Revista Mal Estar e Subjetividade
versão impressa ISSN 1518-6148
The text proposes a study, based on Psychoanalytical theory, about the film Citizen Kane, by Orson Welles, touching upon some aspects related to melancholy. It is about regarding some parts of the movie context (script, soundtrack, editing), as well as the author's biography and the social context as social devices that award importance to the idea of the impossibility of mourning over a beloved object. Beyond the classic symptoms attributed to melancholy, the emphasis here lies on the process of loss described by Freud in "Mourning and Melancholy" (1917 ). The film makes us reflect on how much what is inherited can be paradoxically referred to a certain loss. Kane the character, in his childhood, inherits a fortune at the same time that he loses the possibility of living with his parents; thus, what he doesn't take from home (the sledge Rosebud) is what accompanies him for the rest of his life, as a significant, linked to the abandonment. The editing, one of the aspects of the movie analysis, is analyzed in more detail because it was considered, by Welles himself, as the main element of a movie masterpiece. Another proposition presented in this article is the idea that the editing, in this film, can also be thought as producing a melancholic effect.
Palavras-chave : Citizen Kane; editing; psychoanalysis; melancholy; significant.