Orson Welles and shallow depth of field

Orson Welles, known for Citizien Kane and War of the Worlds, was the first director to use depth of field as a style. We have already said that the depth of field in cinema corresponds to the psychological excavation of novelists, referring to the essay by Gille Deleuze Image-time.

Welles, by profession dramatist in New York and illusionist like George Melies, arrives in the nascent Hollywood with Citizien Kane, whose protagonist is the rise of a journalist, told by several witnesses-points of view as in As I lay dying by Faulkner. This brings to the agenda the debate on the rising power of the press (and therefore also of the cinema!) In the opinion and reality of people.

This concept will become true when Welles deludes millions of Americans of an alien attack, announcing it via radio. But it was only the launch of a new movie War of the Worlds (prior to Citizien Kane), which immediately assured him of a “notorious” popularity.

A great lover of Shakespeare, Nietzsche and Kafka will make films that problematize and parody the originals like in Macbeth and The trial. He will not be the only one to take inspiration from theatrical classics in cinema like Shakespeare, for example another master of the recovery of the classics was Kurosawa.

Here The lady of Shanghai with Rita Hayworth: https://amzn.to/2oDKUXt
In blue ray we have Citizien Kane in an excellent restoration: https://amzn.to/2WwsAMc

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