The document discusses the elements of mise-en-scène in filmmaking, which refers to everything that appears on screen. It describes several components of mise-en-scène including setting, costumes, lighting, movement/acting, space, time, and sound. Each of these elements helps establish mood, move the plot forward, and shape the audience's understanding of the story. The document also distinguishes between diegetic sounds that come from within the story world, and non-diegetic sounds that are added for dramatic effect from outside the story world.

1. Anatomy of a Scene
Or
Mise-en-scène

2. Every scene has a purpose
Some examples are:
• Move the story along
• Describe a character
• Introduce a conflict
• Resolve a conflict
• Create tension or suspense
• And the list goes on……..

3. Mise-en-scène
In film this means everything that appears
before the camera, it literally means putting
into the scene.
This could be character, setting, costume and
makeup, lighting, Staging (movement and
acting), special effects, sound other than
dialogue, space, and time.

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.

12. Setting
• Where is it?
• What props are used?
• Was a set created or did they shoot on
location? Can you tell?
• What kind of mood is being conveyed
through this setting?
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.

13. Costume and Makeup
• Should instill the proper mood.
• Represent the characters personality, social
status, and the time period in which they
exist.
• Costume often coordinates with setting.
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.

14. Lighting
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 :
• Sidelight/ crosslight
• Backlighting
• Underlighting
• Top lighting
• Key light
• Fill light
• Low-key illumination

15. Lighting Continued
• Reinforces the mood of a scene.
• It shapes the shots overall composition.
• Affects our sense of the shape and texture
of the objects depicted.

16. Staging: Movement and Acting
• What type of acting style do you notice in
the TV drama – comedic, melodramatic,
true to life, etc.
• A performance will be more or less stylized
(Sweeney Todd) or more or less
individualized (Juno).
• Camera techniques create a sense of
movement and acting. (shot types, pans,
zooms, truck in).

17. Space: Screen Space
• The 2D composition of the scene.
• The organization of shapes, textures, and
patterns of light and dark.
• Our center of attention is affected by several
changes: movement, colour, difference,
balance of distinct components, and
variations in size.

18. Time
• The control of rhythm as time unfolds.
• The screen can have a distinctive visual
beat; flashing light or the rocking of a ship.
• When are we looking at certain element or
clue in the film? Why is this happening
now?

19. Special Effects (can be classified
under setting, character and
makeup)
• Many television show are beginning to use
CG and these effects are often unnoticed.
• 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).

20. Music and Sound
• Music plays a crucial role in building and
maintaining mood. Sound effects are also
added to control realism and create mood.

21. Diegetic Sound
• Is the sound within story or scene, ie clock
ticking, crunching of leaves, cars honking,
birds chirping.
• These sounds are great for setting the scene
and can also help set the mood or situation.
• Most of these sounds are added in as sound
effects.

22. Diegetic Sound
• Sound whose source is visible on the screen or whose
source is implied to be present by the action of the film:
– voices of characters
– sounds made by objects in the story (ie. Crunching leaves,
honking)
– music represented as coming from instruments in the story space (
= source music)
– Diegetic sound is any sound presented as originated from source
within the film's world
• These sounds are great for setting the scene and can also
help set the mood or situation.
• Most of these sounds are added in as sound effects.

23. Non-diegetic Sound
• Sound whose source is neither visible on the screen nor has been
implied to be present in the action:
• narrator's commentary
• sound effects which is added for the dramatic effect
• mood music
• 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).