Understanding Cinema

An analysis of the narrative techniques in Kurosava s Rashomon and Orsen Well s Citizen Kane.

Introduction: At first, Rashomon and Citizen Kane seem similar to each other as each explores the concept of truth. They both use non-linear narrative technique however; the idea of truth is handled differently in each. In Citizen Kane the narrative covers different aspects and periods of the life of Charles Foster Kane. The accuracy of these various narrations is never called into question because the aim of the recounting is to aid in determining what truly motivated Kane to utter his last word Rosebud. In Rashomon, multiple narrators tell the story of the death of a samurai. Each of the witnesses describe the same basic events but differ highly in the details, alternately claiming that the samurai died by accident, suicide, or murder. The term "Rashomon effect" is used to describe how different witnesses are able to produce differing, yet plausible, accounts of the same event, with equal sincerity. While each narration broadens understanding of the motivations of the participants of the event, only one of the varying accounts is factual. In both the films, regardless of their differing emphasis on truth, besides sharing the technique of using multiple points of view of a single subject, both use sophisticated and innovative techniques to convey the salient points of their stories, and both use testimony to refine estimations of reality. For the ease of reading and understanding, I have discussed the movies separately.

Citizen Kane

Framing narrative: In Citizen Kane, the story of Charles Foster Kane is told by five different acquaintances of his, each with varying opinions of the character. Opening sequence: Dissolves of images of fences, the No Trespassing sign board and the Iron Gate with the big K on it. The camera comes closer to the castle (Xanadu) and a single lighted window. Then the light goes off and a moment later we enter the window into the castle. Cut to dying Kane and close-up of his lips saying his last word Rosebud and the snow globe falls in slow motion from his hand and breaks into pieces. Then a nurse rushes in which can be seen as a reflection in the broken glass of the snow globe and she covers the dead body of Kane. Suddenly the film cuts to a news bulletin, news on the march full of noisy music. An upbeat score is used to jerk and alert the audience. Unlike the last scenes, this news broadcast is full of quick cuts, loud music and the mood feels light. This presents the public view of Kane from outside. The audience is introduced to a person who is looked up to and has always been a center of attraction for the masses. Then the news broadcast stops and we find ourselves in a screening room full of shadowy figures. The room is dimly lit and one can already tell that these men are very manipulative. They want to know about Kanes last word Rosebud. Sir Thompson is chosen to unveil the mystery behind these words. One point to note here is that sir Thompson indirectly is the audience to whom everything is revealed in due course of time. He is shown mostly in shadows that display the reality that he is not a clear cut person. He is manipulative and Mr Kanes personal life has no effect on him.

Core Narrative: 1. Mr Thatchers narrative: To know more about Kane through Mr Thatcher, reporter Thompson goes to the library. Since he is no more Thompson goes to the library and reads Thatchers journal (memoirs). He was the one who brought young Charles to the city. Thatchers section mostly covers Kanes childhood and youth, from the time Kane left his parents to the time he founded the newspaper in New York. His report is mostly outward account of Kanes life. 2. Mr Bernsteins narrative:

He was Kanes loyal business associate. He was a great admirer of Kane. His part of narration begins from the founding of the newspaper Inquirer to the takeover of the rival newspaper Chronicles staff to the announcement of his marriage with Emily Norton Monroe, niece of President. When he was asked about rosebud he said, May be it was something he lost. Mr. Kane was a man who lost almost everything he had. Bernstein has always seen him as a young, energetic man full of spirit and vision. 3. Jed Lelands narrative: Jed was Kanes former best friend and later his cynical enemy. His section picks up where Bernstein leaves it, from the marriage with the first wife Emily to their drifting away from each other and then involvement with Susan Alexander, Chicago opera singer. In his narration, the scene of breakfast table is pictured where they were separating physically which signifies that Mr. and Mrs. Kane were drifting apart emotionally too in their relationship. The change in the kind of conversations they indulge in here also displays the increasing distance in their relationship as a couple. From here we know that Kane was almost going to win the post of Governor but his opponent exposed his affair with Susan and he lost the elections. Whereas Bernsteins part takes Kane to the peak of his happiness and success, Jeds section shows the beginning of Kanes bitter downfall. 4. Susan Alexanders narrative: She was Kanes mistress and later his second wife. Her narration is about how Kane pushes her to take opera singing as a career. According to her, he lacks feeling and sympathy. After the montage of opera scenes, there is cut to Susans bedroom where she attempts to suicide. The distance between them is conveyed literally and metaphorically. Yet in another scene we see a different Kane, begging her not to leave him. It can be seen that she starts melting but eventually doesnt melt because Kane says, You cant do this to me. And she realizes its about him and it has always been about him not her. He sees everything from his perspective.

Rashomon

Framing narrative: Opening sequence: The film begins with heavy rain and three Japanese wanderers; a Woodcutter, a Priest and a commoner take shelter from the rains inside the ruins of the gate of Rashomon. This takes place during the civil war, devastation is everywhere. People are depressed and it can be seen in these three characters behavior. The location of framing narrative is the ruin Gate.

Peripheral narrative: Woodcutters narrative (in court): He tells us that he was going into the forest to cut wood. Then he finds a womans hat, a rope and then a dead body in the forest and so he rushes to the police. Priests narrative: The priest tells that he saw the murdered man and his wife sometime before the murder, passing through the forest. Policemans narrative: This is followed by another mans narration how he managed to capture the notorious bandit. His story is broken into by the bandit himself who tells the truth of his capture and tells his version of the whole incident (tragedy).

Core Narrative: Tajomarus narrative: When Tajomaru first sees the woman; he describes it in a sensual way. He tricks the husband and ties him. Then in front of him he kisses his wife. He did not say that he raped her instead he said she willingly gave herself to him, after she got impressed by his manhood. But then, when her honor demands them (her husband and bandit) to fight, they both fights bravely and at the end Tajomaru kills the husband. His version is a Heroic version.

Wifes narrative:

Her narration starts after the rape. She says that bandit went away and then she came crying to her husband who looks at her with loathing eyes. It disturbs her a lot because he is the one who matters her after the rape. Later she faints and then she finds her dragger in her dead husbands chest. In contrast to Tajomarus narration that she was a fierce lady, she projects herself pitiful. Her version is the Pathetic version. Samurais narrative: The dead samurai tells his story through a medium. He tells us that after the rape, the bandit offers his wife to go with him and she agrees. But before leaving she says bandit to kill her husband. Listening to this bandit gets angry, spurns her and asks the Samurai whether to kill the woman or save her. Wife gets the chance and runs away. Bandit goes away too. He is left alone, he feels dishonoured. So, he performs Samurai code, Hara-kiri, i.e., he kills himself with his wifes dragger. Woodcutters narrative: Earlier he said he found the body but later we discover that he actually witnessed the entire incident. According to him, all the three versions were wrong and the three characters were weaker and sillier in their own way. The Bandit begs the woman to marry whom he dishonoured, her husband is a coward and so he is not ready to fight with the bandit to get his wife back and the woman was in a way selfish, she wanted both the men to fight for her. And they both fight in a funny way, which is a contrast to the heroic version of the bandit. This was the Farcical version.

Bibliography: 1) 2) 3) 4) http://flatrock.org.nz/topics/intellect_and_entertain/film_studies.htm en.wikipedia.org/wiki/Unreliable_narrator filmmakeriq.com/.../non-linear-narratives-the-ultimate-in-time-travel/ Class notes.