First released in 1941, Citizen Kane follows the life of Charles Foster Kane through a series of flashbacks in an attempt to uncover the mystery of his last words. Audiences are challenged to think about the correlation of wealth and love by observing the life of Charles Foster Kane. He was happiest when he was young, poor, and held the affections of his mother; as time progress the absence of maternal love could not be filled with money. Kane blames his cold caretaker for his lack of normalcy and embarks on a journey to get back the love he lost. The film genre is therefore drama; it encapsulates the essence of drama which is a transformation of some sort, it forces viewers to think about an issue that directly effects their lives, and features
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The position of the camera lens determines how and what the audience sees. The camera angle in a few scenes establishes Kane as a man of distinguished power. For example, low angled shots aiming up toward Kane give him the appearance of being much larger than he actually is. Typically size is synonymous with power; the big power over the small. Additionally, in multiple shots when Kane is in conversation with someone that camera is in a higher location aiming down. It gives the illusion of the audience seeing through Kane’s eyes which is bearing over others. This particular position of the camera plays off of the notion that size is an indicator of power. Another distinguishing perspective is when Kane is running for office; Welle’s uses a crane shot to show Kane amidst a crowd of admiring subjects. In a theater full of hundreds of people, Kane is the center of attention and he is in control of the crowd before. The irony of this scene is that Kane is running for office to be governor, a job that would give him even more power, under the pretense that he is just doing it because other politicians are corrupt. When Kane himself succumbs to yellow journalism …show more content…
When he speaks with his second wife, Susan, he is often standing over her. In the privacy of their home, or rather palace, he speaks to her from the comfort of a literal throne; the place of a king. The height differential is a physical way of asserting authority and power, and that fact takes this stance with his wife is ironic. It is ironic because his wife is supposed to be his equal; if there was ever someone that he should be vulnerable, down to earth, and level headed with it is his wife. He also takes this stance with the public. When Kane takes over the newspaper he publishes a set of principles that are meant to distinguish him from other newspapers and forms of mass media. He vows that he will be honest and stand up for the common people. Aside from the fact that he doesn’t uphold these standards, Kane cannot be one of the common people because he is in a position where he controls mass information, and therefore is too powerful. Additionally, despite his physical presence bearing over others, in his absence he is still seen in a powerful position. During Jerry Thompson’s interviewing process with Jim Thatcher, Kane’s guardian, there is a painting of significant size of Charles Foster Kane that appears to be glaring down at Thatcher and Thompson. Even in his death Kane is still in a position of
The position of the camera lens determines how and what the audience sees. The camera angle in a few scenes establishes Kane as a man of distinguished power. For example, low angled shots aiming up toward Kane give him the appearance of being much larger than he actually is. Typically size is synonymous with power; the big power over the small. Additionally, in multiple shots when Kane is in conversation with someone that camera is in a higher location aiming down. It gives the illusion of the audience seeing through Kane’s eyes which is bearing over others. This particular position of the camera plays off of the notion that size is an indicator of power. Another distinguishing perspective is when Kane is running for office; Welle’s uses a crane shot to show Kane amidst a crowd of admiring subjects. In a theater full of hundreds of people, Kane is the center of attention and he is in control of the crowd before. The irony of this scene is that Kane is running for office to be governor, a job that would give him even more power, under the pretense that he is just doing it because other politicians are corrupt. When Kane himself succumbs to yellow journalism …show more content…
When he speaks with his second wife, Susan, he is often standing over her. In the privacy of their home, or rather palace, he speaks to her from the comfort of a literal throne; the place of a king. The height differential is a physical way of asserting authority and power, and that fact takes this stance with his wife is ironic. It is ironic because his wife is supposed to be his equal; if there was ever someone that he should be vulnerable, down to earth, and level headed with it is his wife. He also takes this stance with the public. When Kane takes over the newspaper he publishes a set of principles that are meant to distinguish him from other newspapers and forms of mass media. He vows that he will be honest and stand up for the common people. Aside from the fact that he doesn’t uphold these standards, Kane cannot be one of the common people because he is in a position where he controls mass information, and therefore is too powerful. Additionally, despite his physical presence bearing over others, in his absence he is still seen in a powerful position. During Jerry Thompson’s interviewing process with Jim Thatcher, Kane’s guardian, there is a painting of significant size of Charles Foster Kane that appears to be glaring down at Thatcher and Thompson. Even in his death Kane is still in a position of