This is it..my thesis presentation entitled "An Analysis of Mise-en-scene in Avant-garde Surrealist film Black Moon"

1. AN ANALYSIS OF MISE EN SCÈNE
IN AVANT-GARDE SURREALIST FILM:
“ B L A C K M O O N ”
B y :
K I N K I N S U S A N S I
2 0 1 0 0 6 0 1 3 5
E N G L I S H D E P A R T M E N T
F A C U L T Y O F L E T T E R S
P A M U L A N G U N I V E R S I T Y
T A N G E R A N G S E L A T A N - B A N T E N
2 0 1 4

2. CHAPTER I INTRODUCTION
2
1.1 Background of the Study
 Introduction to film, Mise en scène , Avant-garde,
Surrealist film, and Black Moon.
 A successful film depends on a good story as well as
the representation of the visual.
 Each genre has its own customs and characteristics in
fashioning the visual.

3. 1.2 Scope and Limi tat ion of the Study
3
 The scope and limitation of this study is limited to
analyze the aspects of mise en scène in avant-garde
surrealist in film “Black Moon”.

4. 1.3 Statements of the Problems
4
1. What roles are played in the film “Black Moon”?
2. How are the mise en scène elements in the avant-garde
surrealist film “Black Moon”?
3. What are the characteristics of surrealism that film
“Black Moon” have?

5. 1.4 The Goals of the Study
5
1. To describe the roles that are played in the film
“Black Moon”.
2. To know how are the mise en scène elements in the
avant-garde surrealist film “Black Moon”.
3. To find out the characteristics of surrealism that the
film “Black Moon” have.

6. 1.5 Funct ions of the Study
6
1. To writer, through this analysis can apply her
knowledge from her study.
2. To introduce mise en scène technique, avant-garde
and surrealist film to readers because these
topics are seldom discussed.
3. The functions of this study basically can improve
the writer’s knowledge and the readers.

7. 1.6 Systemat ical Presentat ion
7
 The first chapter is Introduction which consists of
Background of the study, Statements of the Problems,
Scope and Limitation, Goals of the Study, Functions of
the Study, and Systematical presentation.
 The second chapter consists of Related Studies, Review
of Literature, and Theoretical Framework.
 The third chapter is Research Methodology which
consists of Approach of the Study, Data Source,
Collecting Data and Method of Data Analysis.

8. CHAPTER I I
RELATED STUDIES , REVIEW OF LITERATURE, AND
THEORITICAL FRAMEWORK
8
 Nurfaridatun (2012) entitled 
“The Psychology Analysis Criticism of the Main
character of Law Abiding Citizen Film”
 AlexanderWaters (2011) entitled 
“Discerning a Surrealist Cinema”
 Joi D. Chadwick (2011) entitled 
“Surrealism Is Not Dead: A Look at Surrealism in
Contemporary Mass Communication Via Analysis of
Modern Popular Films”

9. 2.2 Review of Li terature
9
2 . 2 . 1 Fi lm
 The definition of film
 The differences among the term film, movie, and cinema
2.2.2 Mise en scène
 Mise en scène [miːz ɑːn ˈsen] refers to the visual designs of a film that work
together to build the story.
 The aspects of mise en scène including setting, props, costume, makeup,
light, color, the staging: movement and performance
 Mise en scène is beneficial to captivate the spectators.

10. 2.2.3 Avant -garde Fi lm
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 The word is taken from French means a creative group in the innovation
and application of new concepts and techniques especially in art. Its birth
was inspired by contemporary art. The first currents happened in France,
Germany and Russia.
 Avant-garde film has an absurd visual and a form that straying from
establish structure.
 Avant-garde film rebelled monopoly of film corporations that controlled
film production, distribution, and exhibition.
 Two major factors that triggered the avant-garde’s birth: economics (the
condition of production) and aesthetics

11. 2.3 Theoret ical Framework
11
2 . 3 . 1 The or y of ac t ing
“The essential requisite for a performer in the movies is what Antonioni
called expressiveness. That is, he or she must look interesting” (Giannetti,
2002:250)
“The nuances of the dialogue must be conveyed through vocal
expressiveness” (2002: 247-248).
 Close-up shot will focus on facial expression to reveal the
character’s true feeling.

12. Mise en scène and Surrealism
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 Theory of Mise en scène
“What possibilities for selection and control does mise-en-scene offer the
filmmaker? We can mark out four general areas: setting, costumes and makeup,
lighting, and staging.” (Bordwell and Thompson, 2008:115)
 Theory of Surrealism
The whole theory of surrealism in this study is taken from Richardson (2006)
“It evokes an undefined relation, a meeting point between the opposites of light
and dark, presence and absence, actuality and imagination which suggests the
actualization of the supreme point which Andre Breton identified as the aim of
surrealism.” (p. 1)

13. CHAPTER III
RESEARCH METHODOLOGY
13
3.1 Approach of the Study
 Qualitative as an approach based on Denzin and Lincoln (2003)
3.2 Data Source
 Primary data source: the film “Black Moon”
 Secondary data source: books and internet
3.3 Collecting Data
3.4 Method of Data Analysis
 The data are analyzed through descriptive analysis technique
 Identifies the characters in the film “Black Moon”
 Analyzes the mise en scène to find the characteristics of avant-garde surrealist
film from the film “Black Moon”.

14. CHAPTER IV
FINDINGS AND ANALYSIS
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 “Black Moon” is filmed in 1974 which connected to mythology, psychology and
politics.
 Inspired by “Alice in Wonderland” updates into modern time.
4.1 The Roles
 To find surrealistic features in roles
No. Roles Surrealistic Feature
1. Young Lily Imagining of gender war and unicorn, speak to unicorn
2. Old Lady Bedridden, speak in gibberish and lucid languages, speak to rat,
telepathic communication
3. Sister Lily Communicating telepathically especially through eyes
4. Brother Lily Communicating telepathically especially through touch
5. Unicorn
(supporting role)
Personified like a human, wise, smart, annoying, poetical

15. 4.2 Mise en scène of Avant-garde Surrealist Film
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 To find surrealistic features in mise en scène
No. Aspect Surrealistic Feature
1. Setting A mysterious conflicting countryside
Piglet in the kitchen
2. Props Juxtapositions of a peaceful countryside and unusual props such as
tank, gun, gas mask
So many alarm clocks in an ordinary room
a big size glass
3. Costume Countryside women in army uniform
4. Makeup Shiny makeup to create dramatic face
5. Color Earth and feminine colors
6. Lighting Dark and natural light source
7. Staging: Movement And
Performance
Poetically speaking, telepathic communication, eating raw meat, talking
with animals,
chasing unicorn
a girl dandled an old lady

16. Setting and Props
16
COUNTRYSIDE
Where men and women kill each
other
THE HOUSE: KITCHEN
describes the characteristic of femininity.
The unusual from this kitchen is a piglet
and a big size of glass

17. Costume, Makeup and Colors
17
Feminine style of the rebellious ‘70’s era
The combination of white, pink, and
scarlet is perfect to leave a feminine
impression emphasized her inclination to
femininity
Shiny makeup to create vicious and
mean face
The use of makeup here is to give the
effect of dramatic and to create tension.

18. Lighting and
Staging: Movement and Performance
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Lighting
 Dark and natural light
 The motivating light sources come from the window, the hearth and table
lamp.
 Staging: Movement and Performance
Various facial expressions and gestures create from
this scene like irritating, offended, angry and
curious.
Scene: A conversation with unicorn,
offensive remarks

19. 4.3 The Characteristics of Avant-garde Surrealist film
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 Style: Formalism or anti-realism and anti-narrative
Inner world experience and imagination
 Structureless: No hero, no introduction to characters’ background no plot
development
 Dialogue: Little dialogue, poetically speaking, unrelated topics
 Imagery:
Auditory: gun fires, tenor singing, alarm clocks, talking unicorn and rat,
crying flowers, woman’s scream
Visual: gender war, unicorn, talking rat

20. 20
 Symbols:
Alarm clock
bird’s wing
 Personification: Unicorn, rat, flowers
 Images:
Shocking images: Massacre, human and animal Slaughter, hit a badger, Eat raw
meat
Unrealistic images: black fat unicorn, gender war men vs women, talking
animals and crying flowers
surrealist painting
Duration: 01:36:21/not a full length of film

21. CHAPTER V
5.1 Conclusions
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 The roles in this film are also unique, eccentric,and rebel the
traditional rules.
 The mise en scène of avant-garde surrealist film is made to convey
inner world or personal vision such as dream, imagination,
spirituality, desire, psychological condition, poetic vision and
political view of the filmmakers.
 After analyzing the mise en scène in “Black moon”, the
characteristics of avant-garde surrealist film are found such as dark,
depict of dream or imagination, desire, political statement,
psychological issue, poetic vision with structure of anti-narrative, less
dialogue, embellished by imagery and symbols also painting.

22. 5.2 Suggestions
22
 Firstly understand the genre because sometimes people think that fantasy
film can be included into this genre.
 Take a look carefully at the mise en scène can help us to find the
characteristics of avant-garde surrealist film.
 Pay attention to the surreal things or events that we never find in
everyday situation because it might be a symbol that has a meaning and
send a message
 Since surrealist film is connected to psychology, understand the
characters’ feeling
 Since this type of film is sensible to the political climate, so try to find
out what is going on in the world that relate to the film.

23. BIBLIOGRAPHY
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Books
Abrams, Nathan, Ian Bell, and Jan Udris. Studying Film. London: Arnold, 2001.
Balazs, Bela, Edith Bone (translator). Theory of the Film: Character and Growth of a New Art. London: Dennis Dobson Ltd, 1952.
Barnett, Daniel. Movement as Meaning in Experimental Film. Amsterdam: Rodopi, 2008.
Bohn,Willard. The Rise of Surrealism. New York: State University of New York Press, 2002.
Bordwell, David, and Kristin Thompson. Film Art an Introduction (eighth edition). New York: McGraw-Hill Companies Inc., 2008.
Breton, Andre, Richard Seaver, Helen R. Lane (translator). Manifestoes of Surrealism. Michigan: Ann Arbor Paperbacks, 1969.
Dick, Bernard F. Anatomy of Film (third edition). New York: St. Martin’s Press, 2005.
Dixon,Wheeler Winston, and Gwendolyn Audrey Foster. A Short History of Film. New Jersey: Rutgers University Press, 2008.
Giannetti, Louis. Understanding Movies (ninth edition). New Jersey: Prentice Hall, 2002.
Hauser, Arnold. The Social History of Art Vol. IV. New York : Routledge, 1999.
Kracauer, Siegfried. Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press, 1960.
Richardson, Michael. Surrealism and Cinema. New York: Berg, 2006.
Ritchie, Jane, and Jane Lewis, ed. Qualitative Research practice: A Guide for Social Science Students and Researchers. London: Sage
Publications Ltd., 2003.
Ross, Michael Elsohn. Salvador Dali and the Surrealists. Chicago: Chicago Review Press, 2003.
Vaneigem, Raoul, Donald Nicholson-Smith (translator). A Cavalier History of Surrealism. Edinburgh: AK Press, 1999.
Vogel, Amos. Film as a Subversive Art. New York: D. A. P, 2005.

24. 24
Internet Resources
The Black Moon (Lilith). Retrieved on March 15th, 2014 at 09.11 p.m. From:
http://www.cornerstone-astrology.com/articles/black_moon_lilith.htm
Black Moon (1975) Film Festival: Malle's 'Black Moon'. Retrieved on March 8th, 2014 at 08.46 p.m. From:
http://www.nytimes.com/movie/review?res=9D00E4D81039E63BBC4850DFBF66838E669EDE&
Interview with Louis Malle (1976). Retrieved on April 12th, 2014 at 09:22 p.m. From:
http://www.rogerebert.com/interviews/interview-with-louis-malle-1976
Andre Breton. Retrieved on April 18th, 2014 at 11: 46 a.m. From:
http://www.surrealists.co.uk/breton.php
Salvador Dali. Retrieved on April 18th, 2014 at 12:13 p.m. Form:
http://www.surrealists.co.uk/dali.php
The Surrealist Manifesto. Retrieved on April 18th, 2014 at 12: 22 p.m. From:
http://www.surrealists.co.uk/surrealist_manifesto.php
Black Moon (1975). Retrieved on March 8th, 2014 at 09:06 p.m. From:
http://www.tcm.com/this-month/article/180498|0/Black-Moon.html

25. APPENDIX
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ANDRÉ BRETON (FRENCH, 1896–1966)
The Founder of Surrealism
SALVADOR DALI (SPAIN, 1904 – 1989)
The Most Famous Painter and Figure in Surrealism

26. FILM COVER
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