The document discusses the filmmaking concept of mise-en-scène, which refers to everything that appears within the frame of a shot, including setting, lighting, costumes, makeup, actors, etc. It explains that mise-en-scène establishes the visual style of a film and conveys meaning through intentional arrangement of elements. Specific elements of mise-en-scène discussed include settings, costumes, lighting, actors, and props. Lighting techniques like three-point lighting are also examined in detail.

1. CHAPTER 3: MISE EN SCÈNE
WHAT IS “MISE EN SCÈNE”?
PHONETIC: “MEESE – ON – SEN”
French term which means “Placing on stage”
The arrangement of EVERYTHING that appears
in the framing of a film’s shots – setting, lighting,
props, costume, makeup, actors, hair, etc. The
frame and camerawork are also considered part
of the mise-en-scène of a movie. In cinema,
“placing on the stage” really means placing on
the screen, and the director is in charge of
deciding what goes where, when, and how.

2. CHAPTER 3: MISE EN SCÈNE
“MISE EN SCÈNE” (“MEESE – ON – SEN”)
Think of it as the film’s VISUAL STYLE and all
that entails; the framing of a film’s shots –
setting, lighting, props, costume, makeup,
actors, hair, etc. VISUAL STYLE also includes
frame and camerawork as part of the mise-en-
scène of a film
All the specific visual factors that combine to
make the overall shot “beautiful” or “sad” or
“scary”

3. CHAPTER 3: MISE EN SCÈNE
QUIZ ?: List at least 4 distinct elements of MISE-EN-SCÈNE:
Setting (time & place), Sets, and Locations
Lighting
Props
Costumes
Makeup
Actors
Hair
Framing composition and camerawork are also
considered part of the mise-en-scène of a movie.
MISE-EN-SCÈNE is the arrangement of EVERYTHING
that appears in the framing of a film’s shots

4. CHAPTER 3: MISE EN SCÈNE
SCENE ANALYSIS
Employing this concept of
MISE EN SCÈNE and the
correct use of its terms is
the key to successful scene
analysis

5. CHAPTER 3: MISE EN SCÈNE
SETTINGS, SETS, AND LOCATIONS
QUIZ ?: Explain the difference between a set and a
location
SETS =
Spaces specifically constructed for the filming of particular
scenes; a space CREATED solely for the film, usually
indoors but sets are also created outdoors
TOP 10 GREATEST MOVIE SETS
CGI = THE ULTIMATE SET?
LOCATIONS =
Existing places which offer less control for filmmakers but
gives more “realness”
25 Famous Movie/Shooting Scene Locations In Real Life

6. CHAPTER 3: MISE EN SCÈNE
SETTINGS, SETS, AND LOCATIONS

7. CHAPTER 3: MISE EN SCÈNE
SETTINGS, SETS, AND LOCATIONS

8. CHAPTER 3: MISE EN SCÈNE
QUIZ ?: According to your reading,
“figure” in cinema is defined as
only the human figure, specifically
the actor. True or False?
FALSE
according to your reading,
“figure” in cinema is a broad term
that refers to any object within
the frame, not just human figures.

9. CHAPTER 3: MISE EN SCÈNE
FIGURES IN FILM:
FIGURE =
A broad term that refers to any
object within the film’s frame,
including architectural elements,
natural elements (such as trees or
mountains), furniture, people,
animals, etc.
Of all these, the human figure, in the
form of the actor, is often the most
significant “object” on screen

10. CHAPTER 3: MISE EN SCÈNE
FIGURES IN FILM:
FIGURE POSITION =
The arrangement of figures in the frame
Can convey a great deal about
character psychology, character
relationships, and theme
The proximity or distance between
characters from scene to scene/shot to
shot often indicates emotional
closeness or distance but it can do the
same if there’s only one character

11. CHAPTER 3: MISE EN SCÈNE
QUIZ ?: "Figure Position" is often used to
chart the shifting relationships between
characters in a film, as well as convey a
great deal about character psychology,
character relationships, and theme. True
or False?
TRUE
"Figure Position" is often used to chart
the shifting relationships between
characters in a film, as well as convey a
great deal about character psychology,
character relationships, and theme.

12. CHAPTER 3: MISE EN SCÈNE
FIGURES IN FILM:
FIGURE MOVEMENT =
How figures MOVE, both
independently and in relation to
one another within a film
Remember that it’s not JUST
actors that move in a film; many
other figures (objects in a film’s
frame) can move, too

13. IN-CLASS EXERCISE:
FIGURE MOVEMENT/BLOCKING IN THE
GRADUATE =
How does the actor/figure blocking in this scene
relate to what’s going on with both the
characters’ external relationship and their
individual internal concerns?
In other words, what is it about when and how
Benjamin and Mrs. Robinson move around that
conveys visual story-telling information to the
audience? Please choose one specific moment
to discuss:

14. IN-CLASS EXERCISE:
ONE SPECIFIC ON-SCREEN CHARACTER
BLOCKING/MOVEMENT(S): (who moves and how?)
Ben turns on the light (00:13)
CHARACTER EXTERNAL DIALOGUE/INTERNAL
MOTIVATION(S): (when do they move?)
As he’s asking if they can “say a few words to each
other first this time”
VISUAL STORY-TELLING EFFECT: (why do they
move?)
The light symbolizes Ben’s desire to really “see”
Mrs. Robinson – he can’t if they’re in the dark

15. IN-CLASS EXERCISE:
ONE SPECIFIC ON-SCREEN CHARACTER
BLOCKING/MOVEMENT(S): (who moves and how?)
After talking a long time in the darkness, Mrs. Robinson
turns on the light and we’re close on her face (2:19)
CHARACTER EXTERNAL DIALOGUE/INTERNAL
MOTIVATION(S): (when do they move?)
As Ben’s asking “you didn’t have to marry him or
anything, did you?”
VISUAL STORY-TELLING EFFECT: (why do they move?)
The light symbolizes a truth about Mrs. Robinson being
exposed to Ben

16. IN-CLASS EXERCISE:
ONE SPECIFIC ON-SCREEN CHARACTER
BLOCKING/MOVEMENT(S): (who moves and how?)
Mrs. Robinson’s leg comes into frame as she puts on
her stockings (6:52)
CHARACTER EXTERNAL DIALOGUE/INTERNAL
MOTIVATION(S): (when do they move?)
As Ben stands by the door preparing to leave in a huff
VISUAL STORY-TELLING EFFECT: (why do they move?)
The leg symbolizes Ben’s physical attraction to Mrs.
Robinson and his body gets the upper hand over his
mind

17. IN-CLASS EXERCISE:
This specific shot became iconic and used on many
versions of the poster (a version of it was also used
on the soundtrack cover), not only because of its
framing and composition, but because of what it was
conveying in film language about the story.
It also echoes an earlier shot in the film.

18. IN-CLASS EXERCISE:
ONE SPECIFIC ON-SCREEN CHARACTER
BLOCKING/MOVEMENT(S): (who moves and how?)
Ben keeps his back turned to Mrs. Robinson as she
turns to him expectantly/hopefully (8:33)
CHARACTER EXTERNAL DIALOGUE/INTERNAL
MOTIVATION(S): (when do they move?)
As Mrs. Robinson says, “Benjamin…” in a kind/open
way and he says, “Let’s not talk about it. (unzips pants)
Let’s not talk at all.”
VISUAL STORY-TELLING EFFECT: (why do they move?)
The scene ends with the tables turned from where it
started – now Mrs. Robinson wants to talk but Ben is
unwilling and is there just to have sex and not connect
on a deeper level.

19. CHAPTER 3: MISE EN SCÈNE
ACTORS & ACTING STYLES:
CASTING =
Who will play which roles in what style?
Physical appearance, vocal quality and
general demeanor all play a very large
part of a film’s MISE EN SCÈNE
depending on the type of film that’s
being made
Top 10 Controversial Casting Choices

20. CHAPTER 3: MISE EN SCÈNE
COSTUME =
The clothing worn by characters
Often functions to establish setting
and circumstances; reveal a
character’s psychology, social
status, character traits, and/or her
perception of herself; move the plot
forward; or convey theme

21. CHAPTER 3: MISE EN SCÈNE
COSTUME EXAMPLE =
Joey’s jacket in ON THE WATERFRONT

22. CHAPTER 3: MISE EN SCÈNE
MAKEUP & HAIR =
Ways of “dressing” a character to often
establish time and place, reveal a
character’s psychology and circumstances,
signal a change in a character, or even
convey theme
MOVIE MAKEUP
HAIRSTYLING
100 YEARS-HISTORY

23. CHAPTER 3: MISE EN SCÈNE
QUIZ ?: Give one example of
effective/essential makeup from a film of
your choice and tell me how it's important
to the visual storytelling - ask yourself,
"Why did the filmmakers choose this
specific makeup for this specific
character?“
QUIZ ?: Give one example of
effective/essential hairstyling from a film of
your choice and tell me how it's important
to the visual storytelling - ask yourself,
"Why did the filmmakers choose this
specific hairstyle for this specific
character?":

24. CHAPTER 3: MISE EN SCÈNE
PROPS (Properties) =
Movable objects that appear in a film
QUIZ ?: Give one example of an
effective/essential prop from a film of your
choice and tell me how it's important to
the visual storytelling - ask yourself, "Why
did the filmmakers choose this specific
prop for this specific scene?":
As with all other elements of MISE EN
SCÈNE, props can be used to provide
viewers with important information about
plot, character, and theme

25. CHAPTER 3: MISE EN SCÈNE
LIGHTING =
The way light is used in a film to
expose, highlight, or hide objects in
the frame
Think of each frame of a film as a still
photograph that is specifically lit
As with all other elements of MISE EN
SCÈNE, lighting can be used to
provide viewers with important
information about plot, character, and
theme

26. CHAPTER 3: MISE EN SCÈNE
THREE POINT LIGHTING:

27. CHAPTER 3: MISE EN SCÈNE
QUIZ ?: List the three types of
lights used in THREE-POINT
LIGHTING and what each of their
purposes is:
KEY LIGHT
FILL LIGHT
BACK LIGHT

28. THREE-POINT LIGHTING
KEY LIGHT =
The brightest light source
Placed typically to one side so
that it illuminates from an angle
for desired effect

29. THREE-POINT LIGHTING
KEY LIGHT =
The brightest light source
Placed to one side so that it
illuminates from an angle for
desired effect

30. THREE-POINT LIGHTING
FILL LIGHT =
Used opposite/with KEY LIGHT to
reduce or eliminate the harsh
shadows created by the key light
Less intense than the KEY LIGHT

31. THREE-POINT LIGHTING
FILL LIGHT =
Used opposite/with KEY LIGHT to
reduce or eliminate the harsh
shadows created by the key light
Less intense than the KEY LIGHT

32. THREE-POINT LIGHTING
BACK LIGHT =
Originates from behind and either
above, below, or to the side of the
back of the main object you’re
lighting
Can create a silhouette effect

33. THREE-POINT LIGHTING
BACK LIGHT =
Originates from behind and usually
above the subject (sometimes
below)
Can create a silhouette effect

34. CHAPTER 3: MISE EN SCÈNE
THREE POINT LIGHTING:

35. CHAPTER 3: MISE EN SCÈNE
TYPES OF LIGHTING:
High-Key Lighting =
When the fill light and the back
light are nearly as bright as the
key light
Shadows are diminished and the
effect is of an evenly distributed
light source in the entire shot

36. CHAPTER 3: MISE EN SCÈNE
TYPES OF LIGHTING:
Low-Key Lighting =
When the fill light and the back light
are much less intense than the key
light; some areas are brightly lit while
some are in deep shadow/blackness
This effect is sometimes called
“chiaroscuro” (kee-ahr-uh-skyoo r-oh)

37. CHAPTER 3: MISE EN SCÈNE
MOVEMENT & COLOR =
MOVEMENT by not only
independent objects like props,
BUT movement also by the
camera itself can be used within
MISE EN SCÈNE to convey
meaning, information, and
impact

38. CHAPTER 3: MISE EN SCÈNE
MOVEMENT & COLOR =
Likewise, COLOR and it
associated symbolism is often
used within MISE EN SCÈNE to
convey meaning and impact
A film’s overall use of color is
called its COLOR PALETTE

39. CHAPTER 3: MISE EN SCÈNE
FRAMING & COMPOSITION =
How the objects in a shot are
arranged and shown to the
audience – the use of the SPACE
within and inside a shot

40. CHAPTER 3: MISE EN SCÈNE
FRAMING & COMPOSITION =
Think of each still of a film as a
photograph or painting; how it’s
COMPOSED and FRAMED is what
gives it meaning and impact
Balance, Deep Space, Shallow
Space, Actor-Blocking, even
“Offscreen” Space are just some of
the factors used in framing and
composition

41. CHAPTER 3: MISE EN SCÈNE
FRAMING & COMPOSITION =
THE DOMAIN OF MISE EN
SCÈNE – where it all comes
together to create a space within
the frame in which the story takes
place using VISUAL LANGUAGE
as its main form of communication

42. MISE EN SCÈNE
A LIST: 100 GREATEST SHOTS

43. LOOKING AHEAD
SCENE ANALYSIS
EVALUATION ASSIGNMENT
Chapter #4: Editing