It is the textual integrity of Orson Welles' film Citizen Kane (1941) that allows it to effectively demonstrate the need for healthy relationships and the dangers of the exclusive pursuit of power. The non-linear structure of the film which returns to the gothic facade of Xanadu also conveys the ambiguity of Kane's character and the human experience. Elements of German Expressionism then explain many of the film's unorthodox techniques, such as chiaroscuro lighting and distorted sets, which add richness to the textual integrity and reinforce Kane's enigma. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Kane's relentless pursuit of power and disregard for integrity can only bring him temporary glory, followed by endless regret. Kane's final downfall reveals the intrinsic flaws of the idealistic American dream, which promoted the false illusion that financial success generated emotional fulfillment. Kane's youthful innocence is depicted in the childhood scene, where his indistinct cries in the background of a deep shot emphasize his blissful detachment from the adult, money-dominated world in the foreground. However, his involuntary departure with the banker Thatcher plunged him into an unhealthy environment of “gold mines, oil wells, shipping and real estate”. Kane's corruption is apparent during the signing of the Declaration of Principles, where chiaroscuro lighting covers him with darkness to convey a sense of moral ambiguity, thus foreshadowing his compromise of honesty for publicity. His moral transformation leads me to agree with critic Pauline Kael (1971), who views Citizen Kane as "the story of how heroes become comedians and crooks", representing how those who are respected in public often transform themselves into figures of immoral behavior. The murky confrontation between Kane and Gettys then reveals that the corrupting influence of power is not limited to Kane, and parodies a "backstage deal" to criticize broader manipulation within politics and society. The middle shot of his confession in the first person: "If I had not been very rich, I could have been a very great man", reveals his true recognition of his immoral character and therefore calls into question his adherence to selfish values. Wide-angle shots of Xanadu's interior then create optical illusions of Kane dwarfed by seemingly normal-sized chimneys and doors, suggesting that his sudden helplessness is the result of his own materialistic actions. Orson Welles traces Kane's corruption in his quest for power to warn viewers of the dangers of relentless ambition. Kane's inability to form emotional connections stems from the trauma of his family's rejection, but also from his self-centered ambitions. Growing consumerism in the 1930s prompted many American parents to send their children to the East Coast for better opportunities and, in doing so, sacrifice family ties. Kane's family separation is compounded by the coldness of Thatcher, whose monotone voice through an abrupt time-lapse, "Merry Christmas... and Happy New Year", is stripped of any emotional meaning to imply that Kane's childhood quickly dissolved into the spiritually empty environment. As a result, he has difficulty sharing his feelings with his first wife Emily, as shown in the breakfast montage. The scene presents a succession of close-ups continually cutting between the two, this.