In filmmaking, internal rhythm is created by whatever appears or occurs within the shot of a moving picture. It can change within a scene (film) and from scene to scene. In Citizen Kane, for instance, the internal rhythm of the scene in which Kane, Leland, Bernstein, and the movers take over the offices of the Inquirer differs from the rhythm of the scene in which Kane demolishes Susan's bedroom or from the scene in which Kane and Susan spend an evening at home at Xanadu.
The scene in the newspaper office starts out slowly and quietly, but the pace is increased until the rhythm of the action is frantic. The demolition of Susan's bedroom begins slowly, becomes hysterical, but slows again when Charles comes across Susan's snow-scene paper-weight. The rhythm of the scene between Kane and Susan at home is heavy and static, yet tense.
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“We have our difficulties, true; but we are a wiser and a tougher nation than we were in 1932. Never have there been six years of such far flung internal preparedness in all of history. And this has been done without any dictator’s power to command, without conscription of labor or confiscation of capital, without concentration camps and without a scratch on freedom of speech, freedom of the press or the rest of the Bill of Rights.”
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