Mise en scène (French: 'placing on stage') originally described theatre direction — the arrangement of everything visible on stage — but was adopted by film criticism, particularly by the French critics who wrote for Cahiers du Cinéma in the 1950s, to describe the totality of what a director places within the camera frame: set design, lighting, costume, actor positioning, depth of field, camera angle. For critics like André Bazin, a director's mise en scène was their visual signature, the expression of a personal vision independent of montage. Orson Welles's deep-focus compositions in Citizen Kane (1941) — in which objects close to the camera and figures far away are simultaneously sharp — used mise en scène to encode meaning in spatial relationships. The auteur theory of cinema, which holds that the director is the primary author of a film, is largely based on analysis of a consistent mise en scène across multiple works.