Film Analysis of Citizan Kane
Citizen Kane 1941, directed by Orson Welles, and composed by Bernard Herrmann, has been listed as one of the greatest films ever made. Although this was Bernard Herrmann’s first film score, he definitely laid the cornerstone of greatness in this film of which his other works would soon join. A bit of noteworthy information that should be addressed about Bernard Herrmann is his scoring style in Citizen Kane, as aptly stated in Robert L. Carringers book, The Making of Citizen Kane. The classical Hollywood approach to film scoring during that time was represented in works by composers such as Max Steiner, Erich Wolfgang Korngold, and Miklos Rozsa. The main features they emphasized on was full symphonic scoring symbolic of late nineteenth century European romanticism, particularly Wagner, Mahler, Strauss, etc. What makes Bernard Herrmann’s approach in Citizen Kane so special is his avoidance of using a full orchestra to score the music. He also employed unorthodox techniques such as smaller groupings of instruments that normally wouldn’t be grouped together in an orchestra setting, which you’ll hear very frequently in the Leland flashback. His basic structure throughout the movie is a leitmotif. Only the opera sequences and the endi
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Approximate Word count = 2379
Approximate Pages = 10 (250 words per page double spaced)
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