Welles did not invent any new cinematic processes: he fused the experience of three decades into one gigantic work that proclaimed with tremendous power just how effective a medium the cinema could be. He assimilated the styles and subtleties the cinema had evolved, often unwittingly, since Griffith. For practically every technical device in Citizen Kane there is a precedent; but there is no precedent for Citizen Kane, the film. (pp. 18-19)
Welles's vision is expressed not so much in Fordian terms as in the style of the German directors of the Twenties. The relaxed bonhomie of Ford's world eludes him, except in parts of The Stranger and Chimes at Midnight....
(The entire section is 711 words.)