INTRODUCTION
By analyzing the picnic scene in Citizen Kane (Dir. Welles 1941) through the four major
technical codes of mise-en-scene, cinematography, sound and editing, the implied
meaning presented revolves around wealth and power and their effect on personal
relationships. Through the lavish surroundings and costumes in the mise-en-scene, the
use of innovative cinematography, and the method in which sound and editing are
rhythmically linked to enhance the narrative, Welles presents the characters of Kane and
Susan in a light that portrays the degradation of the human condition under the pressures
of excess, resulting in an existence devoid of emotional fulfillment.
MISE-EN-SCENE
The opening frame of the picnic sequence depicts Kane and Susan being chauffeured to
their destination. The picnic, planned by Kane to the dismay of Susan, is emphasized in
her stony expression and line, “you never give me anything I really care about” (Welles
1941, sc.26), her feelings mirrored in Kane’s expression and tilt of the head in response
to her words. The virtually static composition forces the audience to take note of the
stylized costumes, a motif throughout the film and a metonym for the characters status
and wealth. The composition of white and pale colours, balances the black interior of the
car which both is encased. Through the use of “three point lighting” and a key light,
volume and cast shadows are created (Bordwell & Thompson 2007 p.128), drawing
attention to Kane’s glasses and pipe, connoting the more recreational endeavor being
embarked upon yet also implying a dark side of Kane’s character hidden behind these
props.
The cavalcade of cars in the following frame serves as a metaphor for the almost regal
status that Kane possesses in the film, yet its resemblance to a funeral procession,
preface the demise of Kane and Susan’s relationship in the following sequences. The
opulent setting of the picnic again draws on...