Session 3 mise en-scene: Film Appreciation Course
Post on 19-Aug-2015
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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
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