Use of Sound Effects by Orson Welles in the Movie "Citizen Kane"
Cinematic Tools of Orson Welles in "Citizen Kane"
As the director of the film Citizen Kane, Orson Welles integrated all of the tools of narrative cinema into the movie, including the use of light, two-dimensional space, three-dimensional field, time-motion, and sound together. This particular blog post addresses his integration of the essential element of sound effects in this classic film -- in particular, the "echo sound effect". I will also address how I integrated this filmmaking concept regarding the use of "echo" sound effect into the writing of my epic medieval fantasy fiction novel, The Wolves of Trisdian.
Use of Sound Effects in "Citizen Kane"
Working from years of experience with radio, Orson Welles used sound effects in the production of "Citizen Kane." The "tension of suspense are peculiarly dependent on the use of sound" (Boorstin 131). In line with this thought, the use of an 'echo sound' can add to the aesthetic quality and message of the scene being portrayed. An "echo is caused by the direct sound being reflected off a nearby surface... [and] the less absorbent the material, the more distinct the echo" (Mott 47). Welles saw the benefit of using such a sound effect in the scene where Kane and Susan are together alone in a large, overpowering, auditorium size, living room. "In order to emphasize the spaciousness of Xanadu, and at the same time to underline the emptiness of Kane's life there with Susan, he used an echo box or chamber" (Murray 28).
The above video "Citizen.Kane.(1941).WMV" at https://youtu.be/rIz_xhYK2Mo was uploaded by deanxavier to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of Sound in Novel Writing -- An Example
I incorporated sound several times in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following three excerpts are from the book and depict different scenes that utilize the concept of echoing, repetitive sounds (or lack thereof) that can (or cannot) be heard after being reflected from its source. The first echoing sound deals with repetitive rasping cries of ravens flying high above a soldier's encampment. The second echoing sound refers to the rumbling tremor and angry, low-pitched growls from a large number of stampeding Black War Wolves as their intonations resound off the walls of the surrounding mountains. The third excerpt involves a reference to the 'lack' of echoing sounds on the Plain of Granador after the conclusion of a fierce battle between two armies was fought, leaving only the corpses of dead men in an eerie silence on the empty plain.
Excerpt #1 - "The Echoing Rasping Cries of Ravens"
I continued my walk to Sir Vezian’s campsite. No human voice could be heard throughout the soldier’s encampment. The absence of human expression created an eerie silence. Suddenly, the stark, croaking sound from the throat of a large, gritty raven echoed from high above me. The repeated sounds of its creepy call grated on my nerves as it flew over our military campground. After each rasping cry, the unsympathetic raven clamped its bill shut with a loud snap. In between the gurgling calls, I heard the rushing sound of the raven’s wings beating against the cold, morning air. A few moments later, the raven’s harsh sounds could not be heard as it continued its flight into the dark, western sky. By this time, the bitter moon that towered over Mount Turadon during the restless night had now vanished away. The Zephyr winds from the west of Granador were lifeless and cold. I felt as if the Plain of Granador was left deprived of life and destitute of all living things. Was this a sign of things to come?
Excerpt #2 - "Their Angry Roars Echoed Off the Walls"
The Army of Trisidian like a witch’s cauldron seethed forward at four-beat gait gallop speed. The Riders with their Black Wolves were as locusts gathering to a stream before a fire. The thundering sound of the onrushing army blanketed the plain. The rumbling tremor of the stampeding Army of Trisidian was so great that I could actually sense the vibrations sweeping across the hard soil of the flat grassland. Bloodthirsty cries of Black Wolves broke through the air. Their angry, low-pitched growls, snarls, and roars echoed off the walls of the mountains surrounding the City of Granador. Like blasts of trumpets blown in wars, the raging voices and intonations of Trisidian’s Dark Riders saturated our ears. The legs of the stallions and wolves stretched forward in rapid, repetitive motion. Dust flew into the air as the feet of the stampeding stallions and wolves pounded the clay-baked, earthen plain.
Excerpt #3 - "Silence Prevails with No Echo Now"
My sight was bound with eyes unclosed. Amidst the dim, smoky plain, the torn and bloody battle-corpses of dead men, wolves, and stallions were in full view before me. There were myriads of them. The dark blood on their bodies was now all deeply clotted over. The spurs on the Dark Riders would never strike again the rounded flanks of their black stallions. Like riches from the squanderer’s hand, their corpses were flung prodigal to the earth. With each step I made through the war-torn plain, I thought about how these warriors, wolves, and steeds from Trisidian were all doomed to fall, bleed, and die as they charged to the unwalled City of Granador. Their voices rouse no echo now. Their footsteps have no speed. All that is left of them now is the empty, shell-like cocoon of their physical bodies that once served as their harbor of life. But now, their corpses are heaped into one wide charnel-pit. The wages of their evil ways shall rest upon this plain of dread. They are but a shadow now. The Plain of Granador carries the taint of Trisidian’s blood in its soil. The Army of Trisidian strove terribly amidst the fatal fiery ring that enamored their fight, but they have now met their fate.
REFERENCES
Boorstin, Jon. Making Movies Work -- Thinking Like a Filmmaker. Los Angeles: Silman-James Press, 1995.
Mott, Robert L. Sound Effects -- Radio, TV, and Film. Boston: Focal Press, 1990.
Murray, Edward. Ten Film Classics -- A Re-Viewing. New York: Frederick Ungar Publishing, Co., 1978.
Note: For a more detailed discussion of Orson Welles, his movie "Citizen Kane," and the various tools of narrative cinema he used in this great Hollywood classic, check out Techniques of the Film Masters (ISBN 978-1435743472) which is available in paperback print as well as digital download formats.
As the director of the film Citizen Kane, Orson Welles integrated all of the tools of narrative cinema into the movie, including the use of light, two-dimensional space, three-dimensional field, time-motion, and sound together. This particular blog post addresses his integration of the essential element of sound effects in this classic film -- in particular, the "echo sound effect". I will also address how I integrated this filmmaking concept regarding the use of "echo" sound effect into the writing of my epic medieval fantasy fiction novel, The Wolves of Trisdian.
Use of Sound Effects in "Citizen Kane"
Working from years of experience with radio, Orson Welles used sound effects in the production of "Citizen Kane." The "tension of suspense are peculiarly dependent on the use of sound" (Boorstin 131). In line with this thought, the use of an 'echo sound' can add to the aesthetic quality and message of the scene being portrayed. An "echo is caused by the direct sound being reflected off a nearby surface... [and] the less absorbent the material, the more distinct the echo" (Mott 47). Welles saw the benefit of using such a sound effect in the scene where Kane and Susan are together alone in a large, overpowering, auditorium size, living room. "In order to emphasize the spaciousness of Xanadu, and at the same time to underline the emptiness of Kane's life there with Susan, he used an echo box or chamber" (Murray 28).
The above video "Citizen.Kane.(1941).WMV" at https://youtu.be/rIz_xhYK2Mo was uploaded by deanxavier to YouTube. This video is not associated with the author of the article contained in this post nor does it imply any endorsement of the video's content by the article's author. No copyright infringement is intended; it is being provided here as "fair use" as part of this social commentary, historical reference, fair use blog. "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use." Use of Sound in Novel Writing -- An Example
I incorporated sound several times in the writing of my epic medieval fantasy novel, The Wolves of Trisidian. The following three excerpts are from the book and depict different scenes that utilize the concept of echoing, repetitive sounds (or lack thereof) that can (or cannot) be heard after being reflected from its source. The first echoing sound deals with repetitive rasping cries of ravens flying high above a soldier's encampment. The second echoing sound refers to the rumbling tremor and angry, low-pitched growls from a large number of stampeding Black War Wolves as their intonations resound off the walls of the surrounding mountains. The third excerpt involves a reference to the 'lack' of echoing sounds on the Plain of Granador after the conclusion of a fierce battle between two armies was fought, leaving only the corpses of dead men in an eerie silence on the empty plain.
Excerpt #1 - "The Echoing Rasping Cries of Ravens"
I continued my walk to Sir Vezian’s campsite. No human voice could be heard throughout the soldier’s encampment. The absence of human expression created an eerie silence. Suddenly, the stark, croaking sound from the throat of a large, gritty raven echoed from high above me. The repeated sounds of its creepy call grated on my nerves as it flew over our military campground. After each rasping cry, the unsympathetic raven clamped its bill shut with a loud snap. In between the gurgling calls, I heard the rushing sound of the raven’s wings beating against the cold, morning air. A few moments later, the raven’s harsh sounds could not be heard as it continued its flight into the dark, western sky. By this time, the bitter moon that towered over Mount Turadon during the restless night had now vanished away. The Zephyr winds from the west of Granador were lifeless and cold. I felt as if the Plain of Granador was left deprived of life and destitute of all living things. Was this a sign of things to come?
Excerpt #2 - "Their Angry Roars Echoed Off the Walls"
The Army of Trisidian like a witch’s cauldron seethed forward at four-beat gait gallop speed. The Riders with their Black Wolves were as locusts gathering to a stream before a fire. The thundering sound of the onrushing army blanketed the plain. The rumbling tremor of the stampeding Army of Trisidian was so great that I could actually sense the vibrations sweeping across the hard soil of the flat grassland. Bloodthirsty cries of Black Wolves broke through the air. Their angry, low-pitched growls, snarls, and roars echoed off the walls of the mountains surrounding the City of Granador. Like blasts of trumpets blown in wars, the raging voices and intonations of Trisidian’s Dark Riders saturated our ears. The legs of the stallions and wolves stretched forward in rapid, repetitive motion. Dust flew into the air as the feet of the stampeding stallions and wolves pounded the clay-baked, earthen plain.
Excerpt #3 - "Silence Prevails with No Echo Now"
My sight was bound with eyes unclosed. Amidst the dim, smoky plain, the torn and bloody battle-corpses of dead men, wolves, and stallions were in full view before me. There were myriads of them. The dark blood on their bodies was now all deeply clotted over. The spurs on the Dark Riders would never strike again the rounded flanks of their black stallions. Like riches from the squanderer’s hand, their corpses were flung prodigal to the earth. With each step I made through the war-torn plain, I thought about how these warriors, wolves, and steeds from Trisidian were all doomed to fall, bleed, and die as they charged to the unwalled City of Granador. Their voices rouse no echo now. Their footsteps have no speed. All that is left of them now is the empty, shell-like cocoon of their physical bodies that once served as their harbor of life. But now, their corpses are heaped into one wide charnel-pit. The wages of their evil ways shall rest upon this plain of dread. They are but a shadow now. The Plain of Granador carries the taint of Trisidian’s blood in its soil. The Army of Trisidian strove terribly amidst the fatal fiery ring that enamored their fight, but they have now met their fate.
REFERENCES
Boorstin, Jon. Making Movies Work -- Thinking Like a Filmmaker. Los Angeles: Silman-James Press, 1995.
Mott, Robert L. Sound Effects -- Radio, TV, and Film. Boston: Focal Press, 1990.
Murray, Edward. Ten Film Classics -- A Re-Viewing. New York: Frederick Ungar Publishing, Co., 1978.
Note: For a more detailed discussion of Orson Welles, his movie "Citizen Kane," and the various tools of narrative cinema he used in this great Hollywood classic, check out Techniques of the Film Masters (ISBN 978-1435743472) which is available in paperback print as well as digital download formats.
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