2912-5 | In a mansion in Xanadu, a vast palatial estate in Florida, the elderly Charles Foster Kane is on his deathbed. Holding a snow globe, he utters a word, "Rosebud", and dies; the globe slips from his hand and smashes on the floor. A newsreel obituary tells the life story of Kane, an enormously wealthy newspaper publisher.... | dev-2912 | Citizen Kane | 5 | 2,511 | 2,988 |
dev-2912-6 | Thompson sets out to interview Kane's friends and associates. He approaches 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 l... | dev-2912 | Citizen Kane | 6 | 2,989 | 3,366 |
dev-2912-7 | In 1871, after a gold mine is discovered on her property, Kane's mother Mary Kane sends Charles away to live with Thatcher so that he would be properly educated. It is also implied that Kane's father could be violent towards his son and that is another reason she would like to send him away. While Thatcher and Charles'... | dev-2912 | Citizen Kane | 7 | 3,367 | 4,015 |
dev-2912-8 | Years later, after gaining full control over his trust fund at the age of 25, Kane enters the newspaper business and embarks on a career of yellow journalism. He takes control of the New York Inquirer and starts publishing scandalous articles that attack Thatcher's business interests. After the stock market crash in 19... | dev-2912 | Citizen Kane | 8 | 4,016 | 4,420 |
dev-2912-9 | Back in the present, Thompson interviews Kane's personal business manager, Mr. Bernstein. Bernstein recalls how 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 ... | dev-2912 | Citizen Kane | 9 | 4,421 | 4,783 |
dev-2912-10 | Thompson interviews Kane's estranged best friend, Jedediah Leland, in a retirement home. Leland recalls how Kane's marriage to Emily disintegrates more and more over the years, and he begins an affair with amateur singer Susan Alexander while he is running for Governor of New York. Both his wife and his political oppon... | dev-2912 | Citizen Kane | 10 | 4,784 | 5,301 |
dev-2912-11 | Back in the present, Susan now consents to an interview with Thompson, and recalls her failed opera career. Kane finally allows her to abandon her singing career after she attempts suicide. After years spent dominated by Kane and living in isolation at Xanadu, Susan leaves Kane. Kane's butler Raymond recounts that, aft... | dev-2912 | Citizen Kane | 11 | 5,302 | 5,774 |
dev-2912-12 | Back at Xanadu, Kane's belongings are being cataloged or discarded. Thompson concludes that he is unable to solve the mystery and that the meaning of Kane's last word will forever remain an enigma. As the film ends, the camera reveals that "Rosebud" is the trade name of the sled on which the eight-year-old Kane was pla... | dev-2912 | Citizen Kane | 12 | 5,775 | 6,226 |
dev-2912-13 | The beginning of the film's ending credits state that "Most of the principal actors in Citizen Kane are new to motion pictures. The Mercury Theatre is proud to introduce them."[4] The cast is listed in the following order: | dev-2912 | Citizen Kane | 13 | 6,227 | 6,449 |
dev-2912-14 | Additionally, Charles Bennett appears as the entertainer at the head of the chorus line in the Inquirer party sequence,[6]:40–41 and cinematographer Gregg Toland makes a cameo appearance as an interviewer depicted in part of the News on the March newsreel. Actor Alan Ladd makes a cameo appearance as a reporter smokin... | dev-2912 | Citizen Kane | 14 | 6,450 | 6,805 |
dev-2912-15 | Hollywood had shown interest in Welles as early as 1936.[8]: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 t... | dev-2912 | Citizen Kane | 15 | 6,806 | 7,403 |
dev-2912-16 | Following "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.[10]: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... | dev-2912 | Citizen Kane | 16 | 7,404 | 8,456 |
dev-2912-17 | Welles signed his contract with RKO on August 21. This legendary contract 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 2... | dev-2912 | Citizen Kane | 17 | 8,457 | 9,900 |
dev-2912-18 | 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.[10]:15 It was agreed that Welles would film Heart of Da... | dev-2912 | Citizen Kane | 18 | 9,901 | 10,721 |
dev-2912-19 | 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.[12]:33–34 When ... | dev-2912 | Citizen Kane | 19 | 10,722 | 11,379 |
dev-2912-20 | One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay.[13]:237 Welles conceived the project with screenwriter Herman J. Mankiewicz, who was writing radio plays for Welles's CBS Radio series, The Campbell Playhouse.[10]:16 Mankiewicz based the original outline on the life of... | dev-2912 | Citizen Kane | 20 | 11,380 | 11,813 |
dev-2912-21 | 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 h... | dev-2912 | Citizen Kane | 21 | 11,814 | 12,723 |
dev-2912-22 | The terms of the contract stated that Mankiewicz was to receive no credit for his work, as he was hired as a script doctor.[14]: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".[9]:236–23... | dev-2912 | Citizen Kane | 22 | 12,724 | 13,417 |
dev-2912-23 | 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 cir... | dev-2912 | Citizen Kane | 23 | 13,418 | 14,014 |
dev-2912-24 | 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,[12]:494 published in October 1971.[16] The book-length essa... | dev-2912 | Citizen Kane | 24 | 14,015 | 14,684 |
dev-2912-25 | Any question of authorship was resolved with Carringer's 1978 essay, "The Scripts of Citizen Kane".[21][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... | dev-2912 | Citizen Kane | 25 | 14,685 | 15,116 |
dev-2912-26 | 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,[23]:444 and Houseman wrote that he and Mankiewicz also "grafted anecdotes from other ... | dev-2912 | Citizen Kane | 26 | 15,117 | 15,890 |
dev-2912-27 | The character of Jedediah Leland was based on drama critic Ashton Stevens, George Stevens's uncle and Welles's close boyhood friend.[12]:66 Some detail came from Mankiewicz's own experience as a drama critic in New York.[13]:77–78 | dev-2912 | Citizen Kane | 27 | 15,891 | 16,123 |
dev-2912-28 | The assumption that the character of Susan Alexander Kane was based on Marion Davies was a major reason Hearst tried to destroy Citizen Kane.[25][e] Welles denied that the character was based on Davies,[27] whom he called "an extraordinary woman—nothing like the character Dorothy Comingore played in the movie."[12]:4... | dev-2912 | Citizen Kane | 28 | 16,124 | 16,634 |
dev-2912-29 | 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.[17]:61 | dev-2912 | Citizen Kane | 29 | 16,635 | 16,787 |
dev-2912-30 | Welles credited "Rosebud" to Mankiewicz.[12]: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.[13]:300 ... | dev-2912 | Citizen Kane | 30 | 16,788 | 17,804 |
dev-2912-31 | 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.[30][31] From 1935 to 1938[32]:47 Welles was a member of the uncredited company of actors that presented the original radio ver... | dev-2912 | Citizen Kane | 31 | 17,805 | 18,137 |
dev-2912-32 | Houseman claimed that banker Walter P. Thatcher was loosely based on J. P. Morgan.[34]:55 Bernstein was named for Dr. Maurice Bernstein, appointed Welles's guardian;[12]:65–66 Sloane's portrayal was said to be based on Bernard Herrmann.[35] Herbert Carter, editor of The Inquirer, was named for actor Jack Carter.[36]:... | dev-2912 | Citizen Kane | 32 | 18,138 | 18,461 |
dev-2912-33 | 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 1... | dev-2912 | Citizen Kane | 33 | 18,462 | 18,948 |
dev-2912-34 | 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.[5] Despite never having appeared in feature films, some of the cast members were already well known to the public. Cotten had recently become a B... | dev-2912 | Citizen Kane | 34 | 18,949 | 19,518 |
dev-2912-35 | 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",[38] as Susan Alexander Kane. A discovery of Charlie Chaplin, Comingore was recommended to Welles by Chaplin,[39]:170 who then met Comingore at a pa... | dev-2912 | Citizen Kane | 35 | 19,519 | 19,890 |
dev-2912-36 | 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,[11]:188 later saying that she looked the part.[39]:169 Warrick told Carringer that she was struck by the extraordinary resemblance between herself and Welles's mother when ... | dev-2912 | Citizen Kane | 36 | 19,891 | 20,336 |
dev-2912-37 | "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 w... | dev-2912 | Citizen Kane | 37 | 20,337 | 20,758 |
dev-2912-38 | 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.[43] | dev-2912 | Citizen Kane | 38 | 20,759 | 20,953 |
dev-2912-39 | 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.[39]:171 | dev-2912 | Citizen Kane | 39 | 20,954 | 21,208 |
dev-2912-40 | 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.[5] | dev-2912 | Citizen Kane | 40 | 21,209 | 21,482 |
dev-2912-41 | When Kathryn Trosper Popper died on March 6, 2016, at the age of 100 she was reported to be the last surviving actor to appear in Citizen Kane.[44] Jean Forward, a soprano who dubbed the singing voice of Susan Alexander, was the last surviving performer from the film before her death in 2016.[45] Warrick was the last s... | dev-2912 | Citizen Kane | 41 | 21,483 | 22,001 |
dev-2912-42 | 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,[11]:173 and ... | dev-2912 | Citizen Kane | 42 | 22,002 | 22,918 |
dev-2912-43 | 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[15]:66) and ... | dev-2912 | Citizen Kane | 43 | 22,919 | 23,412 |
dev-2912-44 | "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."[12]:60 Toland later explained that he wanted to work with Welles because he anticipated the first t... | dev-2912 | Citizen Kane | 44 | 23,413 | 24,462 |
dev-2912-45 | On June 29, 1940—a Saturday morning when few inquisitive studio executives would be around—Welles began filming Citizen Kane.[10]:69[15]:107 After the disappointment of having Heart of Darkness cancelled,[12]:30–31 Welles followed Ferguson's suggestion[g][12]:57 and deceived RKO into believing that he was simply shooti... | dev-2912 | Citizen Kane | 45 | 24,463 | 24,943 |
dev-2912-46 | 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 film... | dev-2912 | Citizen Kane | 46 | 24,944 | 25,289 |
dev-2912-47 | The early footage was called "Orson Welles Tests" on all paperwork.[10]: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.[10]:69[12]:77–78[h] "At $809 Orson did... | dev-2912 | Citizen Kane | 47 | 25,290 | 25,747 |
dev-2912-48 | The next scenes were the El Rancho nightclub scenes and the scene in which Susan attempts suicide.[i][10]: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 giv... | dev-2912 | Citizen Kane | 48 | 25,748 | 26,264 |
dev-2912-49 | 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] | dev-2912 | Citizen Kane | 49 | 26,265 | 26,510 |
dev-2912-50 | 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 ... | dev-2912 | Citizen Kane | 50 | 26,511 | 27,696 |
dev-2912-51 | 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 Welle... | dev-2912 | Citizen Kane | 51 | 27,697 | 29,146 |
dev-2912-52 | When "Rosebud" was burned, Welles choreographed the scene while he had composer Bernard Herrmann's cue playing on the set.[53] | dev-2912 | Citizen Kane | 52 | 29,147 | 29,273 |
dev-2912-53 | Unlike Schaefer, many members of RKO's board of governors did not like Welles or the control that his contract gave him.[11]:186 However such board members as Nelson Rockefeller and NBC chief David Sarnoff[47]:1170 were sympathetic to Welles.[54] Throughout production Welles had problems with these executives not respe... | dev-2912 | Citizen Kane | 53 | 29,274 | 30,084 |
dev-2912-54 | Principal shooting wrapped October 24. Welles then took several weeks off of the film for a lecture tour, during which he also scouted additional locations with Toland and Ferguson. Filming resumed November 15[10]:87 with some re-shoots. Toland had to leave due to a commitment to shoot Howard Hughes' The Outlaw, but To... | dev-2912 | Citizen Kane | 54 | 30,085 | 30,816 |
dev-2912-55 | Citizen Kane was edited by Robert Wise and assistant editor Mark Robson.[34]: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 ... | dev-2912 | Citizen Kane | 55 | 30,817 | 32,149 |
dev-2912-56 | 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.[43] Whereas Welles was often immediately pleased with Wise's work, he would require Dunn and post-production audio engineer James G. ... | dev-2912 | Citizen Kane | 56 | 32,150 | 32,543 |
dev-2912-57 | 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 b... | dev-2912 | Citizen Kane | 57 | 32,544 | 33,017 |
dev-2912-58 | Written and directed by Welles at Toland's suggestion, the theatrical trailer for Citizen Kane differs from other trailers in that it did 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.[39]:230 Filmed at... | dev-2912 | Citizen Kane | 58 | 33,018 | 33,868 |
dev-2912-59 | 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 ground-breaking, influential film, Simon Callow argues its trailer was no less original in its approach. Callow writes that it has "great playful charm ... it ... | dev-2912 | Citizen Kane | 59 | 33,869 | 34,448 |
dev-2912-60 | Film scholars and historians view Citizen Kane as Welles's attempt to create a new style of filmmaking by studying various forms of film making, and combining them all into one. However, Welles stated that his love for cinema began only when he started the work on the film. When asked where he got the confidence as a f... | dev-2912 | Citizen Kane | 60 | 34,449 | 35,053 |
dev-2912-61 | David Bordwell wrote that "The best way to understand Citizen Kane is to stop worshiping 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 many of these styli... | dev-2912 | Citizen Kane | 61 | 35,054 | 35,725 |
dev-2912-62 | Arguments against the film's cinematic innovations were made as early as 1946 when French historian Georges Sadoul wrote that "the film is an encyclopedia of old techniques." Sadoul pointed out such examples as compositions that used both the foreground and the background in the films of Auguste and Louis Lumière, spec... | dev-2912 | Citizen Kane | 62 | 35,726 | 36,201 |
dev-2912-63 | French film critic André Bazin defended the film and wrote that "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... | dev-2912 | Citizen Kane | 63 | 36,202 | 37,064 |
dev-2912-64 | Citizen Kane eschews the traditional linear, chronological narrative, and tells Kane's story entirely in flashback using different points of view, many of them from Kane's aged and forgetful associates, the cinematic equivalent of the unreliable narrator in literature.[61]:83 Welles also dispenses with the idea of a si... | dev-2912 | Citizen Kane | 64 | 37,065 | 37,865 |
dev-2912-65 | The technique of using flashbacks had been used in earlier films—most notably in The Power and the Glory (1933)[63]—but no film was as immersed in this technique as Citizen Kane. The use of the reporter Thompson acts as a surrogate for the audience, questioning Kane's associates and piecing together his life.[62] | dev-2912 | Citizen Kane | 65 | 37,866 | 38,180 |
dev-2912-66 | At that time films typically had an "omniscient perspective", which Marilyn Fabe says give the audience the "illusion that we are looking with impunity into a world which is unaware of our gaze, Hollywood movies give us a feeling of power." The film begins in this fashion up until the News on the March sequence, after ... | dev-2912 | Citizen Kane | 66 | 38,181 | 39,110 |
dev-2912-67 | The most innovative technical aspect of Citizen Kane is the extended use of deep focus.[64] In nearly every scene in the film, 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 achieveme... | dev-2912 | Citizen Kane | 67 | 39,111 | 39,530 |
dev-2912-68 | 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... | dev-2912 | Citizen Kane | 68 | 39,531 | 40,528 |
dev-2912-69 | Both this article and a May 1941 Life magazine article with illustrated examples[66] helped popularize deep focus cinematography and Toland's achievements on the film.[60]:73 | dev-2912 | Citizen Kane | 69 | 40,529 | 40,703 |
dev-2912-70 | Another unorthodox method used in the film was the way low-angle shots were used to display a point of view facing upwards, thus allowing ceilings to be shown in the background of several scenes. Breaking with studio convention, every set was built with a ceiling[65]—many constructed of fabric that ingeniously conceale... | dev-2912 | Citizen Kane | 70 | 40,704 | 41,554 |
dev-2912-71 | Welles credited Toland on the same title card as himself and said "It's impossible to say how much I owe to Gregg. He was superb."[12]:59[k][l] He called Toland "the best director of photography that ever existed."[69] | dev-2912 | Citizen Kane | 71 | 41,555 | 41,773 |
dev-2912-72 | Citizen Kane's sound was recorded by Bailey Fesler and re-recorded in post-production by audio engineer James G. Stewart,[34]:85 both of whom had worked in radio.[10]: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 pat... | dev-2912 | Citizen Kane | 72 | 41,774 | 42,285 |
dev-2912-73 | 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.[10]:104 He also used different "sound perspectives" to create the illusion of distances,[10]:101 such as in scenes at Xanadu where c... | dev-2912 | Citizen Kane | 73 | 42,286 | 42,855 |
dev-2912-74 | 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 Chris... | dev-2912 | Citizen Kane | 74 | 42,856 | 43,648 |
dev-2912-75 | 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, ... | dev-2912 | Citizen Kane | 75 | 43,649 | 44,223 |
dev-2912-76 | The make-up for Citizen Kane was created and applied by Maurice Seiderman (1907–1989), a junior member of the RKO make-up department.[73]:19 Seiderman's family came to the United States from Russia in 1920, escaping persecution.[73]:18 As a child Seiderman had won a drawing competition and received an apprenticeship ... | dev-2912 | Citizen Kane | 76 | 44,224 | 45,169 |
dev-2912-77 | "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."[73]:19 By 1940 Seiderm... | dev-2912 | Citizen Kane | 77 | 45,170 | 45,797 |
dev-2912-78 | On an early tour of RKO, Welles met Seiderman in the small make-up lab he created for himself in an unused dressing room.[73]:19 "Welles fastened on to him at once," wrote biographer Charles Higham. "With his great knowledge of makeup—indeed, his obsession with it, for he hated his flat nose—Welles was fascinated ... S... | dev-2912 | Citizen Kane | 78 | 45,798 | 46,484 |
dev-2912-79 | "When Kane came out in script form, Orson told all of us about the picture and said that the most important aspect was the makeup," Seiderman recalled. "I felt that I was being given an assignment that was unique—so I worked accordingly. And there was a lot of work to do. Straight makeups were done in the makeup depa... | dev-2912 | Citizen Kane | 79 | 46,485 | 46,968 |
dev-2912-80 | 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, except Joseph Cotten who was unavailable at that time. He made a plaster mold of Welles's body down to the hips.[74]:46 | dev-2912 | Citizen Kane | 80 | 46,969 | 47,232 |
dev-2912-81 | "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 visual arts historian Norman Gambill. When Seiderman achieved the desired effect he cast the clay pieces in a soft plastic material[74]:46 t... | dev-2912 | Citizen Kane | 81 | 47,233 | 47,799 |
dev-2912-82 | Before the actors went before the cameras each day, the pliable pieces were applied directly to their faces to recreate Seiderman's sculptural image. Welles was allergic to Max Factor's gum, so Seiderman invented an alternative that also photographed more realistically.[74]:46 The facial surface was underpainted in a f... | dev-2912 | Citizen Kane | 82 | 47,800 | 48,528 |
dev-2912-83 | The red ground resulted in a warmth of tone that was picked up by the sensitive panchromatic film. Over that was applied liquid greasepaint, and then finally a colorless translucent talcum.[74]:42–43 Seiderman created the effect of skin pores on Kane's face by stippling the surface with a negative cast he made from a... | dev-2912 | Citizen Kane | 83 | 48,529 | 48,874 |
dev-2912-84 | Welles was just as heavily made up as young Kane as he was for old Kane, and he often arrived on the set at 2:30 a.m.[12]:69 Application of the sculptural make-up for the oldest incarnation of the character took three-and-a-half hours. The make-up included appliances to age Welles's shoulders, breast and stomach.[73]:1... | dev-2912 | Citizen Kane | 84 | 48,875 | 49,507 |
dev-2912-85 | 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 real... | dev-2912 | Citizen Kane | 85 | 49,508 | 49,876 |
dev-2912-86 | Seiderman 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 ves... | dev-2912 | Citizen Kane | 86 | 49,877 | 50,247 |
dev-2912-87 | "Cotten was the only principal for whom I had not made any sculptural casts, wigs or lenses," Seiderman said. When Cotten's old-age scenes needed to be shot out of sequence due to Welles's injured ankle, Seiderman improvised with appliances made for Kane's make-up. A sun visor was chosen to conceal Cotten's low hairlin... | dev-2912 | Citizen Kane | 87 | 50,248 | 50,684 |
dev-2912-88 | Seiderman's tour de force, the breakfast montage, was shot all in one day. "Twelve years, two years shot at each scene," he said. "Please realize, by the way, that a two-year jump in age is a bit harder to accomplish visually than one of 20 years."[74]:47 | dev-2912 | Citizen Kane | 88 | 50,685 | 50,940 |
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