Mise-en-scene & Design

Mise-en-scne

(pronounced meez-ahn-sen)

Everything that creates the visual world of the movie and its overall atmosphereSome Key Film TermsA. Mise-en-scne-what is filmed; everything in front of the cameras.

B. Cinematography--how something is filmed (photographic techniques)

C. Editing--how what is filmed is put together

D. Soundvoice, music, & sound effects; can be diegetic (part of the story) & non-diegetic (not part of the story) DefinitionMise-en Scene iswhat appears inthe film frame.

33What is a frame?A frame defines the 3 dimensions of the image we see on screen:

HeightWidthDepth (the illusion of)

What is Mise-en-scne?It is a physical creation and an emotional concept

French phrase that literally means - Staging or putting on an action or scene in theatre or cinema

In critical analysis it generally refers to the filmmakers control of such staging, or how a filmmaker determines what the audience sees (and hears) with in the frame of the movie image.Elements of mise-en-scneDesign: the LOOK of the setting, props, lighting, actors, costumes, makeup, hairstyling, and dcor.Composition: the ORGANIZATION, distribution, balance of actors and objects within the frame, including kinesis (what moves within the frame).Plus:Off-screen and onscreen spaceOpen-framed, closed-frame films

Elements of mise-en-scneSetting, Dcor, & PropsPerformance (Actors)Costumes, Makeup, HairstylingLighting & ColorComposition within the frame, including kinesis (movement)

Plus:Off-screen and onscreen spaceOpen-framed, closed-frame films

What isnt part of mise-en-scne?SoundMusicNarrationEditing

What are the functions of the frame and the process known as framing?Filmmakers must decide what to include and what to excludeWhat is seen/not seen (onscreen off screen space)Control distribution, balance and spatial perspectival relations of what appears on screenIn controlling framing, filmmakers shape the from, content, and meaning of the imageSoMise-en-scne results from the filmmakers total control of what occurs with in the frame.

Planning a shot meansPlacing people, objects and elements of dcorDetermining their movements (if any)Setting up lightingFiguring out camera anglesSo generally speaking Mise-en-scne isThe total arrangement of settings, costumes, lighting, and acting - in other words - everything you see.

Ultimately Mise-en-scne happens because the director and his/her creative team envisioned it.Composition and Mise-en-scneMise-en-scne is the product of directorial vision and planning.

Composition is the process of visualizing and putting those plans into practice.Composition BasicsOrganizationDistributionBalanceGeneral relationship of stationary objects and figures As well as light, shade, line, and color with in the frameComposition & Mise-en-scneCause effect relationshipCalls attention to the actual work of the director and the production teamThis helps develop a movies narrative, suggests meaning(story boards, models, sketch books)Shaping Mise-en-scneTwo aspects of composition

Framing - what we see on the screen

Kinesis - what moves on the screenRealism Often Evaluative Standard for Film WorldsNotions of Realism VaryMore Useful to Evaluate Function

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17E.g. Edward Scissorhands (1990)Contrast stylized and banal Mise-en-scneFunctions to suggest conflict in story of conformism and creativity

1818Early Cinema1895 Lumiere BrothersFirst Commercial FilmsMise-en-scne of Real Places Actualities 19

19George MeliesFormer MagicianVoyage to the Moon (1902)One of the First StudiosCreated/ Not Actual World

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20Locations vs. SetsTwo Main Traditions of Film Mise-en-scne Pause lecture to watch a clip of these two early cinema versions of Mise-en-scne on Learning Tasks page.

21211. SettingContainer, Background for ActionorDynamic; Plays Active Role in Narrative

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22I. SETTINGA. Setting is where the action occursB. Three basic options:1. Soundstage- interiors & process shots 2. Studio backlot--full size replicas (towns, streets, houses, shops, etc.) SETTING, CONT.3. Locations:a. May be one place, but pretend to be another ("creative geography--see editing)b. May shoot only establishing & outside shots on locationc. May take whole cast & crew"on location" to shoot exteriors & interiorsSETTINGS, CONT.C. Function of sets:1. Provide information (e.g. time, place, characters status, etc.). 2. Create mood & guide our attention.3. May play a significant part in the action.4. Communicate themes & comment on action.5. Can create "special effects" (e.g. low tech solutions to avoid process shots).

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When the mise-en-scne in a movie creates a feeling completely in tune with the movies narrative and themes, we may not consciously notice it; it simply feels natural.

Rear Window (1954). Alfred Hitchcock, director. 2627

Mise-en-scne reinforces characters and themes. Far From Heaven (2002). Todd Haynes, director. 2728Some movies challenge us to read their mise-en-scne. The Fallen Idol (1948). Carol Reed, director.

28Prop

Abbreviation for PropertyPart of the setting that plays active role in action.May reoccur as a motif.29

29II. Performance (Actors) A. Usually human actors 1. Required to make an effective drama 2. Create identification with audience, enhancing our suspension of disbelief3. Bad acting (or outdated acting) prevents this identification.PERFORMANCE, CONT.B. Various acting styles: 1. Natural vs. Stylized (realistic vs. "playing a role")a. Natural actors re-create recognizable or plausible human behavior for the camerab. Stylized or non-natural actors seem excessive, exaggerated, even overacted, may employ strange costuming, etc.1) May distance audiences from characters (e.g. Johnny Depp in Charlie & the Chocolate Factory)2) Often found in horror, fantasy, & action films2. Improvisational actingextemporaneous acting

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A non-naturalistic performance by Johnny Depp. Edward Scissorhands (1990). Tim Burton, director. 3233

Robert DeNiro and director Martin Scorsese improvised the lines in this scene from Taxi Driver. Taxi Driver (1976)33PERFORMANCE, CONT.3.Method acting (immersing oneself in the role); chameleon actors--different in every rolee.g. Robert DeNiro, Cate Blanchett4. Personality actors or actors who take their personae from role to rolee.g. John Wayne, Adam Sandler)3. Technical acting (using body movements & technique to evoke a role)4. Type casting vs. casting against typeSome actors deliberately play against our expectations of their personae (e.g. Jim Carrey)35

Cate Blanchetts complete transformation as Bob Dylan in Im Not There (2007) - Todd Haynes, director. 35Cate Blanchett

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We respond to a single characters expressions as they are shaped by drama and camera. The Passion of Joan of Arc (1928). Carl Theodor Dreyer, director.

3738Sometimes film directors expect that the audience will make connections between films spanning decades. Anna Karina in My Life to Live (1962). Jean-Luc Godard, director. In this scene she is at the movies, watching.Joan of Arc

38PERFORMANCE, CONT.5. Nonprofessional actors, cast to bring realism to a parte.g. the ordinary people in Winters BoneC. Performance categories:1. Stars2. Character actors & roles3. Major & minor roles4. Bit players and extras5. Stand-ins & stuntpersons4. Cameos (rarely credited, often famous people)PERFORMANCE, CONT.5. Styles change over time a. earlier films may seem overacted to modern audiencesb. Silent films adopted the acting style favored in the 19th-century theaterc. Exaggerated facial expressions, strained gestures, bombastic mouthing of wordsd. The 1950s featured emotional method acting, such as James Dean

PERFORMANCE, CONT.d. Performance challenges:1. Importance of casting & problem of miscasting2. Challenge of shooting out of sequence (movies usually shot out of narrative order, for convenience or cost)e. Film techniques can alter or "create" a performance--skillful photography & editing can mask a poor performance.III. COSTUMING & MAKEUPA. Can enhance setting; must be appropriate for the time, place, etc.B. Can be realistic vs. stylized (more in fantasy)C. Can serve iconographic or symbolic functions (i.e. white hat/dark hat dichotomy for hero/villain)Costumes and Makeup Like Setting, Function in StoryRealistic, Unobtrusive or StylizedAllusion in Breathless43

43Naturalist MakeupDeNiros Nose, Eyes in Raging Bull (1980)Function unobtrusively to create resemblance to real person and support performance.

44Nicholson in Batman (1989) Highly Stylized, Exaggerated Costume/MakeupCharacterize Joker as theatrical, aberrant.

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The Leopard (1963) - Luchino Visconti, director. A film whose mise-en-scne (esp. set design & costuming) perfectly complements its narrative and themes. 46IV. LightingAllows us to see actionDirects our attentionImpacts how characters appear47

47Light QualityIntensitySoft: diffused, less contrast Hard: defined, sharp contrastRedford in The Natural (1984)48

48Three Point LightingKey: Main SourceFill: Eliminates ShadowBack: Rim of Light =Depth 49

49Three Point Lighting (continued)For Each Major CharacterTime Consuming, ExpensiveCreates Clear Compositions

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50High KeyLow ContrastSoftDetailClarityHollywood Optimism51

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Low Key

ContrastHardShadowMysteryDanger

5252ChiaroscuroItalian lightdarkPaintingRembrandt

5353ColorMostly White, YellowColored LightSymbolic FunctionPause lecture forclip from Traffic (2000) showing the symbolicuse of color.

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54Traffic (2000)Blue, Yellow LightSymbolizes Traits of Mexico/U.S.Coldness, Entitlement/Arridity, ViolenceCommon Color Stylization Cultures Linked by Globalization (Drugs)

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IV. USE OF COLOR IN Mise-en-scneA. Color can refer to many things:1. Color film stock [see chapter 2]2. Use of color filters for light [see chapter 2]3. Use of color in sets, costumes, etc.B. Mise-en-scne concerned mainly with color in sets, costumes, etc.C. Color shows different types of characters, places, moods, etc.

USE OF COLOR, CONT.C. Types of color (in both Mise-en-scne & cinematography; see pp.66-70):1. Saturatedintense & vivid2. Desaturatedmuted, dull, & pale3. Warm colors4. Cool colors58

Gone with the Wind (1939). Victor Fleming, director. A turning point in Hollywood film productions use of color. 5859

The Court Jester (1955). Melvin Frank & Norman Panama, directors. Use of saturated Technicolor - verisimilitude is a factor, but authenticity is not always ensured regarding costumes, makeup, or hairstyle, particularly in historical films.5960

Sleepy Hollow (1999). Tim Burton, director. Desaturated color; all the elements of mise-en-scne creates this unified look (composition, costuming, set design, etc.). 60

USE OF COLOR, CONT.D. Expressive uses of color (varies from culture to culture & context):1. Color motifs or patterns (a motif is a recurring element in a film)2. Specific symbolic meanings of colore.g. Black, White, Red, Yellow, etc.3. Alternating or contrasting use of colors62

American Beauty (1999). Sam Mendes, director. The use of color for symbolic emphasis. 62

Stylistic costuming, saturated color. Moulin Rouge (2001). Baz Luhrmann, director. 63

V. SPACE & COMPOSITION

A. Spatial aspects of setting & composition:1. Depth cues--illusion of 3-D space in 2-D medium:a. Overlapping objectsb. Obstruction shotsc. Deep focus (see cinematography)d. Forced perspective (illusion of depth & distance with smaller rear sets, etc.)2. Frontality cues--cue attention to figures in the foreground (instead of background)3. Rack focus [see cinematography on web site]Forced perspective is also a function of cinematography, from the types of camera angles & focal lengths used, to the use of process shots to blend backgrounds and foregrounds together (see chapter 2)6465

Gosford Park (2001). Robert Altman, director. Note the depth cues (foreground & background; in addition the British upstairs/downstairs theme is reflected in the design of the setting and decor. 65

SPACE & COMPOSITION, CONT.B. Composition--arrangement of subjects in frame (also known as framing):1.Balance--taking sides; symmetrical to asymmetrical2. Rule of thirds (horizontal & vertical)3.Diagonals, triangles, or other groupings4.Contrastsa. Can be of tone & color, light & dark, etc.b.Also of shape & size67

Spartacus (1960). Stanley Kubrick, director. The rule of thirds directs our eyes to obvious areas of interest within a cinematic composition. 6768

Citizen Kane (1941). Orson Welles, director. Deep framing, slightly off-balance. 6869

The Cabinet of Dr. Caligari (1920). Robert Wiene, director. Asymmetrical, stylized set composition (combined with the painted sets) reflected the anxiety, terror, and madness of the films characters. 6970

Citizen Kane (1941). Orson Welles, director. Note the triangular composition, along with the deep focus (through the window). 7071

The Bicycle Thieves (1948). Vittorio De Sica, director. Italian neorealism. A more balanced & natural composition--the rainstorm was real, and the scene was filmed on location. 71The Best of Our LivesWilliam WylerWhat does the composition of picture 1 suggest?What does the composition of picture 2 suggest?73

The Best Years of Our Lives (1946). William Wyler, director. The relationship between composition and mise-en-scne: Another triangular composition. 73

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Late Spring (1949). Yasujiro Ozu, director. Japanese directors Akira Kurosawa, Kenji Mizoguchi, and Yasujiro Ozu have consistent visual styles and beautifully balanced compositions; here we have triangle composition. 75SPACE & COMPOSITION, CONT.C. Functions of effective composition1. Physical relation of actors to each other & to the overall frame can significantly affect how we see & interpret a shot.2. The long take & deep-focus cinematography provide opportunities to create scenes of greater-than-usual length & broader, deeper fields of composition.3. Long takes also encourage ensemble acting

SPACE & COMPOSITION, CONT.D. Proxemics--close or far distances between characters & objects:a. Tight--people & objects close togetherb. Loose--people & objects far apartc. Objects used as barriers (e.g. screen doors, bead curtains, etc.)d. See camera distance78

Juno (2007). Jason Reitman, director. Loose framing. The intent is to convey setting & time of day, but the long shot with balanced composition (& desaturated colors) reflects additional meanings. For one thing, Juno is unbalanced with the rest of the frame, small, almost unnoticeable, reflecting her feelings.78

SPACE & COMPOSITION, CONT.E. Other uses of space:1. Matte (painted) backdrops2. Camera angles [see cinematography]3. Looking into windows, mirrors, etc.4. Use ofempty space 5. Use of offscreen space80

Hamlet (2000). Michael Almereyda, director. Mirrors and self-confrontation. 80

VI. OTHER ASPECTS OF Mise-en-scne A. Movements of actors & objects [also see cinematography & editing]:1. Lateral movements (side to side)2. In-depth movements (away from or up to the camera)3. Symbolic movements (e.g. specific gestures such camera tilting from feet upwards to convey suspense, power;etc.).Movement speed is altered by camera focal length (see chapter 2).8182

Royal Wedding (1951). Stanley Donen, director. Movies can make anything and anyone move in any way the story calls for. 82OTHER ASPECTS, CONT.B. Passage of time through Mise-en-scne:1. Title cards2. Close ups on calendars & clocks3. Character make-up4. Changes in the set (e.g. winter to summer scenes, etc.)5. Length of shot [Time also indicated through various editing techniques see web site]One creative way to do time changes was in the film Notting Hill when Hugh Grants character walks through a street market and the backgrounds, weather, etc. changes from summer to fall to winter and back to spring.83OTHER ASPECTS, CONT.C. References to the outside world1. Product placements--ads justified under the name of "reality.2. Allusions --references to something elsea. To real world things or eventsb. To other texts (called Intertextuality)c. Can be homages or parodies

Well return to some of these concepts throughout the courseFraming:What we see on ScreenCinematic seeing = framingThe frame of the cameras viewfinder indicates the boundaries of the cameras point of view.The frame offers filmmakers complete control over 2 kinds of cinematic spaceOnscreen spaceOffscreen spaceOnscreen SpaceInside the frameIncludes the people and objects the filmmakers want us to seeCreates relationships between people and objects and focuses our concentration on what we see by excluding the rest of the world from the frameOff ScreenThe spaces beyond the 4 borders of the frameThe spaces beyond the movie settings which call attention to the entrances to and exits from the world of the frameSpace behind the cameraOff Screen Space in Stagecoach (1939), directed by John Ford

Off Screen Space in Stage Coach (1939)

Open FramePeople and things can enter and leave the frameGenerally used in realistic filmsFrame can be seen as a window on the worldOpen & Closed Frames

Open Frame: Cast Away

Closed FrameNeither characters nor objects enter or leave the frameGenerally used in antirealistic filmsexample: expressionistic filmsClosed Frame: North By Northwest

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Ikiru (1952). Akira Kurosawa, director. Some movies develop their narratives within both open and closed frames. Note the characteristics of the closed framing in this shot. 9596

Ikiru (1952). Akira Kurosawa, director. A movie can begin in a closed frame, suggesting entrapment, and end in an open one, suggesting the characters ability to determine his own fate. 96Kinesis:What Moves on the ScreenPerception of motion in filmCan be accomplished in many waysMusic in an otherwise static sceneMovement of objects and characters with in the frame an by the apparent movement of the camera (moving frame)How the elements of cinematic form are handled determines how we will interpret all movement in a movie.

Kinesis ContinuedAll movies move some move differently than othersKinetic quality of many movies is determined by their genresWar stories, cartoons, and comedies include more and faster movement than love stories or biographical films

Movement in the Frame: Crouching Tiger (2000) directed by Ang Lee

Movement of figures within the frameMost important figure the actorHow do all the actors move with in the space created to tell the storyWhere and how a figure moves may dictate the width, depth and height of the setting in which the movement occursMovement in the Frame: Buster Keaton

ReviewA. Planning a films Mise-en-scne means making advance decisions about the placement of people, objects, & elements 1. Setting up the lighting2. Figuring out camera angles & determining the initial framing of the shot3. Choreographing the movement of the camera during the shot4. Creating sounds that emanate from the shotB. Effective Mise-en-scne creates a convincing sense of time, space, & moods1. Suggests a characters state of mind2. Relates to developing themes

Sources:

Looking at Movies by Richard BarsamFilm Art: An Introduction by David Bordwell and Kristin ThompsonDr. Barbara L. Baker, U of Central MissouriProfessor Aaron Baker, Arizona State UniversityProfessor Lisa Jadwin Ph.D. St. John Fisher College, Rochester, NYMaccray High School, Raymond Minnesota