A sociological critique of materialist fetishism in orson welles' use of cinematography in citizen june (1941)

Abstract

This dissertation examines how Orson Welles uses deep focus photography, expressive high contrast lighting (chiaroscuro) and mise en scene to socially critique materialistic fetishism in Citizen Kane. The dissertation is premised on the analysis of materialist fetishism, how materialist fetishism breeds individualism and the ways in which materialistic individualism negatively impacts on the individual. Materialism in this dissertation is defined as an orientation that reflects the importance a consumer (person) attaches to worldly possessions (Belk, W. Russell, 291-297). A materialist is defined in this dissertation as any person who believes in Belk's philosophy. Fetishism is defined in this dissertation according to Karl Marx as "anything to which more respect or attention is given than is normal or sensible" (05). This dissertation is grounded in sociological theory, especially the views of Wilbur S. Scott, that "the relations between art and society are vitally important and that the investigation of these relationships may organise and deepen one's aesthetic response to a work of art" (123), Austin Harrington, who writes that "sociological approaches generally possess a stronger sense of the material preconditions, historical flux and cultural diversity of discourse, practices and institutions of art" (31 ), and Karl Marx who insists that "literature should reflect the real world" (70). This dissertation concludes that through the use of specific elements of style; notably deep focus photography, chiaroscuro lighting and mise en scene, Orson Welles serves up a timeless criticism of capitalism and the ills of materialism. Until society overcomes these problems, it is likely that Citizen Kane will continue as a perpetually contemporary reminder on what is truly important in this money driven world.