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