Synthesized answer
The passages confirm that the trailer contains "no footage from the actual film" [1] and instead features Orson Welles introducing the cast and characters, with actors delivering conflicting opinions about Charles Foster Kane [3][5]. This unconventional choice likely impacts audience anticipation by creating mystery—Welles directly asks viewers to "decide for yourself" what the "real truth" about Kane is [3], rather than showing plot clips. Compared to typical trailers that reveal scenes, this approach emphasizes the film's central theme of subjective truth and invites curiosity without spoiling the narrative.
Welles' artistic intention, based on the passages, appears to be framing *Citizen Kane* as a puzzle for the audience to solve. He describes Kane as "a hero, and a scoundrel, a no-account, a swell guy... a dirty dog" depending on who is talking [3], mirroring the film's structure of multiple perspectives. By using no footage, Welles avoids giving away visual or story details, instead focusing on the question "What's the real truth about Charles Foster Kane?" [3]. This aligns with the film's exploration of how a person can be seen differently by others.
The passages do not…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
← Citizen Kane ( 1940 ) by Orson Welles Official trailer → related portals : Film trailers The official film trailer for Citizen Kane, featuring no footage from the actual film. The following is a transcription of a film . The contents below represent text or spoken dialogue that are transcribed directly from the video of the film provided above. On certain screen sizes, each line is represented by a timestamp next to it which shows when the text appears on the video. For more information, see Help:Film . 3816794 Citizen Kane — Official trailer 1940 Orson Welles RKO RADIO PICTURES SOUND…
Title: Citizen Kane (film) by Orson Welles --- Metadata --- Title: Citizen Kane (Methuen Film) by Orson Welles --- Text ---
little blondie named Susan Alexander he couldn't be elected dogcatcher. I'm going to skin Mr. Charles Foster Kane alive. Emily Monroe Norton I'm gonna marry him next week—at the White House. Jed Leland Emily, I hear you've been stepping out with Charlie Kane. Herbert Carter Gasping Mary Kane Of course I love him, I gave him 60 million dollars. Susan Kane Well of course I love him, he's the richest man in America. Herbert Carter Gasping Jed Leland What all you're [inaudible] say about him, at first. Jim W. Gettys But, you know, I can't help but admire him. Raymond He's crazy. Emily Monroe…
when Citizen Kane plays here and decide for yourself. A MERCURY PRODUCTION by Orson Welles "Citizen Kane" AN R.K.O. RADIO PICTURE This work is in the public domain in the United States because it was legally published within the United States (or the United Nations Headquarters in New York subject to Section 7 of the United States Headquarters Agreement ) between 1931 and 1977 (inclusive) without a copyright notice. The longest-living author of this work died in 1985, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 40 years or…
George Coulouris. Watch it! Here comes Everett Sloane, look out, Everett! Oops. Everett Sloane, ladies and gentlemen. He isn't necessarily a comedian. Here's one of the best actors in the world, Agnes Moorehead. I've said a lot of nice things but Erskine Sanford deserves some more. Erskine! Erskine Sanford. So does Paul. Paul! Paul Stuart, everybody. Citizen Kane is a modern American story about a man called Kane. Charles Foster Kane. I don't know how to tell you about him, there's so many things to say. I'll turn you over instead to the characters in the fiction. You will see they feel…
More questions about this book
- Welles directly addresses the audience, even calling elements "ballyhoo." What does this upfront, self-aware narration reveal about his relationship with the audience, his artistic philosophy, and how it might prepare viewers for the film's own narrative style?
- Instead of showing scenes, Welles introduces numerous Mercury Actors by name. Why might emphasizing the *actors* be a more crucial promotional strategy for *Citizen Kane* than showcasing the film's plot or characters directly, and what does this suggest about the film's potential impact or Welles' vision for it?
- Welles states, "I'll turn you over instead to the characters in the fiction. You will see they feel very strongly on the subject." What does this narrative choice — having fictional characters introduce the central figure, Charles Foster Kane — imply about the film's structure, its approach to character revelation, and the audience's role in understanding Kane?
- Considering this trailer was released in 1940, how might Welles' innovative and unconventional promotional tactics have challenged or redefined audience expectations for a "coming attraction" during that era, and what does this imply about the evolving nature of cinema and its marketing?