The Shot: Mise-en-Scene. Film’s Stylistic System Mise-en-Scene (“putting in the scene”)...
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Transcript of The Shot: Mise-en-Scene. Film’s Stylistic System Mise-en-Scene (“putting in the scene”)...
![Page 1: The Shot: Mise-en-Scene. Film’s Stylistic System Mise-en-Scene (“putting in the scene”) Cinematography (“writing in motion”) Editing (compiling shots)](https://reader035.fdocuments.us/reader035/viewer/2022062516/56649dc65503460f94abb0fd/html5/thumbnails/1.jpg)
The Shot:
Mise-en-Scene
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Film’s Stylistic System
• Mise-en-Scene (“putting in the scene”)
• Cinematography (“writing in motion”)
• Editing (compiling shots)
• Sound (all auditory elements)
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Verisimilitude• Film, like all art forms, is a lie. That is, it
is not the literal truth. It is not real.
• Mise-en-Scene is the element of stylistic form that seeks to create verisimilitude, or the appearance or semblance of reality, plausibility, or believability.
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Elements of Mise-en-Scene
1. Setting
2. Figures
3. Props & Costumes
4. Light & Shadow
5. Color
6. Perspective Relations
7. Performance
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1. Film Setting
• Landscape
• Environment
• Spectacle
• Minute detail
• Directed attention
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Landscape/Environment
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Spectacle
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Minute Detail/Directed Attention
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2. Figures in Film• Figures in film have behavior and
motivation. Examples:
Characters (people)
Animals
Machines
Some objects
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Figures in Film
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3. Props & Costumes• Objects & clothing aren’t necessarily
props & costumes.
• An object becomes a prop when a figure interacts with it.
• An article of clothing becomes a costume when a figure wears it.
• A prop (or costume, for that matter) becomes a figure when it has behavior and motivation.
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Objects vs. Props
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Clothing vs. Costume
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4. Lighting: Type/Source
• Hard vs. soft light
• Key vs. fill light
• Light source
Natural
Artificial diegetic
Artificial nondiegetic
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Hard Key vs. Soft Fill
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Natural Light
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Artificial Diegetic Light
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Artificial Nondiegetic Light
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4. Lighting: Direction
• Frontal (flattens features)
• Sidelight (sculpts features)
• Backlight (creates silhouettes)
• Underlight (horror effect)
• Toplight (halo effect)
• Hairlight (specific toplight)
• Eyelight (tiny light for eye sparkle)
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Frontlighting
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Sidelighting
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Backlighting
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Underlighting
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Toplighting
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Hairlight
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Eyelight
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4. Shadows
• Attached shadows (aka shading) – object/figure creates shadow on itself
• Cast shadows – object/figure casts shadow on something else
• Chiaroscuro – areas of extreme light and dark in a single shot
• Film noir – “Dark Film”
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Attached Shadows
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Cast Shadow
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Chiaroscuro
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Film Noir
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5. Color
• Descriptive – it looks like what it is
• Emotional – creates a feeling
• Symbolic – represents an idea
• Formal/structural – lines, areas of composition
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Descriptive Color
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Emotional Color
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Symbolic Color
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Structural Color
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6. Perspective Relations• Size & Balance – create depth cues and
emphasis
• Depth cues – clues as to distance
• Planes (overlapping) – a depth cue
• Size diminution – smaller = further away
• Linear perspective – parallel lines converge
• Aerial perspective – hazing of distant planes
• Shallow vs. deep-space composition – few planes vs. many planes in the shot
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Overlapping Planes/Size Diminution
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Linear Perspective
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Aerial Perspective
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Shallow-Space Composition
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Deep-Space Composition
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7. Performance
• Blocking – general movement and placement of figures
• Choreography – specific/detailed movement of figures (dance, fights)
• Acting
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7. Performance: Acting• Two aspects of an actor’s performance:
Visual elements (body, gesture)
Auditory elements (voice)
• Film acting vs. stage acting – largely a
question of scale and spontaneity
• Acting Styles:
Realistic (aims for verisimilitude)
Stylized (stagey, fantastical)