Film Studies Daily Log

Tuesday, December 2

We returned to Citizen Kane one last time to examine its use of the subjective camera.

We compared the two treatments of Susan's operatic career in this connection: first the nightmarish sequence as seen from Susan's tortured perspective (which actually occurs second in the film) and then the earlier presentation with its shifting perspectives, reflecting the viewpoints of the singing coach, Bernstein, Leland, and especially Kane.

Tomorrow's class will begin with a second (and final) quiz over Citizen Kane.