Citizen kane breakfast montage

The music gradually gets darker as well. The shot then moves back out through the window and the characters move outside to join Charles. Between Citizen kane breakfast montage scene in the montage, there is a swish pan signifying the passage of time.

This method of editing has the effect of greatly compressing story time into much less plot time or screen time. Mr Kane stands a little further back on the left edge of the frame, and Charles can be seen through the window in the far distance. The shot composition has Mrs Kane closest to the camera, seated on the far right, with Thatcher just behind her.

The purpose of this montage is to accelerate the progression of time, to tell a significant part of the story in a very rapid, abridged and intense way. This montage lasts for three minutes and ten seconds, which is shorter than the two takes of the previous scene, compared with the story time in each of several years versus four minutes.

Charles then attacks Thatcher and attempts to run away. Charles snaps that people will think what he tells them to think he becomes the demanding controlling man he will be for the remainder of the film.

This shot is in deep focus, so all of the characters are in clear focus. This shot also uses deep focus, so they are all still in perfect focus. Their clothes getting more formal, which matches the serious tone Emily and Charlie use to address his devotion to the Inquirer over her.

The average take is around 10 seconds[1], so this is considerably longer than that. The method of montage is described in Film Art: This is all done in one take, 1 minute 44 seconds long.

After the first scene, instead of sitting close to each other, they both sit at opposite ends of a much longer table. Citizen Kane Scene analysis: The camera pans and tracks around to join all the characters congregating around a snowman, with Mr Kane a little further away in the background, signifying that he is of less importance, and all the others quite close to the lens.

In each of the first three sequences, Emily makes complaints about the newspaper Charles is running, about how much time he spends there, and about some of the content. The camera zooms out to a long shot showing the large divide between the two characters.

The adults then move back over to the window and the camera, still tracking, follows them. They keep on breakfasting together…to preserve appearances, probably, but they speak less and less, and by the last episode their warfare has become silent, cold and without either the passion or the pleasure of open anger, with Kane at his end of the table reading The Inquirer, Emily at her end reading The Chronicle.

The camera then tracks further backwards and the indoor characters follow it to a table. It begins showing Kane, about ten years old playing alone in the snow. The fifth accentuates this even more, being the shortest of the sequences, with only one shot of and line from each.

Story time usually greatly exceeds plot time, as story time includes elements that we do not see, that we are only told about.

In the first scene, the newlywed Kanes are happy in their marriage. Flowers and various breakfast items are on the table, physically dividing the couple. After this subject change, Emily and Charlie are not framed together in a shot together until the very end of the montage.

The scene concludes with a temporal ellipsis as we hear the sound of the train Charles is most likely on as he leaves home. There is no dialogue in the final scene. The close-up shows Mrs Kane holding Charles very close to her. Both seem to have no concern for the other as they read their respective papers.

In this sequence there are no unseen inferred events, therefore reducing story time to equal plot time, thus creating this feeling of continuity.

They are newlyweds, and talk about how they went to six parties the night before.

Both sit close together on a small table eating their breakfast. The second scene, the breakfast scene, is as differently edited from the previous scene as two scenes can be.

This is an intentional and slightly childish attempt by her to upset Charles, with her taking noticeable care to ensure he can see that she is reading this rival paper instead of his.

This take runs for 1 minute 55 seconds, also very long by contemporary Hollywood standards.Jan 28,  · I am going to analyze the breakfast montage that depicts Charles and Emily Kanes’ marriage.

Orson Welles manages to depict the gradual emotional separation between Emily and Charlie over years of marriage using only a few minutes of film set all in one room. Editing in Citizen Kane Two scenes in Citizen Kane that I will discuss here as examples of how editing can be used to affect story time are the flashback to Kane as a child with his parents and meeting Thatcher and the famous breakfast table montage.

In conclusion, Citizen Kane makes it very clear that wealth cannot necessarily buy happiness.

This is demonstrated in Charles and Emily's breakfast scene through masterful use of symbolism, perspective, costuming, the soundtrack, and even through dialogue. Abstract: While it is evident to the viewer that Charles and Emily’s marriage is falling apart during Citizen Kane’s breakfast montage, the mise-en-scene and technical devices used to.

Many film critics and historians see Citizen Kane as his crowning achievement. One could argue that by being the crowning achievement of his crowning achievement, the breakfast montage in Citizen Kane is the pinnacle Welles’ career.

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Citizen kane breakfast montage
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