A very rough distinction puts Orson Welles and Italian Neorealism into the mise-en-scene box and Eisenstein into the "cut" box. Also, German Expressionism is a result of the leverage of mise-en-scene. Welles is a realist, with continuous takes bringing a "theatrical" taste--and maybe form as well.
Here we discuss a bit of general Orson Welles and a lot of Citizen Kane. Welles is the genius boy of theatre, and radio theatre, entering the cinema. Hence the episodic form and the deal with contrasts of Citizen Kane. We previously saw this action of contrasts in German Expressionism where it was the language of those expelled from wartime Germany. The immidiate 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.
Andre Bazin is happy with the result here. He says "the cut" is the baby cinema's way of talking and the silent film is the infancy of cinema. Moreover, in his perspective the cut and the mise-en-scene are ways of embalming the existence. As fundamentally photography fulfills this desire, the continuous method is doing a better job then just editing the photographs. He also emphasizes the disadvantage of the dictating form of 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 somewhere political. If to dictate is to talk to the audience, to show it as-is (!) is to ask to the audience, or to think together with them. Later on the dictating form is used for the propaganda of the Soviet 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 too is also vague as the method of continuous take imposes. Yet I can't help but to ask if all of us experience the same uncertainty at the very essence of reality or if the movie-goer is as certain as the Eisenstein's cuts in his or hers 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 is to be noted here for it's solid take of the inquiry here.
The in-depth composition is perhaps not distinct of 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 flu background persist in Dune films? As well as 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.