Mise en scene

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Mise en scene

  1. 1. Anatomy of a Scene Or Mise-en-scène
  2. 2. Every scene has a purpose <ul><li>Some examples are: </li></ul><ul><li>Move the story along </li></ul><ul><li>Describe a character </li></ul><ul><li>Introduce a conflict </li></ul><ul><li>Resolve a conflict </li></ul><ul><li>Create tension or suspense </li></ul><ul><li>And the list goes on…….. </li></ul>
  3. 3. Mise-en-scène <ul><li>In film this means everything that appears before the camera, it literally means putting into the scene. </li></ul><ul><li>This could be character, setting, costume and makeup, lighting, Staging (movement and acting), special effects, sound other than dialogue, space, and time. </li></ul>
  4. 4. Realism It is better to examine the functions of mise-en-scene. One film may use it to create realism, others might seek very different effects : comic exaggeration, supernatural terror, understated beauty, and any number of other functions. We should analyse mise-en-scene’s function in the total film – how it is motivated, how it varies or develops, how it works in relation to other film techniques.
  5. 12. Setting <ul><li>Where is it? </li></ul><ul><li>What props are used? </li></ul><ul><li>Was a set created or did they shoot on location? Can you tell? </li></ul><ul><li>What kind of mood is being conveyed through this setting? </li></ul>The overall design of a setting can significantly shape how we understand story action. In manipulating a shot’s setting, the director may create props. Props may be functional or become a motif – have another meaning assigned to them.
  6. 13. Costume and Makeup <ul><li>Should instill the proper mood. </li></ul><ul><li>Represent the characters personality, social status, and the time period in which they exist. </li></ul><ul><li>Costume often coordinates with setting. </li></ul>Like setting, costume can have specific functions in the total film, and the range of possibilities is huge. Costumes may be realistic or stylised and can also form motifs. Make-up is also necessary and useful in denoting character.
  7. 14. Lighting <ul><li>Lighting can be manipulated in many ways to create highlights and shadows. Highlights provide important cues to the texture of the surface. There are two basic types of shadow : attached and shading or cast shadows. An attached shadow occurs when light fails to illuminate part of an object because of the object’s shape or surface features. Cast shadows are caused by an object being between the light source and the camera. Types of lighting also include : </li></ul><ul><li>Sidelight/ crosslight </li></ul><ul><li>Backlighting </li></ul><ul><li>Underlighting </li></ul><ul><li>Top lighting </li></ul><ul><li>Key light </li></ul><ul><li>Fill light </li></ul><ul><li>Low-key illumination </li></ul>
  8. 15. Lighting Continued <ul><li>Reinforces the mood of a scene. </li></ul><ul><li>It shapes the shots overall composition. </li></ul><ul><li>Affects our sense of the shape and texture of the objects depicted. </li></ul>
  9. 16. Staging: Movement and Acting <ul><li>What type of acting style do you notice in the TV drama – comedic, melodramatic, true to life, etc. </li></ul><ul><li>A performance will be more or less stylized (Sweeney Todd) or more or less individualized (Juno). </li></ul><ul><li>Camera techniques create a sense of movement and acting. (shot types, pans, zooms, truck in). </li></ul>
  10. 17. Space: Screen Space <ul><li>The 2D composition of the scene. </li></ul><ul><li>The organization of shapes, textures, and patterns of light and dark. </li></ul><ul><li>Our center of attention is affected by several changes: movement, colour, difference, balance of distinct components, and variations in size. </li></ul>
  11. 18. Time <ul><li>The control of rhythm as time unfolds. </li></ul><ul><li>The screen can have a distinctive visual beat; flashing light or the rocking of a ship. </li></ul><ul><li>When are we looking at certain element or clue in the film? Why is this happening now? </li></ul>
  12. 19. Special Effects (can be classified under setting, character and makeup) <ul><li>Many television show are beginning to use CG and these effects are often unnoticed. </li></ul><ul><li>The important thing to consider is how do these effects shape the TV show and can instantly inform you of what kind of TV show you are watching (ie. Space ships = sci-fi). </li></ul>
  13. 20. Music and Sound <ul><li>Music plays a crucial role in building and maintaining mood. Sound effects are also added to control realism and create mood. </li></ul>
  14. 21. Diegetic Sound <ul><li>Is the sound within story or scene, ie clock ticking, crunching of leaves, cars honking, birds chirping. </li></ul><ul><li>These sounds are great for setting the scene and can also help set the mood or situation. </li></ul><ul><li>Most of these sounds are added in as sound effects. </li></ul>
  15. 22. Diegetic Sound <ul><li>Sound whose source is visible on the screen or whose source is implied to be present by the action of the film:  </li></ul><ul><ul><li>voices of characters  </li></ul></ul><ul><ul><li>sounds made by objects in the story  (ie. Crunching leaves, honking) </li></ul></ul><ul><ul><li>music represented as coming from instruments in the story space ( = source music) </li></ul></ul><ul><ul><li>Diegetic sound is any sound presented as originated from source within the film's world  </li></ul></ul><ul><li>These sounds are great for setting the scene and can also help set the mood or situation. </li></ul><ul><li>Most of these sounds are added in as sound effects. </li></ul>
  16. 23. Non-diegetic Sound <ul><li>Sound whose source is neither visible on the screen nor has been implied to be present in the action:  </li></ul><ul><li>narrator's commentary </li></ul><ul><li>sound effects which is added for the dramatic effect </li></ul><ul><li>mood music </li></ul><ul><li>Non-diegetic sound is represented as coming from the a source outside story space.  The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening.  We know of that certain sounds are represented as coming from the story world, while others are  represented as coming from outside the space of the story events.  A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).  </li></ul>

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