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TODAY’S AGENDADefine and discuss the various elements of “MISE EN SCÈNE”
Take Home QUIZ #3
CHAPTER 3: MISE EN SCÈNEWHAT IS “MISE EN SCÈNE”?
FRENCH TERM MEANING “Placing on stage”
The arrangement of everything that appears in the framing of a film’s shots – setting, lighting, props, costume, makeup, actors, hair, etc. The frame and camerawork are also considered part of the mise-en-scène of a movie. In cinema, “placing on the stage” really means placing on the screen, and the director is in charge of deciding what goes where, when, and how.
CHAPTER 3: MISE EN SCÈNEBordwell & Thompson: “MISE EN SCÈNE” does NOT include camera placement and movement
Gibbs: “MISE EN SCÈNE” DOES include camera placement and movement
For this class, we’re Team Gibbs but other definitions you encounter may vary (some, for example, include editing and sound design as part of MISE EN SCÈNE but we are going to focus on the basic visual)
CHAPTER 3: MISE EN SCÈNE“MISE EN SCÈNE”
Think of it as the film’s VISUAL STYLE and all that entails; the framing of a film’s shots – setting, lighting, props, costume, makeup, actors, hair, etc. VISUAL STYLE also includes frame and camerawork as part of the mise-en-scène of a film
All the visual factors that can make a shot “beautiful” or “sad” or “scary”
CHAPTER 3: MISE EN SCÈNE
Visual Style = HOW A MOVIE LOOKS AND MOVES
In other words, how the film conveys its individual “visual language” to give the viewer information as it’s telling its particular story
CHAPTER 3: MISE EN SCÈNE
SCENE ANALYSISEmploying the concept of MISE EN SCÈNE and the correct use of its terms is the key to successful scene analysis
CHAPTER 3: MISE EN SCÈNESETTINGS, SETS, AND LOCATIONS
SETTING =The place and time in which the events of a film occurNYC, 1895 vs. NYC, 1995, for exampleIncorporates SETS and LOCATIONS
CHAPTER 3: MISE EN SCÈNESETTINGS, SETS, AND LOCATIONS
SET =Spaces specifically constructed for the filming of particular scenes; a space CREATED solely for the film, usually indoors but sets are also created outdoorsOffers maximum control for filmmakers
CHAPTER 3: MISE EN SCÈNESETTINGS, SETS, AND LOCATIONS
LOCATION =Actual “real” places chosen by filmmakers because they suit the requirements of the story and enhance its believabilityOffers less control for filmmakers but gives more “realness”
CHAPTER 3: MISE EN SCÈNESETTINGS, SETS, AND LOCATIONS
CHAPTER 3: MISE EN SCÈNESETTINGS, SETS, AND LOCATIONS
CHAPTER 3: MISE EN SCÈNESETTINGS, SETS, AND LOCATIONS
CGI = THE ULTIMATE SET?
CHAPTER 3: MISE EN SCÈNEACTING =
The various methods and techniques employed by the people playing the characters in a film as directed by the filmmaker
CHAPTER 3: MISE EN SCÈNEACTING FACTORS:
Unlike literature, film does not offer easy access to a character’s “interior life” so acting is crucial for communicating that instead; what an onscreen character is thinking and feeling is most often conveyed by the ACTING
CHAPTER 3: MISE EN SCÈNEACTING FACTORS:
VOICEOVER = film shorthand for “interior life”, but it does not adhere to the core motto of filmmaking, “SHOW, DON’T TELL”
FILM = VISUAL MEDIUM making “SHOW, DON’T TELL” crucial
CHAPTER 3: MISE EN SCÈNEACTING FACTORS:
CASTING = Which actors will play which rolesPhysical appearance and demeanor plays a very large part of filmmaking and MISE EN SCÈNE depending on the type of film that’s being made
CASTINGBecause the actor is the key tool of expression in film, casting is a very important part of the process.
Traditionally, in mainstream Hollywood films, the lead roles are played by actors who conform to the standard ideals of beauty.
Secondary roles are often played by character actors : actors who predominantly play unusual or eccentric characters.
LEADING ACTORS
CHARACTER ACTORS
ACTING FACTORS:Acting in film is different from acting on the stage in terms of how much movement an actor makes. On the stage the audience is sitting a way off and all the actions need to be bigger; this is especially true in terms of facial expression.
CHAPTER 3: MISE EN SCÈNE
CHAPTER 3: MISE EN SCÈNEACTING FACTORS:
FACIAL EXPRESSION = Film allows actors to be SUBTLE in a way that’s impossible for stage actorsThe direction of an actor’s gaze, the slightest furrowing of the brow, the cocking of the head – all these can convey a wealth of information about the character’s “interior life”
The Kuleshov Effect – 1910 Russia
ACTING TECHNIQUES AND STYLES: METHOD
There are many techniques that an actor can use to achieve a performance.
Elia Kazan studied the Method, as did Brando, Hoffman, Pacino, De Niro, etc. This technique draws on an actor’s prior experiences to recreate an emotion or series of emotions on screen.
10 of the Best Method Actors of All Time
ACTING TECHNIQUES AND STYLES: IMPROV
Another approach is Improvisation, where actors perfect a performance by playing off one another.
Improvised scenes are often thought of as used in comedies but the technique can be used effectively in many styles of films
One respected director who often uses this style in his dramas is Mike Leigh
CHAPTER 3: MISE EN SCÈNEFIGURES IN FILM:
FIGURE = A broad term that refers to any object within the film’s frame, including architectural elements, natural elements (such as trees or mountains), furniture, people, animals, etc.Of all these, the human figure, in the form of the actor, is often the most significant “object” on screen
CHAPTER 3: MISE EN SCÈNEFIGURES IN FILM:
FIGURE POSITION = The arrangement of figures in the frameCan convey a great deal about character psychology, character relationships, and themeThe proximity or distance between characters from scene to scene/shot to shot often indicates emotional closeness or distance but it can do the same if there’s only one character
CHAPTER 3: MISE EN SCÈNEFIGURES IN FILM:
FIGURE MOVEMENT = How figures MOVE, both independently and in relation to one another within a filmRemember that it’s not JUST actors that move in a film; many other figures (objects in a film’s frame) can move, too
CHAPTER 3: MISE EN SCÈNECOSTUME =
The clothing worn by charactersOften functions to establish setting and circumstances; reveal a character’s psychology, social status, character traits, and/or her perception of herself; move the plot forward; or convey theme
CHAPTER 3: MISE EN SCÈNE
COSTUME EXAMPLE = Joey’s jacket in ON THE WATERFRONT
CHAPTER 3: MISE EN SCÈNEMAKEUP & HAIR =
Ways of “dressing” a character to often establish time and place, reveal a character’s psychology and circumstances, signal a change in a character, or convey theme
CHAPTER 3: MISE EN SCÈNEGive three examples of effective and essential costumes, makeup, and hair-styling from some of your favorite movies:
a. ____________________________________________________
b. ____________________________________________________
c. ____________________________________________________
CHAPTER 3: MISE EN SCÈNEPROPS (Properties) =
Movable objects that appear in a filmAs with all other elements of MISE EN SCÈNE, props can be used to provide viewers with important information about plot, character, and theme
CHAPTER 3: MISE EN SCÈNELIGHTING =
The way light is used in a film to expose, highlight, or hide objects in the frameThink of each frame of a film as a still photograph that is specifically litAs with all other elements of MISE EN SCÈNE, lighting can be used to provide viewers with important information about plot, character, and theme
CHAPTER 3: MISE EN SCÈNELIGHTING =
Three-Point Lighting: the basis for lighting design in film
KEY LIGHTFILL LIGHTBACK LIGHT
CHAPTER 3: MISE EN SCÈNETHREE POINT LIGHTING:
THREE-POINT LIGHTINGKEY LIGHT =
The brightest light sourcePlaced to one side so that it illuminates from an angle for desired effect
THREE-POINT LIGHTINGKEY LIGHT =
The brightest light sourcePlaced to one side so that it illuminates from an angle for desired effect
THREE-POINT LIGHTINGFILL LIGHT =
Used opposite/with KEY LIGHT to reduce or eliminate the harsh shadows created by the key lightLess intense than the KEY LIGHT
THREE-POINT LIGHTINGFILL LIGHT =
Used opposite/with KEY LIGHT to reduce or eliminate the harsh shadows created by the key lightLess intense than the KEY LIGHT
THREE-POINT LIGHTINGBACK LIGHT =
Originates from behind and either above, below, or to the side of the back of the main object you’re lightingCan create a silhouette effect
THREE-POINT LIGHTINGBACK LIGHT =
Originates from behind and usually above the subject (sometimes below)Can create a silhouette effect
CHAPTER 3: MISE EN SCÈNETHREE POINT LIGHTING:
CHAPTER 3: MISE EN SCÈNETYPES OF LIGHTING:
High-Key Lighting =When the fill light and the back light are nearly as bright as the key lightShadows are diminished and the effect is of an evenly distributed light source in the entire shot
CHAPTER 3: MISE EN SCÈNETYPES OF LIGHTING:
Low-Key Lighting =When the fill light and the back light are much less intense than the key light; some areas are brightly lit while some are in deep shadow/blacknessThis effect is called “chiaroscuro”
CHAPTER 3: MISE EN SCÈNEMOVEMENT & COLOR =
MOVEMENT by not noly independent objects like props BUT also the camera itself can be used within MISE EN SCÈNE to convey meaning and impact
CHAPTER 3: MISE EN SCÈNEMOVEMENT & COLOR =
Likewise, COLOR and it associated symbolism is often used within MISE EN SCÈNE to convey meaning and impactA film’s overall use of color is called its COLOR PALETTE
CHAPTER 3: MISE EN SCÈNE
FRAMING & COMPOSITION =How the objects in a shot are arranged and shown to the audience – the use of the SPACE within and inside a shot
CHAPTER 3: MISE EN SCÈNEFRAMING & COMPOSITION =
Think of each still of a film as a photograph or painting; how it’s COMPOSED and FRAMED is what gives it meaning and impactBalance, Deep Space, Shallow Space, Actor-Blocking, even “Offscreen” Space are just some of the factors used in framing and composition
FUNCTIONS/DIMENSIONS of Composition
TO PROVIDE AN AESTHETIC: a distinctive visual style achieved through composition that gives the film a sense of AESTHETIC unity (Tarantino example)Definition of AESTHETIC = a set of principles underlying and guiding the work of a particular artist or artistic movement; a particular individual’s set of ideas about style and taste, along with its expressionFIVE ASPECTS OF STEVEN SPEILBERG’S MOVIES
DIMENSIONS OF COMPOSITION
TO COMMUNICATE MEANING: filmmakers often use composition to communicate MEANING by using 3 dimensions of the frame itself:
HEIGHTWIDTHDEPTH
DIMENSIONS OF COMPOSITION
THE USE OF HEIGHT: typically speaking, the TOP of the frame is the DOMINANT area and the viewer’s eyes go to this part of the screen first
When a character appears in the lower half of the frame it is often significant, perhaps visually expressing a power relationship between the characters
DIMENSIONS OF COMPOSITION
THE USE OF WIDTH: while the dominant area tends to be the center of the frame, WIDTH can be used to visually express exclusion, alienation, and obscurity, especially when there are multiple characters on screen in a multiple of ways
DIMENSIONS OF COMPOSITION
THE USE OF DEPTH: by using the FOREGROUND, MID-GROUND, and BACKGROUND when composing/framing shots, a filmmaker cannot only convey literal depth within the image, she can visually express relationships between characters
CHAPTER 3: MISE EN SCÈNEFRAMING & COMPOSITION =
THE DOMAIN OF MISE EN SCÈNE – where it all comes together to create a space within the frame in which the story takes place using VISUAL LANGUAGE as its main form of communication
MISE EN SCÈNE
10-minute video recapping many of the aspects covered todayA LIST: 100 GREATEST SHOTS
LOOKING AHEAD
TAKE HOME QUIZ #3 over CHAPTER #3 due next classBasic Scene AnalysisChapter #4: Editing
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