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Novella-length essay 'Raising Kane' is ranked no. 40 on our list of the best Hollywood books of all time because it started a fight that forced everyone to take a side.
"Raising Kane" is a 1971 book-length essay by American film critic Pauline Kael, in which she revived controversy over the authorship of the screenplay for the 1941 film Citizen Kane. Kael celebrated screenwriter Herman J. Mankiewicz , first-credited co-author of the screenplay, and questioned the contributions of Orson Welles , who co-wrote ...
For all the piles of research and miles of column inches that have been devoted to it, the controversy over the creative authorship of “Citizen Kane” — a kerfuffle that’s now 50 years old ...
Citizen Kane is a 1941 American drama film directed by, produced by and starring Orson Welles and co-written by Welles and Herman J. Mankiewicz. It was Welles's first feature film. [5] Citizen Kane is frequently cited as the greatest film ever made. [6]
Bazin's essays, especially "The Technique of Citizen Kane," played a crucial role in enhancing the film's reputation, arguing it revolutionized film language and aesthetics. His defense of Citizen Kane as a work of art influenced other critics and contributed to a broader re-evaluation of the film in Europe and the United States.
Teddy Roosevelt (Thomas A. Curran) campaigns with Kane in the News on the March sequence. "Although Citizen Kane was widely seen as an attack on William Randolph Hearst, it was also aimed at Henry R. Luce and his concept of faceless group journalism, as then practiced at his Time magazine and March of Time newsreels," wrote Roger Ebert. [53]
Herman Jacob Mankiewicz (/ ˈ m æ ŋ k ə w ɪ t s / MANG-kə-wits; November 7, 1897 – March 5, 1953) was an American screenwriter who, with Orson Welles, wrote the screenplay for Citizen Kane (1941).
Questions over the authorship of the Citizen Kane screenplay were revived in 1971 by influential film critic Pauline Kael, [4]: 494 whose controversial 50,000-word essay "Raising Kane" was printed in two consecutive issues of The New Yorker and subsequently as a long introduction to the shooting script in The Citizen Kane Book. [22]