Graham Edwards:

Whether or not a camera move is fair has always been open to debate. Take the 1941 classic Citizen Kane. You won’t see Orson Welles dodging bullets in ultra slo-mo, but you will find a wealth of magic camera moments. At the start of the “El Rancho” scene, for instance, the camera makes an impossible flight over a (miniature) rooftop, passing right through the middle of a neon sign before dropping (by way of a nifty lap dissolve) through the solid glass of a rain-spattered window to enter the nightclub below. Is that move motivated, or is it just Welles showing off? You tell me.