SP 472 American Film History II, Week 3

8/14/2019 SP 472 American Film History II, Week 3

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Mise en Scène

• French for “placing

on stage”

Taxi Driver 

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Mise en Scène

• Frame dimensions

• Aspect Ratio

• 1:33:1 (Pre-1950’s &TV)

• 1:85:1 (standard)

• 2:35:1 (widescreen)

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Mise en Scène

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Mise en Scène

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Mise en Scène

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Mise en Scène

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Mise en Scène

• Dominant

 – Where is our eye attracted first?

Bend It Like Beckham

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Mise en Scène

Silence of the Lambs

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Mise en Scène

• Subsidiary contrasts

 – What are the main

eye-stops after 

taking in thedominant?

Batman Begins

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Mise en Scène

Deuce Bigelow: European Gigolo

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Mise en Scène

• Lighting key

 – High key?

 – Low key?

 – High contrast? – Some combination of 

these? 

The Philadelphia Story 

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Mise en Scène

The Grifters

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Mise en Scène

• Shot and camera

proxemics

 – What type of 

shot?

 – How far away is

the camera from

the action?

Silence of the Lambs

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Mise en Scène

Manhattan

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Mise en Scène

Collateral 

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Mise en Scène

 Austin Powers

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Mise en Scène

Red Eye

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Mise en Scène

Kill Bill 

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Mise en Scène

• Color values 

 American Beauty 

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Mise en Scène

Kill Bill 

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Mise en Scène

Raging Bull 

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Mise en Scène

2001: A Space Odyssey 

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Mise en Scène

• Density

 – How much visual

information is packed

into the image?

 – Is the texture stark,

moderate, or highly

detailed?

The Scarlet Empress

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Mise en Scène

Drag Me to Hell 

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Mise en Scène

The Godfather 

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Mise en Scène

From Here to Eternity 

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Hud 

Mise en Scène

• Composition – How is the two-

dimensional space

segmented and

organized? – What is the underlying

design?

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Mise en Scène

• Composition

 – The Rule of Thirds

 – From painters of the

Renaissance (14th century)

 – Interest should be at theinterersecting lines as our 

eyes do not go to the center 

of a photograph

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Mise en Scène

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Mise en Scène

The Departed 

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Mise en Scène

Match Point 

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Mise en Scène

Silence of the Lambs

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Training Day 

Mise en Scène

• Form

 – Open or closed?

 – Does the image

suggest a window

that arbitrarily

isolates a fragment

of the scene?

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Mise en Scène

…or a proscenium

arch, in which the

visual elements are

carefully arrangedand held in

balance?

The Departed 

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Mise en Scène

Does the composition

suggest action or 

confinement?

Beauty vs truth

 Traffic 

M 

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Mise en Scène

Silence of the Lambs

•Framing

 –Tight or loose?

Do the characters

have no room tomove around, or 

can they move

freely without

impediments

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Mise en Scène

Silence of the Lambs

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Mise en Scène

The Grifters

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Mise en Scène

Double Indemnity 

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Mise en Scène

The 400 Blows

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Mise en Scène

Double Indemnity 

•Character proxemics

 –How much space is

there between

characters?

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Mise en Scène

The Petrified Forest 

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Mise en Scène

Broken Flowers

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Mise en Scène

The Wedding Crashers

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Mise en Scène

Notes on a Scandal 

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Mise en Scène

• Midnight Cowboy 

• Directed by John

Schlesinger 

• Starring DustinHoffman, Jon Voight,

Sylvia Miles

• 1966

• Dir. Of Photography -Adam Holender 

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Mise en Scène

• Originally rated X but seems tametoday

• First X-rated film to win Best PictureOscar 

• Also won Best Director & Best

Screenplay• Dustin Hoffman (his 2nd film after 

The Graduate) Jon Voight & SylviaMiles were also nominated

• In 2007, the American Film Instituteranked this as the #43 Greatest

Movie of All Time• “I’m walkin’ here…” was the only line

in the famous taxi-slamming sceneactually scripted