Citizen Kane Mise En Scene Analysis

One of the most iconic films in cinematic history, Citizen Kane, directed by Orson Welles, is a masterclass in the use of mise en scene. Mise en scene refers to the arrangement of visual elements within a frame, including setting, lighting, costume, and movement. In Citizen Kane, each of these elements is meticulously crafted to convey meaning and enhance the storytelling. This essay will analyze the use of mise en scene in Citizen Kane, focusing on its contribution to the film's themes and narrative.

From the opening shot of the film, Welles establishes a sense of mystery and intrigue through his use of mise en scene. The deep focus cinematography, which keeps both the foreground and background in focus, creates a sense of depth and complexity in the frame. This technique is used throughout the film to visually represent the layers of Kane's character and the intricate web of his relationships. In the famous breakfast scene, for example, the deep focus allows the audience to see both Kane and his wife Emily in the foreground, as well as the reporters in the background, symbolizing the tension and distance between them.

Lighting is another key element of mise en scene in Citizen Kane. Welles uses chiaroscuro lighting, with stark contrasts between light and shadow, to create a sense of drama and intensity. In the scene where Kane confronts his second wife Susan in their opera house, the harsh lighting casts deep shadows on their faces, emphasizing the emotional turmoil of their relationship. The use of low-key lighting in many of the film's interior scenes also adds to the film noir aesthetic, reinforcing the themes of corruption and moral ambiguity.

The setting of Citizen Kane is also crucial to its mise en scene. Welles and his cinematographer Gregg Toland make innovative use of sets and locations to enhance the film's themes and mood. The vast, cavernous spaces of Kane's Xanadu estate, for example, reflect his isolation and megalomania, while the cluttered, claustrophobic interiors of his newspaper office convey the chaos and intensity of his professional life. The use of miniatures and forced perspective in the scene where Kane walks through his warehouse of treasures adds to the sense of grandeur and excess that defines his character.

Costume and props are also important elements of mise en scene in Citizen Kane. The film's costume designer, Edward Stevenson, collaborated closely with Welles to create costumes that reflected the characters' personalities and social status. Kane's signature white suit, for example, symbolizes his wealth and power, while Susan's elaborate opera costumes reflect her aspirations to high society. The use of props, such as Kane's sled "Rosebud," also plays a significant role in the film's narrative, serving as a recurring motif that ties together the different strands of the story.

Movement and blocking are essential components of mise en scene that contribute to the film's visual storytelling. Welles and Toland make extensive use of tracking shots and deep focus to create dynamic and immersive visuals. In the famous "March of Time" newsreel sequence, for example, the camera moves rapidly through a series of vignettes, capturing the frenetic energy and pace of the montage. The blocking of actors within the frame is also carefully choreographed to convey meaning and emotion. In the scene where Kane loses the election for governor, for example, the use of mirrors and overlapping dialogue creates a sense of confusion and despair.

Citizen Kane is a masterpiece of mise en scene that showcases the power of visual storytelling. Through its innovative use of cinematography, lighting, set design, costume, and movement, the film creates a rich and immersive world that enhances the themes and narrative. Orson Welles' meticulous attention to detail and his collaboration with his talented crew result in a film that continues to captivate audiences nearly eight decades after its release. Citizen Kane remains a testament to the enduring power of mise en scene in cinema.