Quoting Andy Ditzler <a...@andyditzler.com>:

> Hello,
>
> Consider the brief close-up appearance of the cockatoo around the last
> third of Citizen Kane. Cut to bird, loud bird shriek on soundtrack, then
> back to the story. Welles' purpose in this odd cutaway was to wake up the
> audience, exactly as Tom Whiteside describes with his experience. ("It has
> a sort of purpose, but no meaning" - reference on p. 72 of This Is Orson
> Welles.) I suspect other singularities, at least in the novel use of them
> by Hollywood, have a similar purpose/effect.

There's a little problem with this: just after the screaming bird  
flies away, Kane's second wife, who had felt imprisoned in Xanadu,  
leaves him.

Two masterpieces of what I have called "destructive cutting," in which  
shots detract or subtract from or even "divide" previous shots in  
opposition to both classical Hollywood's "additive" editing and  
Eisensteinian montage, are Christopher Maclaine's "The End" and Ron  
Rice's "Senseless."

Fred Camper
Chicago

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