Shot-By-Shot Analysis of the ?Picnic Scene in Citizen Cane Citizen Kane, produced, directed and guide the ?boy genius Orsen Welles, is considered by many to be the greatest compact in of all time. Written by Welles, and Herman J. Mankiewicz, the film is an investigation into the action of the deceased newspaper tycoon, Charles Foster Kane. It is told through a serial of well-crafted flashbacks, and highly revered for its violation of classic Hollywood conventions. In Citizen Kane, Welles innovative use of cinematography, sound, lighting, music, and editing, shape and propel the narrative, scene a more complete picture of Mr. Kane than each of the flashbacks could. This bear witness entrust focus on how the editing and other techniques of the 23 jibe Everglades picnic place relate to the thematic intentions of the sequence which appears in Susan Alexanders flashback, and marks the end of Susan and Charles relationship. The sequence begins with a change state from Kane at X anadu, where Susan has taken to jig saw puzzles of outdoor scenes to escapism the tedium and suffocation of her situation, to a medium cranny of the distich whose tensity is still quite visible, being chauffeured in a car. The tension comes from an argument the couple had shortly before, wherein Susan takes to go to saucy York, exclusively Kane decides on an Everglades picnic instead.
In doing so, the production which ensues denies Susan unconstipated the pastime of the outdoors she got from her puzzles. She and Kane continue to argue, and we hear a blue put which symbolizes Susans mood. This scene then drops to a linear shot in deep focus of Kanes motorcade, appearing like a funeral promotion in their lifeless unif! orm order. After the apparently interminable procession of black cars, there is a dissolve to a close up head shot of... If you want to hasten a full essay, order it on our website:
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