Research of Mise en Scene in Post-Apocalyptic film openings.

1. Mise en Scene in film openings
28 Weeks Later
Mise en scène is important in any film, “28 Weeks Later” is no different.
The film surrounds a group of people trying to survive a Zombie
Apocalypse. Due to this, the group of protagonists are living all together in a
dark, dreary and claustrophobic boarded-up cottage. The lighting and
colour of the opening scene is dark, dim and somber; this immediately sets
the tone of the film and creates a negative impact for the audience. The
setting is low-lit, with wax candles being used, perfect for the atmosphere
the director is trying to create. As the characters, during the opening scene,
are all sitting down to eat a meal, the props used are relevant to the
context. For example, plates, wine glasses. Items such as axes are also
prominent due to the nature of situation. The costumes worn by the
characters are too, very dull, this also goes with the atmosphere of the
scene, but these drab-looking clothes could also represent metaphorically
how the characters are feeling. The characters are supposed to look like
they haven't touched either their hair, or the females, applied any make-up,
this is because, due to the world disaster, this would most-likely be the least
of their worries. Their facial expressions and body language show great
emotional pain and suffering, we can see they are unsure of their future and
the outside world. There are several characters living in one small cottage,
therefore, this creates a sense of crampness and claustrophobia for the
audience, thus expanding the idea of how miserable the characters must
be feeling.
AEon Flux
In
contrast to
“28 Weeks Later”, this film
opening is
very
different in its
atmosphere.
The entire opening
sequence is the protagonist
speaking a monologue about how she is
working as a secret assassin working for
the Monicans, a group of rebels
trying to overcome the
government. Throughout the entire sequence, it
shows shot of the community in which the protagonist lives. She is explaining
how the government have bound the inhabitants and are using
propaganda to brainwash the community people. The shots showing
exactly what the government have been doing. e.g. humans are going
missing, without a trace and the government are denying this. There are two
people, giving each other a dirty look, this implies to the audience they do
not like either each other or something the other has done. The setting of
the opener is that of a parallel universe, as they are being watched in a
museum. Therefore any props that are used, including sun umbrellas and
advanced technology devices are CGI designed. Everything seems
manufactured. The sun shines, which could pose as a juxtaposition for the
nature of the film as we can see the community are not leading happy lives.
The costumes, make-up and hair all vary depending on characters. For
example, the protagonist comes into shot wearing a black all-in-one suit
with a black-tinted translucent head mask. The additional Monicans are
seen wearing futuristic style safety clothing, with one male seen wearing
winged eye-liner; While the community people own re voluntary coloured
tunics, their hair styled not extravagantly and their make-up is natural. The
facial expressions and body language all depends on the different
characters. For example, at the very start of the sequence, to juxtapose how
unhappy the community is, there is a slow-motion and sound shot of
children playing and laughing. However, if you watch the shots of the
protagonist, she is showing every stern emotions and concentration, strutting
down some steps. This tells the audience she is a very serious character,
showing she is a confident lady and prepared to go to great lengths to

2. achieve what she wants. Lighting and colour within the scene are very
bright and it is visually attractive. This is to do with the element of the film
being based in an alternative universe where everything is modern and
futuristic. However, as the colours and lighting are so vibrant, flashy and
vivid, we assume this is 'too-good to be true', and know there will be
misfortune somewhere. The position of characters and objects within the
frame also depends on context. For example, the community people are
placed sprodically in the sequence telling certain aspects of the story. i.e.
they the protagonist is speaking about civilians going missing, there is a lady
being grabbed When the protagonist is shown, she is seen walking through
people on her way somewhere. This tells the audience she is literally on a
mission.
Tank Girl
This Post-Apocalyptic film
approaches
this
genre
differently to my last two examples.
The scene
opens with a shot of 2033 San
Francisco where everywhere
has been plunged into snow and
ice, due to an apocalypse. We are introduced
through voice-over to a girl, who is
very tongue- in-cheek about the matter.
The sequence then progresses to the girl, riding
along on reindeer in the snow, wearing
weather-appropriate clothing and
accessories. She
then comes across dead,
bloodied bodies in
the snow and walks up to them, to examine, explaining through a voice-over
monologue that these are “Ripper left-overs”. She explains “The Rippers
are a demonic army of blood-thirsty, human-eating, purse-snatching mutant
creatures”. As she has large snow-glasses on, you cannot see her facial
expression, but you can tell by her body language, she is not easily phased
by circumstances such as this. Due to the snowy scene, the lighting and
colour of the scene is often bright, this shows the reader what the
apocalypse has done to the country. The positing of characters and objects

3. within the frame is varied. The first shot establishes the setting of San
Francisco and then when the scene changes, the protagonist is riding
forward, towards the camera, on her reindeer and then examining the
dead bodies she finds in the snow.