citizen kane sequence analysis
Philip Lee
Joor Baruah
Monday- 11:15-12:30
Film 20A
30 October 2014
Citizen Kane Sequence Analysis Essay
Mise-en-scene, cinematography and editing are visual elements in film that create meaning in the shots/sequences of the film. Ultimately it is these factors that can establish narrative agents and their relations, drive the narrative and place the view in a certain point of view of the narrative. Orson Welle’s 1941 film, Citizen Kane, is considered significant for its technical innovations with its use of deep focus lenses, low angles, high contrast lighting, long takes and dissolves. In my essay I will be analyzing the sequence depicting Kane’s “Declaration of Principles.” I will show how the elements of mise-en-scene, the cinematography and editing choices help to visually depict Kane as a powerful subject, establish narrative conflict and create perspective within the sequence. Through sequence of Kane’s “Declaration of Principles” Kane is depicted as a powerful narrative agent through social blocking in the sequence’s mise-en- scene. Throughout the long third shot, Kane is placed centrally and stands the tallest compared to Leland and Bernstein. Through the cinematic use of deep focus lenses that manages to capture Leland, Kane and Bernstein positioned in the background, mid ground and foreground all in focus at the same time. This allows for Kane to dominate the mise-en-scene in spatial relations to his friends. His physical relations to his friends and the surrounding space in the shot creates social blocking, as meaning is created through the arrangement of narrative agents in the space of the mise-en-scene. The blocking of Kane over his friends gives attention and importance to him throughout the shot and sequence. When Leland stands Kane is still physically made to look taller and larger in comparison by standing in closer foreground to the camera than Leland. Even when Kane calls for Solly to reprint the Inquirer’s front page and is no longer central
Joor Baruah
Monday- 11:15-12:30
Film 20A
30 October 2014
Citizen Kane Sequence Analysis Essay
Mise-en-scene, cinematography and editing are visual elements in film that create meaning in the shots/sequences of the film. Ultimately it is these factors that can establish narrative agents and their relations, drive the narrative and place the view in a certain point of view of the narrative. Orson Welle’s 1941 film, Citizen Kane, is considered significant for its technical innovations with its use of deep focus lenses, low angles, high contrast lighting, long takes and dissolves. In my essay I will be analyzing the sequence depicting Kane’s “Declaration of Principles.” I will show how the elements of mise-en-scene, the cinematography and editing choices help to visually depict Kane as a powerful subject, establish narrative conflict and create perspective within the sequence. Through sequence of Kane’s “Declaration of Principles” Kane is depicted as a powerful narrative agent through social blocking in the sequence’s mise-en- scene. Throughout the long third shot, Kane is placed centrally and stands the tallest compared to Leland and Bernstein. Through the cinematic use of deep focus lenses that manages to capture Leland, Kane and Bernstein positioned in the background, mid ground and foreground all in focus at the same time. This allows for Kane to dominate the mise-en-scene in spatial relations to his friends. His physical relations to his friends and the surrounding space in the shot creates social blocking, as meaning is created through the arrangement of narrative agents in the space of the mise-en-scene. The blocking of Kane over his friends gives attention and importance to him throughout the shot and sequence. When Leland stands Kane is still physically made to look taller and larger in comparison by standing in closer foreground to the camera than Leland. Even when Kane calls for Solly to reprint the Inquirer’s front page and is no longer central