Mise en Scene CINEMATOGRAPHY. The frame is defined by the edge of the film or sensor Aspect ratio refers to how high the image is versus how wide.

Mise en SceneCINEMATOGRAPHY

The frame is defined by the edge of the fi lm or sensor Aspect ratio refers to how high the image is versus how

wide Prior to the 1950s, movies were shot in a variety of aspect

ratios, with the most common being 1.33:1 1950s introduced the widescreen format Until recently, most TV was filmed in 1.85:1 Widescreen is now filmed in 2.35:1

THE FRAME

FULL SCREEN

WIDESCREEN

RULE OF THIRDS

Everyone, even formalists, use center weighting for dominance in basic shots

CENTER WEIGHTING

The edges are viewed as insignificant, but directors often use this space symbolically

Shadows at the edges symbolize the unknown, dangerMysteries often use the edges for lurking figuresDirectors use the edges to place important objects

THE EDGES = INSIGNIFICANCE

In Classical style, the composition of elements in a frame is balanced

Like the angle of the shot being straight, it comforts the eye to see balanced composition

Just like some shots require oblique angles, some shots are intentionally composed in an unbalanced style to make the viewer uncomfortable.

COMPOSITION AND DESIGN

COMPOSITION AND DESIGN

COMPOSITION AND DESIGN

The eye can view up to eight major areas in a frame at a time, generally in sequence.

The director “directs” the viewer’s eye to particular area fi rst by using dominant contrast

This is done in black and white by adding one element in harsh contrast

In color, by using a bold, generally primary color

DOMINANT CONTRAST

DOMINANT CONTRAST

DOMINANT CONTRAST

After the dominant, where do we look next?The director gives you second place to look, often by

size of element or proximity to dominant element

SUBSIDIARY CONTRASTS

SUBSIDIARY CONTRAST

Objects have “weight” or significance based upon where on screen it is

In Western cinema in particular, most people go from left to right in viewing a scene

The upper part of the screen is “heavier” than the lower part

Singular objects are “heavier” than clusters or groupsVisual lines suggest movement and emotionThe sharper the angle of the line off the axis, the

more tension

WEIGHTING

WEIGHTING

Space communicates just as much as every other element of fi lm

We are aware of how people close are in spacing to each other… it can imply many things

Closeness can imply relationships, can be imposing, can suggest power

Distance can imply weakness, detachment

TERRITORIAL SPACE

TERRITORIAL SPACE

Tightly framed can imply restraint. It is also used extensively in horror movies when

something bad is about to come from another angleLoosely framed can imply freedom, escape

TIGHT VS LOOSE FRAMING

TIGHT FRAMING

LOOSE FRAMING

Proximity is part of space… There are four kinds Intimate

Skin contact to 18 inches away Personal

18 inches to four feet away Social

Four feet to to twelve feet Public

Beyond twelve feet

PROXEMICS

INTIMATE SPACE

PERSONAL SPACE

SOCIAL SPACE

PUBLIC SPACE

Generally regarded as an art term, but useful in fi lm analysis

In general, realists use open forms, formalists use closed forms

Open form emphasizes informal, unobtrusive composition. Often, it has no discernable structure and suggest randomness

Closed form emphasizes a more stylized design. Objects and figures are more precisely placed and well-balanced

OPEN AND CLOSED FORMS

OPEN FORM

CLOSED FORM