Mise-en-SceneMise-en-Scene

Bong S. EliabHum 3: Film Appreciation

Mass Communication Department

Bong S. EliabHum 3: Film Appreciation

Mass Communication Department

Mise-en-SceneMise-en-Scene “Our most sharply

etched memories of the cinema.”

“Overall design of a setting can significantly shape how we understand story action.”- Bordwell and Thompson

“Our most sharply etched memories of the cinema.”

“Overall design of a setting can significantly shape how we understand story action.”- Bordwell and Thompson

Note the backdrop (setting) of “The Road Home”; wooden fences, huts, small dusty roads, the clothes they Di and Zhao wear.

Mise-en-sceneMise-en-scene

“having been put into the scene”

Visual aspects that appear within a single shot

“having been put into the scene”

Visual aspects that appear within a single shot

Mise-en-SceneMise-en-Scene

perceived elements that are recorded by the camera: objects, movements, lighting, shadows, colors, shots, movement of the camera, sound, editing

perceived elements that are recorded by the camera: objects, movements, lighting, shadows, colors, shots, movement of the camera, sound, editing

Holly Hunter and Anna Paquin in a scene of “The Piano”; note the perceived

elements in the mise-en-scene

Mise-en-SceneMise-en-Scene

Setting: not merely a backdrop against which the story is told

Setting: engages dynamically with the narrative.

Setting: not merely a backdrop against which the story is told

Setting: engages dynamically with the narrative. Peter Jackson directing Watts in King

Kong; explaining the mise-en-scene

Director’s StyleDirector’s Style

Director’s control over mise-en-scene

Capacity of the director to control what happen on the set.

Director’s control over mise-en-scene

Capacity of the director to control what happen on the set.

Elements of Mise-en-sceneElements of Mise-en-scene

Setting Props Costume Performance and

Movement Lighting Camera and Camera

Movement Editing Sound

Setting Props Costume Performance and

Movement Lighting Camera and Camera

Movement Editing Sound

SettingSetting

1920s-1940s: studio Studio: elements

controlled and chosen Signifier of

authenticity in 1920s Wilderness Small town Large ranch

1920s-1940s: studio Studio: elements

controlled and chosen Signifier of

authenticity in 1920s Wilderness Small town Large ranch

SettingSetting

Functions to place the character within a film

Functions to create a space and meaning

Functions to place the character within a film

Functions to create a space and meaning

PropsProps

Device for conveying meaning

Define the genre Weapons: action genre Garlic/ crosses: horror films

Unique signifiers of meaning Objects on C.U./ Dialogue Significance of object in the

narrative

Device for conveying meaning

Define the genre Weapons: action genre Garlic/ crosses: horror films

Unique signifiers of meaning Objects on C.U./ Dialogue Significance of object in the

narrative

PropsProps

Used to anchor characters into particular meaning Hannibal Lecter: face

guard (Silence of Lambs)

The Godfather: props in relation to family’s honor

Used to anchor characters into particular meaning Hannibal Lecter: face

guard (Silence of Lambs)

The Godfather: props in relation to family’s honor

CostumeCostume

Variant of prop, tightly connected to character

Minor characters: use codes of everyday life (uniforms)

Cinematic Codes: white for good guys/ black for villainy

Variant of prop, tightly connected to character

Minor characters: use codes of everyday life (uniforms)

Cinematic Codes: white for good guys/ black for villainy

CostumeCostume

Subtle changes of character’s costume: changes in status, attitude or passing of time

Signifies mismatches: A costume calls for a series

of expectation Police: in robbery scene Cross-Dressing: a make in

female clothing

Subtle changes of character’s costume: changes in status, attitude or passing of time

Signifies mismatches: A costume calls for a series

of expectation Police: in robbery scene Cross-Dressing: a make in

female clothing

Performance and MovementPerformance and Movement

Richest source of mise-en-scene: actor’s performance

Performer: object of the camera’s gaze

Richest source of mise-en-scene: actor’s performance

Performer: object of the camera’s gaze

Performance and MovementPerformance and Movement

Body Language: strong coded elements in the facial expressions and body positions held by the performers

Body Language: strong coded elements in the facial expressions and body positions held by the performers

Body LanguageBody Language

Part of everyday life Universal Cultural/ temporal

variations Thumbs up High Five

Part of everyday life Universal Cultural/ temporal

variations Thumbs up High Five

PerformancePerformance

Presentation of characters by the actors using body language Dustin Hoffman in

Rain Man Tom Hanks in Forrest

Gump

Presentation of characters by the actors using body language Dustin Hoffman in

Rain Man Tom Hanks in Forrest

Gump

Body MovementsBody Movements

Body movements: can be used to express a change of emotion and a passage of time

Body movements: can be used to express a change of emotion and a passage of time

Star FactorStar Factor

Brings to the film a meaning derived from their presence

Brings a level of expectation and implied meaning in their previous film

Brings to the film a meaning derived from their presence

Brings a level of expectation and implied meaning in their previous film

Type-CastingType-Casting

Part of film language Type-casting of a

star: having meaning can be stretched and re-used, but only to a limited extent

Part of film language Type-casting of a

star: having meaning can be stretched and re-used, but only to a limited extent

Other ElementsOther Elements

Lighting Camera and Camera Movement Editing Sound

Lighting Camera and Camera Movement Editing Sound