ความคิดเห็นที่ 5
ถ้าเวลามีการจัดอันดับหนังยอดเยี่ยมที่สุดตลอดกาล
โดยถามความเห็นจากนักวิจารณ์ คนทำหนัง นักประวัิติศาสตร์ภาพยนตร์ ฯลฯ
มักจะมีเรื่องนี้อยู่อันดับต้นๆครับ (โดยเฉพาะอันดับหนึ่ง)
http://www.bfi.org.uk/sightandsound/topten/poll/critics.html
http://www.bfi.org.uk/sightandsound/topten/poll/directors.html
http://www.theyshootpictures.com/gf1000_top100films.htm
http://www.thecinematheque.com/10top10_masterX.html
http://www.scaruffi.com/cinema/best100.html
http://www.filmsite.org/momentsindx.html#100greats
http://www.time.com/time/2005/100movies/the_complete_list.html
ถ้าถามว่าทำไม
ก็คงเพราะเทคนิคหลายๆอย่าง ถูกนำมาใช้ในการเล่าเรื่องอย่างมีประสิทธิภาพ
โดยที่นี่สรุปมาให้ดีมากครับ
http://www.filmsite.org/citi.html
* use of a subjective camera
* unconventional lighting, including chiaroscuro, backlighting and high-contrast lighting, prefiguring the darkness and low-key lighting of future film noirs
* inventive use of shadows and strange camera angles, following in the tradition of German Expressionists
* deep-focus shots with incredible depth-of field and focus from extreme foreground to extreme background (also found in Toland's earlier work in Dead End (1937), John Ford's The Long Voyage Home (1940), and Hitchcock's Rebecca (1940)) that emphasize mise-en-scene; also in-camera matte shots
* low-angled shots revealing ceilings in sets (a technique possibly borrowed from John Ford's Stagecoach (1939) which Welles screened numerous times)
* sparse use of revealing facial close-ups
* elaborate camera movements
* over-lapping, talk-over dialogue (exhibited earlier in Howard Hawks' His Girl Friday (1940)) and layered sound
* the sound technique termed "lightning-mix" in which a complex montage sequence is linked by related sounds
* a cast of characters that ages throughout the film
* flashbacks, flashforwards and non-linear story-telling (used in earlier films, including another rags-to-riches tale starring Spencer Tracy titled The Power and the Glory (1933) with a screenplay by Preston Sturges, and RKO's A Man to Remember (1938) from director Garson Kanin and screenwriter Dalton Trumbo)
* the frequent use of transitionary dissolves or curtain wipes, as in the scene in which the camera ascended in the opera house into the rafters to show the workmen's disapproval of Mrs. Kane's operatic performance; also the famous 'breakfast' montage scene illustrating the disintegration of Kane's marriage in a brief time
* long, uninterrupted shots or lengthy takes of sequences
จากคุณ :
[win] 
- [
30 ก.ย. 50 20:26:59
]
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