Welles and Citizen Kane, segment, interviews, flashbacks
Welles has forged a dramatic style that combines techniques such as extreme deep focus, different camera angles such as low angles that reveal set ceiling and the unconventional lighting and deep shadows anticipating the style film noir. Most of these styles had been used individually in other films; however, Citizen Kane brought them together masterfully with an acumen and maturity that are unprecedented (Moorehead et al. 2001).
Using narrative, Welles crafted a storytelling tour de force by a combination of non-linear narrative, complex storytelling from different perspectives, narrative forms that are different comprising of the popular opening newsreel segment, interviews, flashbacks and a dramatic period of decades with characters that age from early adulthood to old age. The characters used are complicated and ambiguous, and they use a dialogue that crackles with humor and insight.
[...] Citizen Kane also employs a creative way of storytelling. Acting almost like a biographical film, Citizen Kane shows a long period realistically, permitting the characters to grow old as the story progresses. Rather than the story being narrated in a linear chronological way, Citizen Kane's story unfolds in parts that overlap; this gives more information as every narrator tells his or her story (Moorehead et al. 2001). Telling the story of Kane wholly on flashbacks was another approach that is innovative to narration. [...]
[...] There is a motif of old age in Citizen Kane film. Since his friends narrate the story of Kane following his death, the storytellers are people who are beyond their prime and their degeneracy brings another coat of sadness and loneliness to the film. All these people were once active and important. Now they have become bored and have been shut out by the society. As the chairman of the board, Bernstein notes that he has nothing to do. Leland is in the home for the old, stiff and somehow senile. [...]
[...] The flashbacks are presented from the views aging or forgetful characters. Thus, casting doubts on the memories that are discussed. The three men may have physical proximity, but the type of discussion by Leland and Bernstein and the manner in which the shot frames mark Kane as an outsider. In the end, Kane is left by Leland and Kane barricades himself and his stronghold with Susan. Susan also leaves Kane, and he finally dies alone without having formed a bond that was lasting with anyone (Moorehead et al. 2001). [...]
[...] Deep focus has been used effectively in the scenes that portray Kane's lack of power and his individual isolation. It offers a clear view of space that Kane commands to the viewers, and the space over which Kane has no authority. Gregg Toland, the cinematographer of the film Citizen Kane, had applied the technique of deep focus in an earlier movie he had worked on. However, when Citizen Kane was produced, it was the first time this technique was applied extensively and efficiently. [...]
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