An individual’s identity is shaped through a complex interaction between internal and external forces which form the basis of one’s values and attitudes. Orson Welles’ revolutionary film Citizen Kane (1941) examines the psychologically damaging effects of internal conflict brought on by parental neglect and the morally corruptive impacts of an unchecked pursuit for power and influence. While a critical analysis may provide insight into these notions, the prevailing notion posited through the film is that the subjectivity of human experiences negates an absolute holistic understanding of an individual’s self-image and position in the world. Hence, Citizen Kane examines the various internal and external forces which contort an individual’s identity.
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Following the Great Depression of the 1930s, Welles criticises the reshaping of the American Dream into the pursuit of wealth through Kane’s characterisation and trajectory as an individual who is seen as successful only because of the large fortune he amasses despite having little insight into his internal state of mind. The bombastic music which accompanies a montage of establishing shots in the introductory biopic newsreel of Charles Kane expresses the grandeur of Kane’s residence, Xanadu, framing Kane as a wealthy and successful individual who has been driven by external motives linked to materialism. Additionally, Kane’s virtue is initially symbolised through a close up of his “Declaration of Principles” but the chiaroscuro effect obscuring Kane’s face in shadows presages his growing desires for control when he ominously reveals “I 've got to make the Inquirer as important to New York as the gas in that light.”, thus highlighting the competing internal and external forces due to his excessive sense of self-importance. The chiaroscuro foreshadows his moral decadence as supported by Welles’ subtle positioning of Kane between his wife and mistress, exposing Kane’s infidelity, before Kane arrogantly declares in the dialogue “There’s only person who’s going to decide what I do in this world and that’s me” exemplifying the prioritisation of political power over integrity and honour since his wealth has inflated his ego. The critic David Wood agrees when he comments the film is “a potent metaphor for the betrayal of principles… an intelligent mediation on the corrupting nature of power” (2002) reinforced through the reappearance of a now torn-up “Declaration of Principles” signifying Kane’s moral demise and succumbing to exterior motives. Hence, Kane’s downfall serves as a timeless
Following the Great Depression of the 1930s, Welles criticises the reshaping of the American Dream into the pursuit of wealth through Kane’s characterisation and trajectory as an individual who is seen as successful only because of the large fortune he amasses despite having little insight into his internal state of mind. The bombastic music which accompanies a montage of establishing shots in the introductory biopic newsreel of Charles Kane expresses the grandeur of Kane’s residence, Xanadu, framing Kane as a wealthy and successful individual who has been driven by external motives linked to materialism. Additionally, Kane’s virtue is initially symbolised through a close up of his “Declaration of Principles” but the chiaroscuro effect obscuring Kane’s face in shadows presages his growing desires for control when he ominously reveals “I 've got to make the Inquirer as important to New York as the gas in that light.”, thus highlighting the competing internal and external forces due to his excessive sense of self-importance. The chiaroscuro foreshadows his moral decadence as supported by Welles’ subtle positioning of Kane between his wife and mistress, exposing Kane’s infidelity, before Kane arrogantly declares in the dialogue “There’s only person who’s going to decide what I do in this world and that’s me” exemplifying the prioritisation of political power over integrity and honour since his wealth has inflated his ego. The critic David Wood agrees when he comments the film is “a potent metaphor for the betrayal of principles… an intelligent mediation on the corrupting nature of power” (2002) reinforced through the reappearance of a now torn-up “Declaration of Principles” signifying Kane’s moral demise and succumbing to exterior motives. Hence, Kane’s downfall serves as a timeless