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Yeah, as Bruce states, much of the film set on the yacht is composed of lap dissolves that are superimposed one upon the other during Welles' voice over. This is different in style from say, Von Sternberg or George Stevens, who use the superimposition of one long held shot that very slowly...

I sampled THE LADY FROM SHANGHAI yesterday. I've seen this film maybe a dozen times in 35mm over the years, so I was looking for problem areas, especially the scenes on the ship, and also the hill in Acapulco, which in one shot has heavy grain, but it has always looked that way. Needless to say...