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Film Modernism$
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Sam Rohdie

Print publication date: 2015

Print ISBN-13: 9781784992637

Published to Manchester Scholarship Online: May 2016

DOI: 10.7228/manchester/9781784992637.001.0001

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Realism (1)

Realism (1)

Chapter:
(p.175) Realism (1)
Source:
Film Modernism
Author(s):

Sam Rohdie

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781784992637.003.0044

Welles’ films have four evident features. They bring together and overlap different techniques and styles either successively or in a single scene and sometimes within a single shot (depth of field and focal distortions in the attempted suicide of Susan in Citizen Kane); shot sequences and excessively detailed montage sequences, for example, the opening of Touch of Evil and its close that create a gap between sounds and images (they have different references, different rhythms and seem to inhabit different spaces as in the scene of the recording by Vargas of Quinlan’s dialogue with Menzies in Touch of Evil). In Welles’ films there are multiple points of focus in every scene. Welles’ use of depth of field creates different pockets of interest that touch each other, collide or overlap, for example, Thatcher’s visit to the boarding house to take Charles away to be educated in Citizen Kane, or Welles’ play with arrivals and exits (on-screen/off-screen), evident with the arrival of different groups at once scattered, dispersed and criss-crossed after the explosion in Touch of Evil, and in the labyrinth of Cyprus in Othello.

Keywords:   montage, overlap, gap

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