A very rough distinction puts Orson Welles and Italian Neorealism into the mise-en-scène box and Eisenstein into the "cut" box. Also, German Expressionism is a result of the leverage of mise-en-scène. Welles is a realist, with continuous takes bringing a "theatrical" taste—and maybe form as well.
Here we discuss Welles in general and a lot of Citizen Kane. Welles is the boy genius of theatre, and radio theatre, entering cinema. Hence the episodic form and the dealing with contrasts in Citizen Kane. We previously saw this action of contrasts in German Expressionism, where it was the language of those expelled from wartime Germany. The immediate theme of Citizen Kane is the lost childhood; also absent from the movie, this absence of childhood is the cocoon form of our protagonist's desire to fulfill his mother's wish. The journey is presented in nonlinear time through the use of flashbacks.
André Bazin is happy with the result here. He says "the cut" is baby cinema's way of talking and the silent film is the infancy of cinema. Moreover, from his perspective, the cut and the mise-en-scène are ways of embalming existence. As fundamentally photography fulfills this desire, the continuous method does a better job than just editing the photographs. He also emphasizes the disadvantage of the dictating form of a cut-heavy approach in contrast to the chaos-preserving form of continuous takes of the camera floating through undetermined (!) drama. From here we can take the discourse to a political direction. If to dictate is to talk to the audience, to show it as-is (!) is to ask the audience, or to think together with them. Later on, the dictating form is used for Soviet propaganda and the asking/daring form is enhanced by the French (New Wave). Right at this dividing line, our teacher said this parallels the human experience, as it is also as vague as the method of continuous take suggests. Yet I can't help but ask if all of us experience the same uncertainty at the very essence of reality or if the movie-goer is as certain as Eisenstein's cuts in his or her observations; being caught in the rain of ideological commercialism by day and again ideological narratives on the silver screen by night. The Zone of Interest must be noted for its solid take on the inquiry here.
The in-depth composition is perhaps not distinct to the method of continuous take, but it is to be mentioned as it is hard to encounter in mainstream cinema. How come a director as sensitive as Villeneuve let all that blurry background persist in Dune films? Like Orson Welles, William Wyler also presented this possibility, and when these scenes kick in in his films, they are the most precious moments of a new powerful language being invented.