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by: William Li

Tester BIOL 121

William Li

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Introduction to Biology - The Molecular Biology of Life
Goulian, Guild, Brisson, Lampson
Class Notes
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This 1 page Class Notes was uploaded by William Li on Wednesday August 31, 2016. The Class Notes belongs to BIOL 121 at University of Pennsylvania taught by Goulian, Guild, Brisson, Lampson in Fall 2016. Since its upload, it has received 3 views. For similar materials see Introduction to Biology - The Molecular Biology of Life in Biology at University of Pennsylvania.


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Date Created: 08/31/16
An important part of the Penn Reading Project is this short essay (200­250 words). It's your  opportunity to consider an aspect of the assigned work (in this case, Citizen Kane), and share  your thoughts with your discussion leader. The project is not graded but it is required of all  incoming Penn freshmen as part of PRP. No additional research (beyond watching the film) is  required, and as you'll see, there's no correct answer; we're interested in what you think  about Citizen Kane. You can write below, or copy­and­paste from Word or a similar program. Welles’ film, Citizen Kane, is 75 years old. In many ways, to a modern audience, it looks like an  historical work – in grainy black and white, with a square­ish visual format very different from  the contemporary wide screen we’re familiar with. Yet the visual imagery that Welles and his  cinematographer, Greg Toland, created remains strikingly original. Consider an image or scene that particularly strikes you visually – and think about how it tells a  story. What is the relationship of what we see to the dialogue and the narrative more generally? “Excuse me!” One by one, Jed Leland, Mr. Bernstein, and a delivery man barge past a flustered Mr.  Carter, each bringing furniture and interior decorations into the chief editor’s former private  office. A whimsical background tune accompanies the one­sided exchange between the tall,  dominating Mr. Kane and the stout, overwhelmed Mr. Carter. This short and seemingly  unremarkable scene uses blocking and speech to effectively highlight Kane’s ambitious visions  and command of power early on; both will eventually become signature characteristics of the  staunch business magnate. Kane’s assertion of authority is first portrayed in these sequences by the stances and  positions of the actors: he towers over Carter and corners him, like predator to prey, into the  office door. Kane’s tone throughout the conversation is intense and commanding, whereas his  counterpart’s is stuttered and frantic. He declares that “the news goes on for twenty four hours a  day” and is impervious to the editor’s grievances. Most striking in the scene is that only Carter is interrupted by the men passing in between them to and fro the office. Dialogue and visual  imagery thus combine to demonstrate an aura of power around the main character and weakness  in the other. This enables Kane to enact visionary changes to the newspaper system and break the status quo. Orson Welles uses similar visual and conversational tactics throughout the rest of the  film to drive the narrative of Kane’s life by illustrating his changing principles and charting his  rise to and fall from power.


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