Mise-en-scene in Citizen Kane and Persona

Citizen Kane's "Mise-en-scene" and "Persona" Mise-en-scene is the principle that the meaning of a movie is completely drawn out from what happens in one shot, not between two shots. For example, the director may include a lens having various compositions, angles, depths, movements, and illumination. Citizen Kane has many good examples showing how to use Mise-on-scene. I think that the most important and powerful scene in this scene is what I saw during this semester.

Symbolic citizen Kane (Wells, 1941) is a biographer who traces the life of a fictitious newspaper, Charles Cane, who uses scene elements to reinforce "lost" as the theme of repeating the entire movie. As a non-faceted journalist attracts personal stories about Kane, the story tells us that in most of his life, Cane "inevitably goes to bitterness, disappointment and loss" (2) . The first flashback scene (installed in Kane's childhood home) started Kane with the above negative emotional trip. Cane appeared in the background of the scene, and in the foreground, Mr. Thatcher and Mr. Thatcher talked about his future. Cane seemed to be visually confined in the frame of the window, reflecting how he was "trapped" in Mr. Thatcher's custody. In this scene, the expression of Kane 's anger gradually disappeared and showed the sleigh he was playing happily before.

When Kane signed his message to Thatcher in the newspaper there was a wonderful show using three dimensional space and scene to express his personality feelings. Wells created the shrinking illusion of Kane when Kane entered the background (as if his father signed Thatcher with a young cane many years ago). This is partly due to the perspective and partly due to the oversized window structure on the rear wall. The effect is obvious: Kane feels "small". Later, when Mr. Thatcher read the provision allowing Keynes to maintain control, Kane returned to the camera and became bigger as his control resumed.