Synthesized answer
The passages show that Welles explicitly says, "I'll turn you over instead to the characters in the fiction. You will see they feel very strongly on the subject" [2]. This narrative choice implies that the film’s structure will be built around multiple, conflicting perspectives rather than a single authoritative narrator. Welles himself acknowledges that Kane is "a hero, and a scoundrel, a no-account, a swell guy… It depends on who's talking about him" [1], indicating that character revelation will be fragmented and subjective, presented through the strong opinions of various fictional characters.
Regarding the audience’s role, Welles directly invites viewers to "decide for yourself" what the "real truth about Charles Foster Kane" is [1]. This means the audience is not given a definitive portrait but must actively piece together Kane’s character from the contradictory views expressed by characters like Bernstein, Thatcher, and Gettys [2]. The passages do not provide further details on the film’s specific narrative structure (e.g., flashbacks or framing devices), but they clearly establish that the film relies on character testimony to reveal Kane and positions the audience as…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
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…
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…
← 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 ---
m. Chorus Girls There is a man, a certain man And for the poor, you can be sure, He'll do all he can. Who is this one? Orson Welles Speaking of attractions, all the chorus girls are certainly an attraction. But frankly, ladies and gentlemen, we're just showing you the chorus girls for purposes of ballyhoo. It's pretty nice ballyhoo. But here's some of our real Mercury people. This is the first time you've seen most of them on the screen. Hey, uh, give Joe a little light! Smile for the folks, Joe. Smile! Joseph Cotton, ladies and gentlemen. That's it! Joseph Cotton. I think you're gonna…
More questions about this book
- Orson Welles explicitly states the trailer contains "no footage from the actual film." How does this unconventional choice impact audience anticipation and understanding of *Citizen Kane*, especially when compared to typical film trailers, and what might Welles' artistic intention have been behind this decision?
- 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?
- 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?