Editing And Film Techniques In Orson Welles's 'Citizen Kane'

Orson Welles ' introduced innovating editing and sound design in the 1940s with Citizen Kane (1941). Welles uses editing and sound to show the audience the passing of time, this is seen the breakfast montage. Welles uses sound bridges during the transitional wipes of fast moving images which fade into the next shot. The sound bridges act as links between the two scenes and make the time difference apparent to the audience. At the beginning of the montage Welles uses a slow zoom combined with romantic music to show the love between Kane and Emily. Both characters appear in the frame together with deep focus and slow paced editing which shows the closeness of the couple in the early years. This is juxtaposed by the end of the montage showing

Welles uses image overlays of maps during this sequence, multiple exciting transitions between scenes such as various wipes and graphic matches between scenes as they fade into one another. The news reel uses a voiceover to efficiently get the information across to the audience in a short amount of

Unlike Citizen Kane, Mean Streets uses fast-paced editing to propel the action forward. Fast-paced editing is used particularly in pivotal moments of the narrative such as the fight between Charlie and Johnny Boy to create a sense of action. To introduce the troublesome character of Johnny Boy, Scorsese combines unique sound and editing techniques to give the audience a sense of his character from the get go. Scorese uses the song “Jumping Jack Flash” along with a slow motion long shot of Johnny Boy entering a bar with two women on his arms. The combination of the song and slow motion displays the importance of this character and sets him up as the antagonist to Charlie. Scorsese intercuts Johnny Boy 's entrance with medium close ups of Charlie 's reaction to him, this gives indications to the audience of their