Your film motivated me to criticize over some of main points of your Film which inspired me. I have a very strong feeling on the montage and realism, in my opinion montage is necessary in many cases to make a film influential. I made preeminence between “those directors who put their confidence in the image and those who put their assurance in reality”. Like as your directorial style reality and everything that can support film such as sound, center of attraction for audience and editing, set what film should be. I admit that, it is mixture that gives nativity to film as an art. I felt that handling of the image by suggestive editing or the dramatic sets stands in such the way of releasing film’s true probability for realism. In my point of view introduction of sound is an essential element to enhance the reality of film as an art form. The introduction of sound reveals an expression of reality that was missing before. The film should blossoms in a delighting and the environment must be artificial where even the movement of the actor’s sound reflection strained angular shapes of their setting. I would like to say that by using deep focus, you able to cover the whole scenario in one take, the camera remaining inactive; thanks to the depth of field. Dramatic effects were created out of the apparent motion of the actors among a fixed framework which were so fined. You used all the pioneers for a very good reason. Soft focus only seemed with montage. I also admit that it’s hard to make a film free from montage at all. In my sense no matter how film shot, is and always will be a piece of art; because film expresses the thoughts and the feelings of its maker, it can be relatable or less relatable. It can force its message forward in a plain, metaphoric or insidious way the message is still there invariably. The act of making film is already meddling with reality by capturing it a contrived form. I am not against of creativity; I believe that realism of cinema gives greater power of creativity. My realism is ultimately personal. You gratify in a great deal of symbolic and emblematic to tell us about your story. The way you used the realistic device of mystifying focus of symbolic effects such like placing a character further into a room to make him seem littler and more unimportant. It is not exaggeration to say that Citizen Kane is incredible shot in any other way but in depth. The uncertainty in which we find ourselves is the version we should put on the film is to it built into the very design of the image. In Citizen Kane I saw a “Revolution in the Language if the Screen”-one that drifted away the conversations of standard Hollywood storytelling at that time via different techniques, although Citizen Kane didn’t pioneer these techniques but you invested them with new meaning and power. You also used the “Unity of Image in Space and Time” for maintaining a single shot where as another film might have required four or five shots. The camera has power to preserve and record real events in time and space by photographic procedure that’s independent of human version. I even found that stimulating challenge to Hollywood artifice in some of the film’s more artificial techniques to avoid the unusual camera angels who revels the ceiling of sets and etc but in Citizen Kane you overcome this problem by extending fabric over sets, creating “ceiling” that were translucent and sound permeable. In my view Camera is
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Customer Name Teacher Name Visual Arts & Film Studies 4th Feb 2012 Dear Mr. Welles, My name is Andre Bazin I may be not your number one fan (there are a lot of competitors for that), I emphatically admire your personality and talent. I watched your film Citizen Kane which is your first feature film a “Classical Movie”…
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