Citizen Kane

Citizen KaneAfter watching the movie Citizen Kane I realized why this movie was named one of the best films ever.

Yellow journalism was in an era from the 1880 to the 1900 and it featured flashy journalism of that time, which made editors write about invented stories. Which went to big headlines on subjects that werent true. The two big writers of that time were William Randolph Hearst and Joseph Pulitzer. During the film Kane is depicted as a yellow journalism at different times. One example is when they put out the article Charles Foster Kane Defeated, Fraud At Polls. From that headline you would believe that he was beaten by some illegal purpose, but it was just a headline getting people to read the article and the enjoyment of writing against your enemy.

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Next, when Kane got all the writers from the chronicle to start writing for the inquirer. He put out an article that said The Greatest Newspaper Staff In The World and had a picture of all the new guys standing together. As you can see there it is not so much false information, but he said they are greatest writers in the world. When all these guys came form the opposing newspaper. While watching the film there are many other times that Kane portrays yellow journalism. He was out to help the poor people of the community and just have fun with the newspaper.In todays society we think of yellow journalism as tabloids. A lot of those headline stories that we see in the supermarket get our attention.

Which always lead to false information on subjects that we are interested in.In the film there are many ways that loss and belonging have a big part of Charles Foster Kanes Life. It started when he was taken from his birth parents at a young age to go have a better life. We saw that the mother wanted to get him away from his father because we assumed that he was getting beaten. For many young children being taken away from their home, must really heart the child. We dont know why he was taken but assume it was because of his father and also not having enough money to raise him. He must of thought that his parents didnt love him but all they wanted was a better life for him.Another example of not feeling belonged is when his wife and himself were going through some problems.

Even if he was the cause of the problem you saw how he wanted to belong to someone and for others to love him. Throughout the film he never had true friends it was always with people that worked for him. Except for Bernstein, but towards the end of the film he was writing stories about how horrible his wife was at singing. If you were a true friend, I dont believe you would write something negative about your friends wife.

Last, one of the biggest parts of the film was the word rosebud. We didnt get to know what it meant until the last scene of the film. But, it was his sled I believe that was something that he loved and felt that he belonged to. It reminding him of his family and home.

That was probably one of the only things he really cared about. I guess while he was lying there dieing he thought of his sled rosebud, because of all the good times he had with it, and how he had a family that loved him at one point in his life. There are many unique and innovative techniques used throughout the film. Some were sequencing which are different shots that represent purpose like flashbacks to another time period. Another that was interesting was the use of the newsreel footage.

Also the many different angles that were used, and how the lighting and shadows were a big part of the film. The whole film was done through something called sequencing. They started the film at the end of someone life and by the end of the film you know everything.

They had one character trying to find out what his last words meant. By going to friends and family and asking them questions. During each visit with someone they went to a flashback explaining the certain time period in his life along with all his accomplishments.

Next one of the odd things that arent used in a film was the use of the newsreel footage that was shown at the beginning of the film. The purpose I believe was to show you this mans life from the eyes of all the newspaper articles about him and other things that were going on. It also let you get a feel of the time period and what was going on.

Next theyre many different angles that this film was shot from. Since one of the characters portrayed a powerful individual he was a large man. The majority of the shots were filmed from looking down and looking up angles. The reason I believe is too show his power when he is referring to something.

If you shot a shot looking down at someone you will feel like the person that you see is of lower power. Of course the same for opposite way the person you see would see much lager and of great power. They had many shots in the film to depict how powerful of a character Charles Foster Kane was.

Another aspect of any film is the way the lighting is used. Which also makes shadows very important. There were times throughout the film that light represented the time of day. When it comes to a black and white film it is much harder to represent certain times due to everything must have some light or you will not be able to see. Lighting has a lot to do with the feeling of the character at any giving time. When the character is happy and a lot of things are going on there will be a lot of light around.

When there are scary and gloomy times there will be less light distributed. Shadows are used again to represent power over someone or something. Also to show the atmosphere or mode the scene is in. When you look at power in our world even today most of it goes toward people with the money.

In the films case it also goes towards money. The society that they lived in during that time was a time that the majority of people didnt have much money. For Kane power was something that he never lived without.

He was given a newspaper to run on his own, which made him have a lot of people that worked under him. Throughout the film anything he wanted was done. Since he was the one calling the shots in the newspaper he could have anything printed. For example during the beginning of his election he would print articles that would make him look better then his opponent.

For society, during that time period know one knew of anything else but to listen to people that had a lot of power. They would also follow in their footsteps. When people of that time had power they were looked up too as a very high person in life.To sum everything up this film was one of the greatest films ever made. There are so many different parts of the movie that made other filmmakers take a look at Citizen Kane before starting their own film. This film has change many filmmakers decisions on how to portray there film.

Citizen Kane will never be forgotten and will on in every filmmakers decisions.Words/ Pages : 1,290 / 24

Citizen Kane

Citizen Kane The film Citizen Kane by Orson Welles, opens with a picture of a castle with a window that has a light turned on. As the backgrounds begin to change into a closer view of the castle, then a view of the castle from the reflection of the water surrounding it, we are drawn into the window as a man falls dead with the last words Rosebud coming from his mouth. We are then brought through a maze of scenes that reflect one mans journey through life from his childhood with an abusive father, to the time he inherits the worlds sixth largest fortune.

Charles Foster Kane, is portrayed in the movie as a man who has everything one could ever want. Whatever he doesnt posess, he tries to buy.Power and wealth to Kane are the epitamy of success, and although he claims or atleast tries to be happy, he truly is not a happy person.

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As Kane begins to learn that the things he wants most in life he cannot purchase, so to do the people with whom he surrounds himself with. When Kane ran for governor, he tries to use his wealth to overpower his opponent, Gettys. This backfires on Kane when Gettys threatens to use information about an affair Kane had to thwart him from the race.

Kane once described his wife as a cross section of the American public.These sort of references provide us with an image of a man that is willing to do anything to portray himself as loving or able to be loved. Kane was truly never able to love someone. He was given everything he ever wanted, and when he couldnt buy something, he tried to create it. When Susan Alexander, Kanes second wife, wanted to be a singer, Kane got her a teacher, and began from there, to create a singer.

He built an Opera house and made her into a glamourous star.Throughout the film, Kane used his paper, the Enquirer to manipulate the minds of the public into believing whatever Kane wrote. Kane also used his paper to show the public how politicians (Gettys) were corrupt and dishonest.

Whether the facts published in the Enquirer were true or not, to Kane was irrelevent. Kane was only interested in promoting himself by not only bad-mouthing people, but by writing articles that had no purpose to them other than to amuse himself. Throughout the movie, we see that rosebud is played up to have some major significance in Kanes life.

Rosebud is definitely a clever prop that Welles uses to take the film on its journey. By piecing together his childhood and older years into this clever array of first hand accounts of experiences people have had with him, we are given an insiders view of a not so known man. The rosebud is representative of a life unfulfilled.

The burning sled represents that of a youth who lacked the playfulness and love of a father and mother. I think that the rosebud was more of a way to show how Kane suffered from his childhood, and connect it to his inability to be a happy man.Citizen Kane allows people to see what it is like when someone has everything materiel, but cant seem to find happiness. I feel that this film is significant in saying that power and wealth cannot accumulate the things that which we need to survive. Kane never was truly loved, and could not love. He never knew any of these things because he was always given things to make him happy or to buy his love.

Kane could never buy the one thing that he tried so hard to achieve, happiness.

Citizen Kane

The classic masterpiece, Citizen Kane (1941), is probably the world’s mostfamous and highly rated film, with its many remarkable scenes, cinematic andnarrative techniques and innovations.

The director, star, and producer were allthe same individual – Orson Welles (in his film debut at age 25), whocollaborated with Herman J. Mankiewicz on the script and with Gregg Toland ascinematographer. Within the maze of its own aesthetic, Citizen Kane develops twointeresting themes.

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The first concerns the debasement of the private personalityof the public figure, and the second deals with the crushing weight ofmaterialism. Taken together, these two themes comprise the bitter irony of anAmerican success story that ends in futile nostalgia, loneliness, and death. Thefact that the personal theme is developed verbally through the characters whilethe materialistic theme is developed visually, creating a distinctive stylisticcounterpoint. It is against the counterpoint that the themes unfold within thestructure of a mystery story. Its theme is told from several perspectives byseveral different characters and is thought provoking.

The tragic story is how amillionaire newspaperman, who idealistically made his reputation as the championof the underprivileged, becomes corrupted by a lust for wealth, power andimmortality. Kane’s tragedy lies in his inability to experience any real emotionin his human relationships. The apparent intellectual superficiality of CitizenKane can be traced to the shallow quality of Kane himself. Even when Kane isseen as a crusading journalist battling for the lower classes, overtones ofself-idolatry mar his actions. His clever ironies are more those of theexhibitionist than the crusader. His second wife complains that Kane never gaveher anything that was part of him, only material possessions that he might givea dog. His best friend, Jedediah Leland, was a detached observer functioning asa sublimated conscience remarks to the reporter that Kane never gave anythingaway: “he left you a tip”. In each case, Kane’s character is describedin materialistic terms.

What Kane wanted – love, emotional loyalty, theunspoiled world of his boyhood, symbolized by “rosebud”, he was unableto provide for those around him, or buy for himself. The intriguing opening isfilled with hypnotic dissolves from one sinister, mysterious image to the next,moving forward closer and closer. The film’s first sight is a “NoTrespassing” sign hanging on a giant gate in the night’s foggy mist,illuminated by the moonlight. The camera pans up the chain-link mesh gate, whichdissolves and changes into images of great iron flowers or oak leaves on theheavy gate.

On the crest of the gate is a single, silhouetted, wrought iron”K” initial. The gate surrounds a distant, forbidding-looking castlewith towers. The fairy-tale castle is situated on a man-made mountain, obviouslythe estate of a wealthy man. The same shots are repeated in reverse at the veryend of the film. The initial and concluding clash of realism and expressionismsuggests in a subtle way, the theme of Citizen Kane. The intense materialreality of the fence dissolves into the fantastic unreality of the castle, andin the end, the mystic pretension of the castle dissolves into the mundanesubstance of the fence. Matter has come full circle from its original quality tothe grotesque baroque of its excess. As each flashback unfolds, the visualscenario of Citizen Kane orchestrates the dialogue.

A universe of ceilingsdwarfs Kane’s personal stature. He becomes the prisoner of his possessions, theornament of his furnishings, and the fiscal instrument of his collections. Hisbooming voice is muffled by walls, carpets, furniture, hallways, stairs the vastrecesses of useless space. Gregg Toland’s camera set-ups are designed to framecharacters in the oblique angles of light and shadow created by their artificialenvironment. There are no luminous close-ups in which faces are detached fromtheir backgrounds. When characters move across rooms, the floors and ceilingsmove with them.

This technique which is highly unusual, tends to dehumanizecharacters by reducing them to fixed ornaments in a shifting architecture. Thechoice of camera position was an important factor in getting across artistic andpsychological effects. To the photograph a person or object from below, distortsthat object. It tends to elongate a person, making him seem more important. Italso intimidates the audience, since it is in the inferior position of lookingup.

The scene gives an added power to the person on the screen. Kane is indeedbloated and enlarged by his material possessions, and in comparison, theaudience feels very small. Yet it is precisely his excessiveness, which hasdistorted him and made him grotesque to our sensibilities. Kane is a selfish,greedy man, and his actions have distorted his life and appearance. The movie isa visual masterpiece, a kaleidoscope of daring angles and breathtaking imagesthat had never been attempted before. Toland perfected a deep-focus techniquethat allowed him to photograph backgrounds with as much clarity as foregrounds.Such as the scene where Kane’s parents discuss his future while, as seen throughthe window, the child plays outside in the snow. There’s also an extremelyeffective low-angle shot late in the film where Kane trashes Susan’s room.

Soundmontage is used extensively with the flashback scenes to denote the interval oftime within related scenes. A character will begin a sentence and complete itweeks, months, or years later in a different location. On occasion, onecharacter will begin the sentence and another will complete it in the samemanner. This sound thread results in a constriction of time and an eliminationof transitional periods of rest and calm. Aside from the aesthetic dividends ofpacing and high lighting, Citizen Kane’s sound montage reinforces the unnaturaltension of the central character’s driving, joyless ambition. One brilliant useof sound montage, is when Kane and his wife are arguing in a tent surrounded byhundreds of Kane’s guests. A shrill scream punctuates the argument with apersistent, sensual rhythm. It is clear that some sexual outrage is beingcommitted.

When the parakeet screams at the appearance of Kane, the soundlinkage in tone but not in time, further dehumanizes Kane’s environment. In thebaroque world that he had created, Kane is isolated from even the most dubiousform of humanity. In all respects, the techniques used in Citizen Kane are areflection and projection of the inhuman quality of its protagonist. In the waythe techniques are used to distort and magnify the characters in the film, weunderstand what the film is trying to get across. Citizen Kane represents anintense vision of American life, a life in which materialistic elements aredistorted and magnified at the expense of human potentialities.

The impliedabsence of free will in the development of Kane’s character is thematicallyconstant with the moral climate of his environment. As the techniques used havenot been limited in form, so too, Kane’s magnitude unchecked by limitingprinciples or rooted traditions, become the cause of spiritual.Cinema and Television

Citizen Kane

The classic masterpiece, Citizen Kane (1941), is probably the world’s mostfamous and highly rated film, with its many remarkable scenes, cinematic andnarrative techniques and innovations. The director, star, and producer were allthe same individual – Orson Welles (in his film debut at age 25), whocollaborated with Herman J.

Mankiewicz on the script and with Gregg Toland ascinematographer. Within the maze of its own aesthetic, Citizen Kane develops twointeresting themes. The first concerns the debasement of the private personalityof the public figure, and the second deals with the crushing weight ofmaterialism. Taken together, these two themes comprise the bitter irony of anAmerican success story that ends in futile nostalgia, loneliness, and death. Thefact that the personal theme is developed verbally through the characters whilethe materialistic theme is developed visually, creating a distinctive stylisticcounterpoint.

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For You For Only $13.90/page!


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It is against the counterpoint that the themes unfold within thestructure of a mystery story. Its theme is told from several perspectives byseveral different characters and is thought provoking. The tragic story is how amillionaire newspaperman, who idealistically made his reputation as the championof the underprivileged, becomes corrupted by a lust for wealth, power andimmortality. Kane’s tragedy lies in his inability to experience any real emotionin his human relationships. The apparent intellectual superficiality of CitizenKane can be traced to the shallow quality of Kane himself. Even when Kane isseen as a crusading journalist battling for the lower classes, overtones ofself-idolatry mar his actions. His clever ironies are more those of theexhibitionist than the crusader. His second wife complains that Kane never gaveher anything that was part of him, only material possessions that he might givea dog.

His best friend, Jedediah Leland, was a detached observer functioning asa sublimated conscience remarks to the reporter that Kane never gave anythingaway: “he left you a tip”. In each case, Kane’s character is describedin materialistic terms. What Kane wanted – love, emotional loyalty, theunspoiled world of his boyhood, symbolized by “rosebud”, he was unableto provide for those around him, or buy for himself. The intriguing opening isfilled with hypnotic dissolves from one sinister, mysterious image to the next,moving forward closer and closer.

The film’s first sight is a “NoTrespassing” sign hanging on a giant gate in the night’s foggy mist,illuminated by the moonlight. The camera pans up the chain-link mesh gate, whichdissolves and changes into images of great iron flowers or oak leaves on theheavy gate. On the crest of the gate is a single, silhouetted, wrought iron”K” initial. The gate surrounds a distant, forbidding-looking castlewith towers. The fairy-tale castle is situated on a man-made mountain, obviouslythe estate of a wealthy man.

The same shots are repeated in reverse at the veryend of the film. The initial and concluding clash of realism and expressionismsuggests in a subtle way, the theme of Citizen Kane. The intense materialreality of the fence dissolves into the fantastic unreality of the castle, andin the end, the mystic pretension of the castle dissolves into the mundanesubstance of the fence. Matter has come full circle from its original quality tothe grotesque baroque of its excess. As each flashback unfolds, the visualscenario of Citizen Kane orchestrates the dialogue. A universe of ceilingsdwarfs Kane’s personal stature.

He becomes the prisoner of his possessions, theornament of his furnishings, and the fiscal instrument of his collections. Hisbooming voice is muffled by walls, carpets, furniture, hallways, stairs the vastrecesses of useless space. Gregg Toland’s camera set-ups are designed to framecharacters in the oblique angles of light and shadow created by their artificialenvironment. There are no luminous close-ups in which faces are detached fromtheir backgrounds. When characters move across rooms, the floors and ceilingsmove with them.

This technique which is highly unusual, tends to dehumanizecharacters by reducing them to fixed ornaments in a shifting architecture. Thechoice of camera position was an important factor in getting across artistic andpsychological effects. To the photograph a person or object from below, distortsthat object. It tends to elongate a person, making him seem more important.

Italso intimidates the audience, since it is in the inferior position of lookingup. The scene gives an added power to the person on the screen. Kane is indeedbloated and enlarged by his material possessions, and in comparison, theaudience feels very small. Yet it is precisely his excessiveness, which hasdistorted him and made him grotesque to our sensibilities. Kane is a selfish,greedy man, and his actions have distorted his life and appearance. The movie isa visual masterpiece, a kaleidoscope of daring angles and breathtaking imagesthat had never been attempted before.

Toland perfected a deep-focus techniquethat allowed him to photograph backgrounds with as much clarity as foregrounds.Such as the scene where Kane’s parents discuss his future while, as seen throughthe window, the child plays outside in the snow. There’s also an extremelyeffective low-angle shot late in the film where Kane trashes Susan’s room. Soundmontage is used extensively with the flashback scenes to denote the interval oftime within related scenes.

A character will begin a sentence and complete itweeks, months, or years later in a different location. On occasion, onecharacter will begin the sentence and another will complete it in the samemanner. This sound thread results in a constriction of time and an eliminationof transitional periods of rest and calm. Aside from the aesthetic dividends ofpacing and high lighting, Citizen Kane’s sound montage reinforces the unnaturaltension of the central character’s driving, joyless ambition. One brilliant useof sound montage, is when Kane and his wife are arguing in a tent surrounded byhundreds of Kane’s guests.

A shrill scream punctuates the argument with apersistent, sensual rhythm. It is clear that some sexual outrage is beingcommitted. When the parakeet screams at the appearance of Kane, the soundlinkage in tone but not in time, further dehumanizes Kane’s environment.

In thebaroque world that he had created, Kane is isolated from even the most dubiousform of humanity. In all respects, the techniques used in Citizen Kane are areflection and projection of the inhuman quality of its protagonist. In the waythe techniques are used to distort and magnify the characters in the film, weunderstand what the film is trying to get across. Citizen Kane represents anintense vision of American life, a life in which materialistic elements aredistorted and magnified at the expense of human potentialities. The impliedabsence of free will in the development of Kane’s character is thematicallyconstant with the moral climate of his environment.

As the techniques used havenot been limited in form, so too, Kane’s magnitude unchecked by limitingprinciples or rooted traditions, become the cause of spiritual.

Citizen Kane

Citizen Kane The classic masterpiece, Citizen Kane (1941), is probably the world’s most famous and highly rated film, with its many remarkable scenes, cinematic and narrative techniques and innovations. The director, star, and producer were all the same individual – Orson Welles (in his film debut at age 25), who collaborated with Herman J. Mankiewicz on the script and with Gregg Toland as cinematographer. Within the maze of its own aesthetic, Citizen Kane develops two interesting themes. The first concerns the debasement of the private personality of the public figure, and the second deals with the crushing weight of materialism.

Taken together, these two themes comprise the bitter irony of an American success story that ends in futile nostalgia, loneliness, and death. The fact that the personal theme is developed verbally through the characters while the materialistic theme is developed visually, creating a distinctive stylistic counterpoint. It is against the counterpoint that the themes unfold within the structure of a mystery story. Its theme is told from several perspectives by several different characters and is thought provoking. The tragic story is how a millionaire newspaperman, who idealistically made his reputation as the champion of the underprivileged, becomes corrupted by a lust for wealth, power and immortality.

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For You For Only $13.90/page!


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Kane’s tragedy lies in his inability to experience any real emotion in his human relationships. The apparent intellectual superficiality of Citizen Kane can be traced to the shallow quality of Kane himself. Even when Kane is seen as a crusading journalist battling for the lower classes, overtones of self-idolatry mar his actions.

His clever ironies are more those of the exhibitionist than the crusader. His second wife complains that Kane never gave her anything that was part of him, only material possessions that he might give a dog.His best friend, Jedediah Leland, was a detached observer functioning as a sublimated conscience remarks to the reporter that Kane never gave anything away: “he left you a tip”. In each case, Kane’s character is described in materialistic terms.

What Kane wanted – love, emotional loyalty, the unspoiled world of his boyhood, symbolized by “rosebud”, he was unable to provide for those around him, or buy for himself. The intriguing opening is filled with hypnotic dissolves from one sinister, mysterious image to the next, moving forward closer and closer. The film’s first sight is a “No Trespassing” sign hanging on a giant gate in the night’s foggy mist, illuminated by the moonlight. The camera pans up the chain-link mesh gate, which dissolves and changes into images of great iron flowers or oak leaves on the heavy gate.On the crest of the gate is a single, silhouetted, wrought iron “K” initial. The gate surrounds a distant, forbidding-looking castle with towers.

The fairy-tale castle is situated on a man-made mountain, obviously the estate of a wealthy man. The same shots are repeated in reverse at the very end of the film. The initial and concluding clash of realism and expressionism suggests in a subtle way, the theme of Citizen Kane. The intense material reality of the fence dissolves into the fantastic unreality of the castle, and in the end, the mystic pretension of the castle dissolves into the mundane substance of the fence.Matter has come full circle from its original quality to the grotesque baroque of its excess.

As each flashback unfolds, the visual scenario of Citizen Kane orchestrates the dialogue. A universe of ceilings dwarfs Kane’s personal stature. He becomes the prisoner of his possessions, the ornament of his furnishings, and the fiscal instrument of his collections. His booming voice is muffled by walls, carpets, furniture, hallways, stairs the vast recesses of useless space.Gregg Toland’s camera set-ups are designed to frame characters in the oblique angles of light and shadow created by their artificial environment. There are no luminous close-ups in which faces are detached from their backgrounds. When characters move across rooms, the floors and ceilings move with them.

This technique which is highly unusual, tends to dehumanize characters by reducing them to fixed ornaments in a shifting architecture. The choice of camera position was an important factor in getting across artistic and psychological effects.To the photograph a person or object from below, distorts that object. It tends to elongate a person, making him seem more important. It also intimidates the audience, since it is in the inferior position of looking up. The scene gives an added power to the person on the screen.

Kane is indeed bloated and enlarged by his material possessions, and in comparison, the audience feels very small.Yet it is precisely his excessiveness, which has distorted him and made him grotesque to our sensibilities. Kane is a selfish, greedy man, and his actions have distorted his life and appearance. The movie is a visual masterpiece, a kaleidoscope of daring angles and breathtaking images that had never been attempted before. Toland perfected a deep-focus technique that allowed him to photograph backgrounds with as much clarity as foregrounds.

Such as the scene where Kane’s parents discuss his future while, as seen through the window, the child plays outside in the snow. There’s also an extremely effective low-angle shot late in the film where Kane trashes Susan’s room.Sound montage is used extensively with the flashback scenes to denote the interval of time within related scenes. A character will begin a sentence and complete it weeks, months, or years later in a different location. On occasion, one character will begin the sentence and another will complete it in the same manner. This sound thread results in a constriction of time and an elimination of transitional periods of rest and calm. Aside from the aesthetic dividends of pacing and high lighting, Citizen Kane’s sound montage reinforces the unnatural tension of the central character’s driving, joyless ambition.One brilliant use of sound montage, is when Kane and his wife are arguing in a tent surrounded by hundreds of Kane’s guests.

A shrill scream punctuates the argument with a persistent, sensual rhythm. It is clear that some sexual outrage is being committed. When the parakeet screams at the appearance of Kane, the sound linkage in tone but not in time, further dehumanizes Kane’s environment. In the baroque world that he had created, Kane is isolated from even the most dubious form of humanity.In all respects, the techniques used in Citizen Kane are a reflection and projection of the inhuman quality of its protagonist. In the way the techniques are used to distort and magnify the characters in the film, we understand what the film is trying to get across.

Citizen Kane represents an intense vision of American life, a life in which materialistic elements are distorted and magnified at the expense of human potentialities. The implied absence of free will in the development of Kane’s character is thematically constant with the moral climate of his environment. As the techniques used have not been limited in form, so too, Kane’s magnitude unchecked by limiting principles or rooted traditions, become the cause of spiritual.

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