Personally, I disagree that Citizen Kane is the best film ever made due to the perhaps outdated themes and concepts compared with today. However, I can appreciate how it can be classed as such a success, both with the 1940’s audience and to the film world of today. There can be many reasons for its success, the cinematography is cited as innovate and used to the best of its ability by the remarkably talented Tolland who utilises techniques such as long takes and deep focus to elevate the visual but also representational meaning of the film.

Another innovate cinematic technique used is the crane shot. At the time, these were virtually unheard of, only appealing occasionally in some films. The scene began by showing a somewhat distressed and clearly uncomfortable Susan Alexander singing. The camera slowly begins to rise up to the rafters, as her diegetic singing begins to follow it upwards. She is met with disdain and negative views by the men who watch. This conveys a powerful message underneath the controlling of Susan by Kane. It shows how men judge and critique women although it is not always their decision. This is significant in showing Susan as strong despite what she went through as she takes control of her life and breaks away from both her husband and the life created for her by the domineering man. This can resonate with young women at the time who were controlled by their husbands, however we see how this did affect Susan in later life as she becomes an alcoholic. An important message comes from the idea that men can control women to the point where they begin to ruin their lives; this serves as an influential theme within the film

The consistent use of deep focus throughout is an innovate technique adopted by cinematographer Greg Tolland. It was used throughout, mainly to create an audience reaction to Kane by either making us pity him as we see how isolated he has become, or in some cases we can dislike the greed and selfish nature displayed. With Kane as a young child, deep focus is used to show him happily playing in the background to his parents signing him away. This shows that although the conversation is revolving around his life; he is still detached from the whole situation which makes the audience emphasize with him. Another significant use of deep focus comes from the scene where Kane speaks with his work colleagues and rivals. He is positioned in the foreground which represents his significance and believed superiority over the others. This expresses his arrogant personality, which would mean the audience were inclined to dislike him. However, since he is standing; there is a clear division and distinction from him and the other men. This suggests his isolation as he is clearly shown as not part of the group like the other men, this could be likely to make the audience sympathize for him again as they realise how lonely he must be as he always is expressed as difference and separated from the others.

The frequent use of low angles to create depth of field is also considered one of the most visually appealing and influential elements of Citizen Kane. In this particular shot, the tension is evident from the way we are perceiving the action from a low position; looking up to the powerful characters. The technique is frequently used, and influenced several films; most notably ‘The Maltese Falcon’ (1940, by John Huston) which used long takes and low angles in a similar way to Toland. However, deep focus shots were not utilised as much as Toland had in Citizen Kane. This was just one example of the numerous films which took inspiration from the unique and revolutionary cinematography style adopted by Toland. The 1944 mystery-thriller ‘Gaslight’ was influenced by Toland’s work, in regards to the style of shots and overall look and feel of the film. Renowned cinematographer Kazuo Miyagawa claimed to have based his technical use of deep focus from Citizen Kane and Toland rather than traditional Japanese art. This diversity proves the impact and success of Citizen Kane both technically and as a whole piece. The style of his work influences cinematographers around the world, proving the global level of film and his true innovative technique within the skill of cinematography. As well as globally, the style has also influenced a number of different film genres adopting a similar style.  This diversity is important in showing Toland’s success and innovation

The cinematography and lighting of Citizen Kane was so influential and innovative that it inspired many other directors or cinematographers to adapt and evolve their use of the skillset. In particular, film noir was heavily influenced by the work of Tolland in the 1950’s. Films such as ‘The Killers’ (1946, by Siodmak) followed a similar visual style adopted by Tolland. The cinematographer Woody Bredell used dark lighting and deep focus to keep the audience engaged. As well as following the typical noir conventions and tropes, there were many references to the work of Tolland, particularly through the dark, low-key lighting used throughout. The darker lighting and exaggerated camera movement was used frequently throughout the 1940’s/50’s. However, it declined in popularity after the birth of the French New Wave in the 1960’s and Tolland’s style was not adapted as frequently. But as that too began to wear off, the 1970’s saw a combination of the two movements and the unique cinematography style of Tolland became more widely used again. In particular, the unique flashback structure influenced a variety of later films, including the 1976 Polish film ‘Man of Marble, directed by Andrzej Wajda. By this era, the work of Tolland had begun to spread globally, allowing Wajda to adapt the popular flashback structure to construct his film. Before Citizen Kane, films were typically told following a linear narrative, and the work of Tolland led to an increase of flashbacks being used which introduced variety and diversity into cinema. This was a significant innovative move because it led to many directors and cinematographers being influenced by the many aspects of his unique cinematography style.

The themes within Citizen Kane are relatively simple yet would’ve resonated well with the audience at the time; and some still bear significance and relevance to this day. The myth of the American Dream is something which is shown throughout the film, and would have a particular deep influence on the 1940’s American audience. Citizen Kane was not one of the first films to depict this real fantasy, but maybe the film is recognised for its message due to it being one of the only films which actually showed it as not desirable and the arguably the most realistic. As a child, Kane is extremely happy while playing in the snow. This is clearly shown by the positive, upbeat and very optimistic underscore used in the scene. Although his parents are poor, and he has scarce toys nor anyone to play with; his happiness marks the scene as one of his most favoured memories. When Thatcher removes him from this loving and safe environment, he is given materialistic dreams yearned by many. However, this does not make him happy at all. Instead, he has developed into a lonely, selfish and power hungry individual due to his extraneous wealth.  The trade for emotional and financial wealth does not benefit him because he uses his perhaps unnecessary riches to either attempt and buy love or make others as miserable as himself. The American dream has backfired on him because instead of learning to love other people; he has put everything into loving his wealth which has resulted in the breakdown of both marriages. He eventually dies alone, surrounded by possessions rather than people which is as about lonely and isolated as the American Dream was. A reason why this theme is so prominently powerful is due to its honesty. Many believed that money could cure all of their problems; but Kane is an example that it can just tear away everything and make life so much more isolated and worse.

There is also the idea of interpreting a life. Kane died and never got to tell his story so instead we are left with the stories of his life from the points of view from people he connected with; be it positive or negative. We rarely got to know the real Charles Kane; instead his ‘story’ was told through the describing and explanations of his career, relationships and possessions. The only glimpse into his true personality was revealed with the vulnerable moment of ‘Rosebud’. With the realisation that Kane’s happiest memory is that from his childhood; before his wealth, we can assume that perhaps he did not favor his wealth. A somewhat stony and emotionless relationship with guardian Mr Thatcher influenced his childhood remainder as the man seemed to be more concerned with making money than worrying for Charles. It is important to note that Kane did not chase his wealth, nor follow the American dream. This was thrusted unwillingly upon him from an early age. This can suggest that he may not have wanted all of this, but time and imposition shaped him into the man we saw onscreen. Since the story is told from others, we do not know exactly why Charles became the man he was, and more importantly; if he actually was as wealth hungry as perceived by the others.

The complex narrative structure and plot was not common at the time. Before the time of Citizen Kane’s release, Hollywood was in its prime: with the introduction of colour in 1939, from ‘The Wizard of Oz’ released in August. MGM’s first successful animated character, Barney Bear was introduced in June 1939 and the year was the beginning of ‘Gone with the Wind’s success. But Citizen Kane also brought about change because the complex structure of the film went on to inspire many other directors to add more twists to their film. At the time, no other director had told a story with multiple narrators, and the audience had learnt to trust their narrators when watching a film. Welles introduced the idea of unreliability, which was a unique and practically unheard of concept at the time. Verisimilitude was ensured by solidifying the audiences trust in the characters as they believe everything as true. But Welles challenged this idea, and this technique in turn; was later used by many other directors.

In contemporary cinema, many directors have adapted Welles technique, and put their own spin on the innovative technique of utilising non-linear narrative structures. In recent cinema, the 2018 film ‘Mamma Mia! Here We Go Again’ directed by Ol parker; the story is told with many flashbacks detailing the protagonist and her mother’s life with over a 40 year time difference. Parallels are spotted, and this unique technique is interestingly adapted by Parker to engage a contemporary audience. Many recent films adopt a non-linear narrative, and the technique is significant because it causes the audience to think and try and interpret what is going on and when things are actually happening. The non-linear narrative structure is important to Citizen Kane because it helps create suspense and mystery. This technique has been adapted in many ways since Welles innovated it, but the success is proved by how it is being used today; showing that it is a useful narrative structure to complex plots

The character of Kane himself has also been widely adapted and utilised in a variety of films. Most notably in contemporary cinema, the 2010 drama ‘The Social Network’ directed by David Fincher; portrays an autobiographical media character. The character of Kane is so complex, that the audience both pity and loathe him. In a similar way to Kane, the character of Zuckerberg is shown as selfish and most decisions are for his own benefit. The narrative structure is also similar to that of Citizen Kane as the film is intercut with different scenes showing the later outcome. This is a unique idea for a contemporary audience as it seems very complex and difficult to decipher the actual order of events.

Memory is also explored, but this is more of a hidden concept within the film. All of the narrators are shown to hold a relationship with Kane; these are relatively mixed with Bernstein holding a great deal of admiration for the tycoon whereas Susan Alexander is a disheveled, alcoholic who resents Kane for ruining her life. As Kane himself is dead, we have to trust these narrators to tell us the story which is a difficult enough task due to the impending memories issues because of age and their own personal opinions which can obviously influence how they will tell the story. Leland’s memory is perhaps the most unreliable due to the implications that his memories are not exactly accurate; at one point he claims that he cannot remember the name of Kane’s home which shows that his stories cannot be fully trusted. As well as her distain towards Kane, Susan Alexander’s narration cannot be trusted either. She is shown as an alcoholic, which would obviously cloud her judgement and memories. As well as this, she hated Kane for what he did to her; so it doesn’t seem unlikely that she would want to paint him in perhaps a more negative light. Although Kane was well-known for his wealth and achievements; the lack of accurate and reliable memories by people considered to be closest to him suggests that people will be forgotten regardless of their ‘fame’ or achievements. Memory forms a large and actually quite significant part of the film because the near enough entirety of it, is told through flashbacks so we as the audience, have to trust the memories of our narrators enough to understand, watch and also to trust the film.

The motif of isolation is something which evokes sympathy from the audience towards Kane as we feel sorry for him due to how alone he actually is. Throughout the film, his isolation is inevitable. As a young child, he is positioned between his mother and Thatcher which represents how they are planning to separate him from his home and family. The motif is continued throughout adult life; he is positioned in a shot alongside Leland and Bernstein however as they discuss tactics, he is left out both within the conversation and physically positioned astride from them in the shot frame. Although the men are in physical proximity, it is clear that Kane is an outsider. Susan’s dismantled relationship with Kane also serves as an example of his isolation. From the start, the duo had an intense relationship blossomed form an affair. But as Kane became more possessive and controlling, he drove Susan further away as she began to resent her husband for forcing her to sing opera. Instead of accepting the relationship was over or doing anything to fix it; Kane made it worse by clinging onto his wife and enclosing them in his mansion Xanadu. He continued to push his wife, not allowing her out and keeping them inside their home. Eventually, his controlling nature drove Susan away. This left him once again alone, serving as a constant reminder throughout the whole film that he is an isolated character who pushes anyone away. This can be due to his materialistic upbringing which left him favouring wealth over love. Ultimately, isolation is seen as Kane’s downfall and serves as a catalyst for his marriage breakdowns, bankruptcy and death alone.

The cinematography of Citizen Kane helps develop the story behind the film and can be considered one of the reasons why it is so influential. Although techniques such as deep focus and long takes were occasionally used; they were rarely if not ever used to such the emotional extent that Tolland managed to create. These techniques had been used before, but Tolland innovated them to tell the story. Deep focus was not just used to make everything clearer, it also allowed us to realise that Kane was isolated and alone. It included him in scenes where his short presence seems insignificant; but it shows that he was there. Alone, but still part of what was going on at the time. Long takes are used to build up tension, we are kept anxiously waiting, and anticipating what will happen next. The camera does not break away from the action because Tolland understands that we need to see what is going on and feel part of this action. Verisimilitude is easily achieved because we cannot look away, the atmosphere is so fraught and tense that we are awaiting what will happen next, will Mary sign Charles away? Deep focus is introduced next, allowing us to pry our eyes away from the tension long enough to spot young Charles happily plying. Contrasting happiness with such despair and tension is an interesting concept which manages to make us sympathize for Charles after everything he is going through.

Sound is an overlooked aspect of the film which although does not directly contribute; it helps to build up a general atmosphere. The film is well known for its complex soundtrack due to the amount of editing and manipulation applied to create something adequate. Welles’ background in radio broadcasting came in handy for the score. Dialogue is overlapped, and several songs are composed from the mixing of different soundtracks together. Another technique used from radio is that of using several different people to each speak a fragment of a sentence then editing them together to form which results in one fluid movement. These techniques are interesting in improving the films fluidity and ensure a smooth transition not only from each scene but across each individual frame

In general, Citizen Kane is considered such a success because of the influence it had on the public. Themes surrounding the truth of the ‘American dream’ and isolation would resonate well with the audience who could relate to the themes in certain aspects. Tolland’s cinematography continue to elevate the film by developing the relationship between the audience and the characters, in particular: Mary and Charles. Deep focus in particular portrays the themes strongly by using the space within a frame well. Cinematography within Citizen Kane is nothing considerably new. Tolland just used common tactics and developed them by maintaining a consistent palette throughout the whole film. Motifs such as isolation and memory are also used, perhaps to resonate with the audience but also to develop the characters particularly Charles as we do not know him as well as we think due to the possibly unreliable narrators.

Although Citizen Kane utilizes many iconic scenes for various reasons; personally I think that the scene depicting Kane as a young child being sent away is that of the most visual and influential significance, particularly due to the cinematography. There are many reasons why this scene is such a success, it portrays Kane as innocent which represents the major theme of not only ageing, but an overall innocence within the film. By showing Kane as a child, we are given a glimpse into his early life where he is not rich and as selfish as implied prior by his second wife Susan Alexander. The scenes significance is implied by the concept that we already know Kane dies, by showing his isolated and lonesome death we can assume that he was not the friendliest nor caring person. The interesting idea is showing his early life, as it gives us a possible insight as to why he was such a selfish, greedy but also lonely character. As a child, he seems happy enough. However, all of this is taken away from him, when he is moved to live with Mr Thatcher. Symbolically, his tight grip on his sled represents his desperate clinging onto the last of his childhood innocence as he is reluctant to let his happiness and childhood go. The sled represents his only true form of a connection and love shown throughout the whole film as it seems the only thing that he is truly sad to let go of. Throughout the film, he is worried of the repercussions of his actions however this is the only time where he is upset that the action will affect him; demonstrating his final grip of innocence

As well as being symbolically significant, there are also many visual tricks and elements of the scene which are innovative but also vital in developing the film as a whole. The arguably most important aspect of the scene is the cinematography by Tolland, of which I will be discussing first.  Staging in particular is utilized to tell a story and develop the characters throughout as certain characters are portrayed as more dominant. We are first introduced to Kane’s mother through the first take of a long shot which positions her in the foreground with her silhouette emerging in the frame as the camera tracks out. This immediately puts us in her position and allows us to see things from her perspective and also establishes her importance in the scene early on. As the camera continues to track out with her; she is staged between Mr Thatcher and her husband. This puts her visually in the middle of their opposing ideas which represents her insistence to send Kane away with Thatcher opposed to agreeing with her husband. Until she signs the papers to send Kane with Mr Thatcher, she is kept confidently in the foreground. This presents her dominance over the two men and ultimately Kane as she is the one to make the decision. Her dominance over the space is represented within her clear dominance over the two males. The evident dominance within the characters is presented clearly with Mary at the top as she is the first to make the move outside followed by Thatcher then her husband; representing his lack of control over the situation

In contrast, her husband; Jim Kane is presented as weak and possibly inferior to his wife in terms of decisions regarding his son. Through terms of staging, Jim is positioned behind Thatcher, indicating his lack of control and input over his son. By positioning him behind Thatcher, we can see the little influence he has over Charles as his son is now placed in the hands of Thatcher. Whereas Charles himself is hidden deep in the background, barely visible. This represents his lack of control over his life and how he is not involved within the decision making which will dictate his life. Jim is also positioned behind Charles, showing a perhaps lack of connection with his son as he does not seem physically nor emotionally close to him. This could have an empathetic reaction on the audience, who could understand why Charles is so isolated due to his fraught relationship with his father displayed through the relatively distant staging of both characters throughout the whole scene

The power dynamics show Mary center stage as she dominates the foreground and the conversation. Thatcher follows by wafting around the middle ground, expressing some relevance as he is the one to take Charles away. With Jim residing in the corner, he is portrayed as weak which contrasts the stereo typically common view of a confident, assured male at the time. Finally, we can barely see Charles in the deep background, playing innocently with no idea what is going on, as a last image of his childhood. This contrasts the first impressions of Charles as a powerful, greedy and selfish man displayed within the newsreel opening scene. In this, he is depicted as a young, typically carefree child. However an element of sadness is added with the realization that he has no actual control over his life. This is strongly expressed by his staging as he is shown far away in the background throughout the scene’s entirety. As an audience, we would sympathize for Charles due to his lack of freedom

Another significance of the scene, is that of the character of Mary. When she walks away from the table, she is still positioned center of both men; a parallel to the beginning of the long take where the staging is almost identical. Following the long take, a medium shot of Mary lifting up the window panel is shown; again, presenting her in the foreground with her back to us. This clearly highlights her significance as she is continually shown in the foreground to remind the audience of her relevance and possible influence over not only the two men but also the scene as a whole.

The lighting used is mostly subtle but mainly conflicts between dark and light. Whilst Charles is playing outside, everything seems hazy yet bright; implying that these are fond and happy memories of his childhood. This could foreshadow the revealing of ‘Rosebud’ as his sled, due to the clear significance of his period of time within his life. The memories could be considered somewhat hazy, shown by the lack of clarity interrupted by the snow falling. The sky is shown as relatively dark, with the white snow representing Charles’ purity and innocence. The darkness of the sky could foreshadow the loss of innocence. Since Charles is wearing dark clothes, he stands out against the stark white snow. This could represent how he is slowly changing as this is his last grip on childhood innocence

Whereas inside, the lighting reflects the dark and somber mood as Mary prepares to give Charles away whilst Jim protests. The conflict of opinions is presented through the mix of shadows and natural lighting. The lighting inside seems to be darker, with less brightness and optimism displayed outside. The flash of white at the window is contrasted against the lack of candles or anything illuminating both the room and the overall mood of the scene. The dark shadow of Charles stands out the most because not only do the colours contrast; but it adds him to a pivotal scene where his life is being changed completely. Much of the lighting throughout the scene is focused on Mary, again; asserting her dominance over the males. This is an interesting way to show her relevance because at the time of production; controlling, selfish men were typically in control. The lighting instantly foregrounds Mary by illuminating her to the audience, which presents her as authoritative but also a remarkably significant character to both Charles and the plot.

Referring back to the character positioning, the childhood innocence of Charles is constantly reiterated by towering the adults above him. This represents his lack of control but also inferiority to the adults as they discuss the decisions which will impact and shape his life. Charles is typically positioned center of the frame, reminding the audience of his eventual power and significance within the film. As Thatcher clearly towers over Charles, this is a powerful representation that his future is now in the man’s hands. Another thing is the slight attempt at uniting Thatcher with Charles. By placing him in the foreground alongside Charles; this shows that he is attempting to connect with him whereas his father Jim is left in the background.

The setting of the scenes revolves around the snowy boarding-house owned by Mary and Jim. The environment is simple, and is a direct contrast to Xanadu – Kane’s mansion shown in the opening scene. However, there is a symbolic meaning to these comparisons as despite the luxury and sheer grandness of his mansion; Kane was still isolated and died alone. Whereas he was shown as happy, and free while at his simple yet obviously significant home. Within the setting, everything is coated in a thick white blanket of snow, the stark colour represents innocence which is a major, if not the most significant theme present within the scene. This suggests that Kane did not need money to be happy and despite his hunger and devious greed; he was still not happy which is shown from his isolated death. Whereas as a child, he was rich in happiness. Although he was just a child, his clear happiness is shown throughout whereas he is later shown as being lonesome and too greedy to regard anyone or anything except his own needs. This is actually quite a sad concept, seeing his clear joy at the start, compared with his separation from Susan, bankruptcy and later death towards the end of the film

The outfits wore by the characters do not bear specific relevance, however the dark colours represent the somber mood and tense atmosphere. By all of the characters wearing black, this can suggest that despite the happiness portrayed by Kane; this is the beginning of the downfall and perhaps the catalyst for his loss of innocence and childhood. There is also the contrast with Jim and Thatcher’s clothing which clearly separates the two classes. Jim wears a worn old jacket along with a basic hat whereas Thatcher is kitted out with a grand top hat, jacket and gloves. Although this may seem irrelevant, it continues to show the division between the two characters which can represent the change in Kane’s life from poor to rich

Composition mainly comes from the positioning of Mary in the foreground to demonstrate her control over the situation and ultimately Kane’s life. However, take this medium long shot for example; Kane is positioned in the center of the frame when he is being watched by Mary. This represents how he is the center of the conversation as it will affect and impact his life. But since he is trapped in the mid-ground, he is unable to be involved with the decision making which suggests that although the conversation revolves around him and his life; he has no say in the matter and cannot control what will happen to his own life. Since Mary is positioned in the foreground again within the shot, she is implied to have the most say and influence since she is physically but also metaphorically watching over Kane implying that the decision made was for his best benefit. Concluding, composition is used to express character significance; most notably by foregrounding Mary to show her control over both the characters and the situation. It is also used by keeping Kane within the mid or background where he cannot get involved to show his helpless innocence.

In regards to non-diegetic sound, the scene comprises mainly from the music making up the underscore. Prior to the scene, tense and atmospheric music is used to engage the audience by forcing us to keep looking to see if anything climatic will happen. However, almost immediately as we are introduced to the new setting and scene; the music switches to an upbeat and happy score composed perhaps to express that this is a much happier time in Charles’ life. The music also provides a smooth transition between this scene and the one before it by almost fading away the previous troubles and tense atmosphere into a much happier environment. Charles’ happiness is conveyed straight away from the music since it is more upbeat. This shows that he could have happier memories surrounding this time, perhaps briefly foreshadowing the sled as ‘Rosebud’ since this period of time was considered to positive and important to him. However, the happy music also can provide a distraction from the engaging, albeit tense exchange between Charles’ parents and Thatcher. By adding happier music to their tense exchange, we are perhaps perceiving it from Charles’ point of view as he continues to happily play, oblivious. Moreover, the happy music can suggest that although Charles was sent away, he was extremely happy at the time; hence why the score seems to overrule the disagreement. We can suggest that the memory is not tainted by his send away, as the music is still happy which can reflect his positive memories of the day. From the diegetic sound, the audience can continue to sympathize for Kane as they are beginning to understand that he was a happy character; implying that his greedy persona developed from something opposed to him just being downright cruel.

The most notable example of non-diegetic sound from the scene is that of sound effects used to add emphasis on certain actions. When Charles throws snowballs at the boarding house, the loud and over-exaggerated thud draws our attention away from the dispute over whether Charles will go with Thatcher. After seeing Charles happily playing, we realise that this is his life that will be impacted from the decision. Using such a seemingly unnecessarily exaggerated sound effect makes both us and the onscreen characters realise the severity of the situation and how it will impact Charles life forever. When Charles hits Thatcher with ‘Rosebud’ the sound is considerably loud for just a child’s toy. This can be done to convey his anger at having to move away. By using such a loud sound, we are reminded that he does not want to leave; which continues to make up emphasize with him as his childhood innocence is taken away. Dialogue contrasts the sound effects due to his simplicity. Whilst the adults disagree within the house, sound effects such as the snowball are used to draw our attention away from this

At the time, technology was quite limited and techniques within film were considered minimal and basic. The initial scene begins with a fade from text onscreen reading; ‘I first met Mr Kane in 1871’. This seems unnecessary, but gives us come context to the time of which the film was set, and the beginning of Thatcher and Kane’s relationship. At the time, fades were used relatively frequent to show the evident change of scene. In this particular context, it is usual in almost establishing a division or clear difference between the rest of Kane’s life – and his life as a child. This segregation is useful because it clearly shows that this is an important time of Kane’s life as it is one, if not the happiest memory that he holds; hence the significance behind the sled ‘Rosebud’

In regards to camera work, deep focus lens is arguably the most innovatively used and significant technique throughout the entire film. Within this scene, deep focus is used throughout the long take to keep us engaged but perhaps by showing everything and everyone in such focus to also inform us that everything occurring within the scene is significant. Due to this, the audience can be unsure on what to focus on because although the scene is relatively simple; there can be a lot going on, from the adults disagreement to Kane playing outside. Although the conversation between the three adults is obviously significant to the plot, Charles playing outside is considered also as relevant. We can assume this due to both aspects being in full focus, this tells us to focus on both because they are as arguably equally relevant to the plot and development of the film. Another significance of deep focus within the scene is the demonstration of Charles’ lack of power and control. We are given a clear view of Charles playing outside, however; he is shown alone and although is happy, the surrounding ground engulfs him. This implies that he is not in control as he is portrayed as small and innocent

Another technique used is the smooth transition between different shots. At the time, cameras were not as mobile as today and were typically large and cumbersome. This meant that it was difficult to move them without a shaky, final product. A mix of medium and medium/long shots are used throughout the scene. Alike the deep focus, this gives us a full perspective of what’s going on, to engage us as fully as possible. But towards the end of the scene, close-ups of the characters faces are introduced; perhaps to show us the clear emotion on their faces. Mary and Charles are shown more, possibly suggesting their higher value over the other characters. Charles is portrayed as angry and somewhat disappointed at his exile to be with the currently unknown Thatcher.  This could resonate with the audience, who would understand why he is so upset and distraught. Mary is shown throughout the scene as assertive and confident that she knows this will be best for Charles. The only time this wavers in when it cuts to a medium long shot of her observing Charles through the window panel. The clear emotion is evident on her face as she watches her son for what seems to be the last time. This can suggest that she will miss her son and that there can be another reason for his send away, since she does not want to let him go. Although she initially has her back to us, we can see the emotion as she crosses the room to watch him

In my opinion, this scene from Citizen Kane (1941, dir. Orson Welles) has a wide range of different micro elements, which work together to create a subtle but overall very incredible effect. It is a scene from towards the beginning of the film, where Kane’s childhood is partially explained to the audience.

This scene begins with a fade from the text that is being read to Kane as a young boy playing in the snow. Firstly, this is helpful to the audience as it focuses on the sentence ‘I first met Mr Kane in 1871.’ before fading into the snowy scene, which helps them to understand the context. In addition, the slightly tense music that is playing at the beginning smoothly changes into a happier tone, creating a Christmas feel. This makes the transition between the two shots seem smoother, and helps to immerse the audience in the winter scene.

This scene also features a long take, from 0:26 to 2:06. It begins with the camera zooming out through the window from the shot of Kane playing in the snow. The camera then continues to move backwards through the room, stopping at the end of a table. However, for this take to be possible, the camera must have passed through the table. To solve this problem, the cinematographer for Citizen Kane, Gregg Toland, came up with a table that would split in half to allow the camera to pass through, then quickly attach back together in time for the shot. This was an incredibly innovative idea, as it immerses the audience within the scene and creates a high sense of verisimilitude.

The use of a deep focus lens in this scene is also significant in the message that it portrays. For example, here everything in the scene is in focus, so the audience aren’t quite sure on what they should focus on – the signing of the paperwork in the foreground or Kane playing in the snow in the background.

The deep focus shot causes the emphasis on characters to be drawn from their actions and movements, rather than them just being in focus. The fact that Mrs Kane is in the foreground suggests that she is holding the power in this scene, as she is in control of young Kane’s future. Kane is also in focus because of the lens, and he is shown to be playing happily in the snow. The mood of his actions contrast the atmosphere inside the room, which emphasises to the audience how much this deal will affect his life.

The lighting used in this scene is subtle, but still creates an effect. Compared to some other scenes in the film, it isn’t used as heavily here, but the bright lighting could be suggesting how Kane’s childhood was a happy time where he didn’t have to worry much. As the film progresses, the scenes become darker, which could be showing how his life is going downhill – especially towards the end when his wife leaves him and he’s left in Xanadu all alone. In addition, Mrs Kane is in slightly brighter lighting than Mr Kane, again implying that she holds all the power over the boy’s future.

At the end of this scene, the camera eventually switches from using medium shots to a close up of Mrs Kane and Kane’s faces. These shots are some of the only close-ups used in the film, and they help the audience to clearly see the emotions in the characters’ faces. It helps the audience to realise how much Kane doesn’t want to go and live with Mr Thatcher, and it makes them sympathise with the young boy.

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