Use of Camera Work and Focus Techniques in Orson Welles' Citizen Kane
By: Cyrus Burris
By: Cyrus Burris
Casablanca and Citizen Kane are often considered to be the two best films of all time. In my opinion, I believe that Casablanca shines from a character/plot standpoint, while Citizen Kane shines from a cinematography standpoint. Orson Welles uses a variety of various camera techniques that were not only incredibly technically impressive for the time, but they also do a terrific job conveying various messages. Within this film, there are two instances specifically that stick out to me. Firstly, the scene from Kane's childhood as Kane's mother and father discuss with a lawyer/financial consultant about sending Kane away. The second being the scene in which Kane finds Susan passed out in her room, in a possible suicide attempt. These two scenes use various forms of camera work that convey a heavy meaning.
The first scene uses a very interesting camera panning technique. Within the scene, the camera moves backwards on a dolly. Seemingly, the camera moves through or over a table. While this alone is incredibly impressive from a technical standpoint, it also does a good job foreshadowing and/or explaining the life of Kane. The camera beings at the window, looking out at Kane playing Civil War in the snow, all the way back through the house and through the table. As it pans back, Kane's mother, father, and financial adviser take the long-seeming walk to the table to sign the contracts that would shape Kane's life. This long pan, and this long walk display a changing room that conveys a changing life. It's a long, constantly changing life that Kane will soon experience.
The previous scene conveyed a good use of camera panning. Panning generally requires physical movement of the camera. While this can often be used to great effect, it is also important to remember that one can create a powerful image or scene simply by shifting the focus of a camera. With today's technology, be it film or photography, adjusting the focus of an image or video is entirely easier than it used to be. Despite technological limitations, Citizen Kane masterfully manipulates focus on several different occasions. Due to the age of the film, Welles' often had to physically modify the film in which the movie was, well, filmed on on. There are several scenes in which two objects are in focus, but they are in/on opposite sides of the frame. This was achieved by filming the scene multiple times and physically splicing the film together in post-production. The best example of this is the scene in which Kane's wife, Susan, overdoses and is found passed out in her bed. In this scene, the foreground, displaying the medicine and the cup it was taken from, is in focus. Behind that lies Susan, out of focus, surrounded by darkness and seemingly faceless. Behind her, the doorway and Kane are in focus, looking after Susan. The focusing of the foreground is done simply to explain the situation, in which Susan overdosed. The focusing of the background takes emphasis away from the now less-pretty/attractive Susan and emphasizes the effect that the entire situation has on Kane.
The first scene uses a very interesting camera panning technique. Within the scene, the camera moves backwards on a dolly. Seemingly, the camera moves through or over a table. While this alone is incredibly impressive from a technical standpoint, it also does a good job foreshadowing and/or explaining the life of Kane. The camera beings at the window, looking out at Kane playing Civil War in the snow, all the way back through the house and through the table. As it pans back, Kane's mother, father, and financial adviser take the long-seeming walk to the table to sign the contracts that would shape Kane's life. This long pan, and this long walk display a changing room that conveys a changing life. It's a long, constantly changing life that Kane will soon experience.
The previous scene conveyed a good use of camera panning. Panning generally requires physical movement of the camera. While this can often be used to great effect, it is also important to remember that one can create a powerful image or scene simply by shifting the focus of a camera. With today's technology, be it film or photography, adjusting the focus of an image or video is entirely easier than it used to be. Despite technological limitations, Citizen Kane masterfully manipulates focus on several different occasions. Due to the age of the film, Welles' often had to physically modify the film in which the movie was, well, filmed on on. There are several scenes in which two objects are in focus, but they are in/on opposite sides of the frame. This was achieved by filming the scene multiple times and physically splicing the film together in post-production. The best example of this is the scene in which Kane's wife, Susan, overdoses and is found passed out in her bed. In this scene, the foreground, displaying the medicine and the cup it was taken from, is in focus. Behind that lies Susan, out of focus, surrounded by darkness and seemingly faceless. Behind her, the doorway and Kane are in focus, looking after Susan. The focusing of the foreground is done simply to explain the situation, in which Susan overdosed. The focusing of the background takes emphasis away from the now less-pretty/attractive Susan and emphasizes the effect that the entire situation has on Kane.
These are two of my favorite shots in the film and I agree with everything you mention here. I especially like the fact that you pointed out the conscious choices of moving the camera in the first and keeping it stationary in the second scene. By just making a bold choice with focus in the latter, the shot is still very interesting without having to move it. In the first, choosing the tracking shot is equally as wise, representing, as you said, a changing room and a changing life. Such bold and thoughtful choices made for two truly great scenes.
ReplyDelete