Mise-en-scene refers to everything that appears before the camera, including lighting, setting, color, characters and their representation through facial expressions, gestures, and body language. Key lighting is the main light source used to illuminate a subject, while fill lighting softens shadows. Artificial lighting must be tested to ensure proper exposure. Character representation is achieved through costumes, props, makeup and how actors employ body language, gestures and facial expressions.

1. MEDIA KEY TERMS
Images and Definitions for Revision
PART G: MISE-EN-SCENE

2. PART G: MISE-EN-SCENE
• Mise-en-scene definition
When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its
arrangement—lighting, setting, colour, characters = representation, facial expression, gesture, body language
etc.

3. PART G: MISE-EN-SCENE
• Lighting
Lighting or illumination is the deliberate application of light to achieve some practical or aesthetic (visual)
effect.*
The art of lighting for cinematography goes far beyond basic exposure, however, into the essence of visual storytelling. Lighting
contributes considerably to the emotional response an audience has watching a motion picture.*
The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. Light (and shade) can
emphasise texture, shape, distance, mood, time of day or night, season, glamour; it affects the way colours are rendered, both in
terms of hue and depth, and can focus attention on particular elements of the composition.*
*From Wikipedia
Unlike the human eye, video and film cameras need specific lighting to produce an image that looks realistic and believable to the
viewer. In order to make movies, lighting has to be considered constantly in every shot. There are essentially two types of lighting
and several positional techniques used to light a scene in a movie. While there are many variables involved, the basic concepts of
movie lighting remain the same throughout the industry.

4. PART G: MISE-EN-SCENE
• Natural lighting
Natural or available lighting is from a natural source such as the sun or fire.

5. PART G: MISE-EN-SCENE
Remember all lighting including ‘artificial lighting’ must be tested/measured to determine if it is sufficient for
filming.
Example:
the sunlight can often be too much light (overexposure) where it will be too light/white/faded
the sunlight can often be too little light (underexposure)
where it will be too dark/black

6. PART G: MISE-EN-SCENE
• Available Lighting
One of the two types of light available to film crews is commonly called "available light." This simply
means that the naturally occurring light on the set will be used to completely or partially light the scene.
This is usually sunlight (natural light), but the term is also used to refer to any lighting not set up by the
crew; streetlights, for example, may be considered available light.
Remember available lighting must be tested to determine if it is sufficient for filming.

7. PART G: MISE-EN-SCENE
• Artificial Lighting
Artificial light is lighting that is not provided by a natural or available source such as the sun or fire and
that is man made.
Artificial light includes any set lighting brought in by a movie production crew.
There are many varieties of artificial lighting used on movie sets. Common tungsten bulbs can be used,
but often have to be adjusted for colour. Photo bulbs of 250 to 500 watts are also common artificial-
lighting options. Flicker-free fluorescents, halogen-metal-iodide (HMI) bulbs, and devices known as
reflectors (used to bounce natural or artificial light from another source) are also common in the
industry.
Remember all lighting including ‘artificial lighting’ must be tested/measured to determine if it is
sufficient for filming.

8. PART G: MISE-EN-SCENE
• Key
Types of movie lighting may refer to the position of the light source and its purpose as well. The key light is the main light source
used to light a subject in a scene. This light is often placed on the front and side of the key subject, such as the speaking actor in
the scene, and is slightly elevated to mimic sunlight, moonlight or indoor lighting. This is typically the most intense light used on
the set.
By placing the key light above and to the left we can see the volume of the oranges (i.e. that they're spherical). We can also see
that they are on the floor by the shadows cast and that they are stacked on top of each other. However the image is lacking detail
in the shadow regions and is a bit brutal. In order to fix this we need to add another light to the right of the oranges to add some
illumination to those darkened areas. This light is called the FILL LIGHT. Let's look at what this light contributes to the scene.
Key Lighting Fill lighting Key, fill, rim lighting

9. • Low Key
The term "low key" is to refer to any scene with a high lighting ratio, especially if
there is a predominance (majority) of shadowy areas. It tends to heighten the
sense of alienation felt by the viewer, hence is commonly used in film noir and horror genres.
• High Key
The scene is flooded with light. This in turn leaves very few shadows and can create
a washed out look. In order to create a high key lighting, many extremely bright lights
must be used in order to flood the scene with light. It tends to be used to reveal settings,
characters, objects to reveal the information to the audience, often used in happy and
energetic and bright/warm situations often in action, drama and comedy genres.

10. PART G: MISE-EN-SCENE
• Fill
The fill light is set up on the side opposite from the key light and is a less-intense light. The fill light, as the
name would indicate, fills in the spaces where the key light does not reach. This type of lighting softens hard
shadows cast by the key light and makes for a more visually appealing image.

11. PART G: MISE-EN-SCENE
• Setting
In fiction, setting includes the time, location, and everything in which a story takes place, and initiates the main
backdrop and mood for a story. Elements of setting may include culture, historical period, geography, and hour.
Along with plot, character, theme, and style, setting is considered one of the fundamental components of
fiction.
Basically, where is a scene set/located in a film.

12. PART G: MISE-EN-SCENE
• Colour
How a scene in a film uses colour in a scene to show emotions, mood/atmosphere or themes.
Consider what colours communicated and think of how the colour communicates the mood/atmosphere.
WHITE -clinical, pure, can be cold, sterile
BLACK -dark, mysterious, formal, eerie, professional, modern
BLUE -cold/cool, futuristic, sterile, fresh, clean, masculine
RED -dangerous, passionate, anger, seductive
PURPLE -royalty/wealth, feminine, mysterious
GREEN -mysterious, wealthy, poisonous/revolting/hazardous
YELLOW -warm yellow: warming, calming cool yellow: hazardous, alarming
ORANGE -warm, cosy, energetic,

13. PART G: MISE-EN-SCENE
• Body Language
Body language is a form of non-verbal communication, which consists of body posture, gestures, facial
expressions, and eye movements. Body language may provide clues as to the attitude or state of mind of a
person. For example, it may indicate aggression, attentiveness, boredom, relaxed state, pleasure, amusement,
and intoxication, among many other cues.
Basically, how a character uses their body movements to communicate their thoughts or emotions to
contribute to how they are represented.
Example: affectionate = body is willing to allow physical touching and open arms to welcome
fearful = body will be stiff, tense, arms near face to hide emotions, eyes wide open to be alert

14. PART G: MISE-EN-SCENE
• Gesture
A gesture is a form of non-verbal communication in which visible bodily actions communicate particular
messages, either in place of speech or together and in parallel with spoken words. Gestures include movement
of the hands, face, or other parts of the body. Gestures differ from physical non-verbal communication that
does not communicate specific messages, such as purely expressive displays such as ____________. Gestures
allow individuals to communicate a variety of feelings and thoughts, from contempt and hostility to approval
and affection, often together with body language in addition to words when they speak.
Basically, gesture is a sign or symbol of an emotion.
Example: angry/rebellious = giving someone the finger/2 fingers up
welcome = handshake or kiss on the cheek
courteous = opening door for someone

15. PART G: MISE-EN-SCENE
• Facial expression
A facial expression one or more motions or positions of the muscles of the face. These movements convey the
emotional state of the individual to observers. Facial expressions are a form of nonverbal communication.
Basically, the way a person’s face is to show an emotion.

16. PART G: MISE-EN-SCENE
• Costume (Character)
The term costume can refer to wardrobe and dress in general, or to the distinctive style of dress of a particular
people, class, or period. Costume may also refer to the artistic arrangement of
clothing/accessories, appropriate to the time, place, or other circumstances represented or described, or to a
particular style of clothing worn to portray the wearer as a character or type of character other than their
regular persona at a social event such as a masquerade, a fancy dress party or in an artistic theatrical
performance.
Basically, what a person wears to represent their character.
Example: Hat, doctors white lab coat, vest top, hoodie, dress etc

17. PART G: MISE-EN-SCENE
• Make-up (Character)
Cosmetics/make-up are substances used to enhance the appearance of the human body. They can be used in
film to assist in the representation of a character to appear a certain way or fit a certain stereotype.

18. PART G: MISE-EN-SCENE
• Props (Character)
Props are items or objects that are used in addition or in combination with a character’s (or subject) costume
to contribute to their representation. They could also be other objects or items in the scene in connection with
the setting.
Example: baseball bat, cigarette, gun, chair, pen, wine glass, clipboard etc.

19. PART G: MISE-EN-SCENE
• Character representation
How a character is represented to fit or challenge a stereotype to emphasise the role of their character.
Consider how their costume, props, body language, gesture, use of speech/language and facial expression all
work together to make them appear as a certain stereotype.
Examples: -rebellious, wild child teenager
-evil and manipulative child
-responsible and loving parent
-masculine, caring and generous hero
-dominant and powerful, authoritative boss