here was much technological advancement in film at this time – Technicolor and synchronized sound allowed for a new generation of films that were of high quality and complex storytelling. These aspects, however, were always subordinate to the narrative of film, and due to the introduction of codes governing the content of films, filmmakers would often turn to literature for the inspiration needed for complex, morally acceptable narratives. There was a shift in the late 1930's towards new genres and dialogue driven stories that appealed to a middle-class audiences concerned with the morality of American society (Skylar, 1994: 175) This, coupled with the emergence of new, young filmmakers experimenting with various techniques and the influences of foreign films and filmmakers saw a sudden explosion of new styles and narratives. A young Orson Welles, 26 at the time of writing, directing, producing and starring in Kane, was one such talent. Films from this time period – I would suggest - not only introduced a certain style of filmmaking that would later become quintessential classical Hollywood, but also included innovations that remain impressive to this day.
             The character of Charles Foster Kane, the main 'protagonist' in Citizen Kane, is regarded by most to be based upon real-life newspaper mogul William Randolph Hearst. Indeed, Hearst attempted to buy the film from RKO productions – the film company that Welles worked for – before it was released, to prevent embarrassment. Commentary on American politics, economics and society permeate the storyline, and in a post-depression, brink-of-war USA, audiences seriously regarded the film.
             The film details the life of fictional newspaper mogul Charles Foster Kane, through a series of flashbacks. The film begins with the death of Kane, and his final word 'rosebud'. A reporter, Thompson – whom we never see clearly so as to avoid him bec...