What is Mise-en-Scène

Everything that communicates to us within the frame is part of the Mise-en-Scène. This is A French term meaning what is put into a scene or frame  and is constituted by all the visual information in front of the camera and is able to communicate essential information to the audience. The Mise-en-Scène is an essential part of the director’s creative art.

The Mise-en-Scène made up of various elements which all help to convey the message wanted by the director.

Elements of Mise-en-Scène

1. Settings & Props: very important in the visual conveyance of information to an audience. They work to convey the story. Props are an essential tool to the character’s action and to the narrative of the character: most characters have some elements to distinguish them and they do become important depending on how much they interact with it. Settings help the viewer to understand where the character is in the frame or in the location. It actually assumes as much importance in the total film as the action, or events (e.g. Manhattan in Woody Allen films). The set may represent exactly a particular place or it might be deliberately constructed to recreate the possible, improbable or even impossible location: they contribute the dramatic impact and add to the meaning to the film’s narrative orienting the viewers. The settings’ ability to enhance the narrative is also accompanied by props which are also part of the control that directors dictate in film art: selecting and arranging elements of setting is a very creative ability.
2. Costume, Hair & Make Up: they can be instant indicators to the audience of a character’s personality, status or job. For instance, the costume of the character of Cruella Deville reflects her evilness in term of colours and shapes. Costume and make up accuracy is necessary for period pieces so that the illusion created by the narrative e is not spoiled: verisimilitude concerning historical reality is indispensable to establish authenticity.
3. Facial Expressions & Body Language: characters can speak volume through body language before even speaking: it may also indicate how a character feels towards another character or it may also reflect the state of the relationship between two or more characters. These elements are used by directors to support the narrative as well as helping to develop the thematic unity of a film: figure expression refers to the facial expressions and posture of a n actor, while the figure movement refers to all other actions of the actors including gestures. The appropriateness of expression of the actors and the control that the director has over the actor’s movements are two essential elements in films: actors are used by directors as vehicles of expression.
4. Lighting and Colour: even if they are part of the same element this two aspects should be considered separately. Lighting can be used to achieve a variety of effects: it can highlight important characters or objects within the frame; to convey characters personality by making them look mysterious, for instance, by shading sections of their face and body; it can also reflect a characters’ mental state and hidden emotions. We can identify different types of lighting: Low key Lighting which is created by using only the key and back lights: it produces sharp constants of lights and dark areas; High key lighting where more filler lights are used. this lighting is natural and realistic to our eyes it produces brightly lit sets or sunny days; High contrast lighting typically employed by noir and black and white films lighting became part of the framing: the light is used as an aesthetic; Natural Lighting where the lighting obey the rules of physics (e.g. paper man with natural lighting and hazy lights in the distance). Instead, the primary types of directional lighting (which helps to define the setting of a scene by manipulating it) are five: frontal lighting, used to eliminate shadows from a scene; side lighting, causes the features of an object to cast sharp shadows; back lighting illuminates only the edges of an object which is ideal for a silhouette effects; under lighting coming from below the object or character and tends to distort the features and shape of the object; top lighting shines from directly above the objects in the scene. colour, on the other hand, is used in association with emotions, however it differs from culture to culture. Some films have a consistent and distinctive colour palette such as “Amelie” ochre, browns and warm colours. Colours in films can also disrupt our eyes creating depth and create a contrast.
5. Positioning of characters/objects within the frame camera positions are able to convey the action and progress the narrative: from the way a character, or object, is positioned within the frame, the viewer may be able to tell about their status, their intention or relationship to another character or to the frame itself. Films can be considered as a sequence of frames, so it can be helpful to apply some guidelines to position characters, or objects within the frame, such as the rule of thirds, which divides the frame in three vertical and three horizontal lines creating four sweet points that attract the viewer attention. The position of the camera creates a visual effect. Part of the Mise-en-scène is also what is in focus or not: the distance from the near to the farthest that objects are in focus is known as Depth of field. We can have a deep focus where everything is in focus, which means that there is a use of the camera lens and lighting together so that both close and distant planes are shown in sharp focus, which helps to emphasise a character or object that appears far away. The shallow focus, instead, brings the main subject in focus, making the audience look directly at the character. The effect will change depending on how close or how far away the camera is from the subject. The following are some shot length:

Extreme close-up: which gives us very little informations, we can only see the character, bringing us very close to a person experience for instance.

Close-up: which gives the audience a bit more of Information but still limited and still tells to focus on that moment which is useful to create a feeling of intimacy.

Medium shot: still relatively close shot, usually showing a character from the waist up. A medium shot is used to emphasize both the actor and their surroundings by giving them an equal presence on screen.

Long shot: a view of a scene that is shot from a considerable distance, so that people appear as indistinct shapes.

Extreme long shot: a view from an even greater distance, in which people appear as small dots in the landscape if at all. No expression is visible and the characters get overwhelmed by the environment.

The camera within a shot can also move:

Pan shot: the camera is mounted on a non-moving base. The camera pivots on its axis along the line of the horizon pans left to right.

Tilt shot: The camera can move up or down while fixed on its axis.

Travelling shot (dolly shot): the camera can move forward or backward while fixed on its axis on a track.

Crane shot: The camera can move in and out and up and down while fixed on a mechanical crane.

The framing of a scene can be Onscreen, the space image is the one that is contained within the borders of the screen; or Offscreen, where the space is a suggested, by the character usually, image that is left to be imagined by the viewer.

ELEMENTS of MISE-EN-SCENE By Gail Lathrop and David O. Sutton (Article Summary)

Research Activity 1

Can you describe how the elements of Mise-en-Scène in the following scenes? Choose one of the following scenes from Fantastic Mr. Fox   https://www.youtube.com/watch?v=FhVA4NBWbC4  https://www.youtube.com/watch?v=azJi8hIgk54  https://www.youtube.com/watch?v=VuxjUxaawpg

Settings & Props: as we can see from the establishing shot at the beginning of the scene (showing the door of the class the scene is going to take place into), the setting is the chemistry class at Ash (Mr. and Mrs. Fox’s son) school. The scientific props surround the characters: vials with chemicals in them, pipettes, illustrative scientific posters explaining what a cell is or the life cycle of plants, goggles to use, while carrying experiments, books notes, pencils to take notes. So everything is speaking school and Chemistry class.

Costume, Hair & Make Up Ash has distinctive black markings around his eyes he is wearing a superhero inspired outfit based on “White Cape”, a comic book character whom Ash idolises: wearing a white fleece jumper and another jumper which appears to be a mock cape. Kristofferson wears pale blue button shirt, looking very sharp. He has a lighter fur, similar to her aunt: Mrs. Fox. Agnes, Ash lab partner has a fur dotted with spots, which she confesses to having covered up in the past after Kristofferson compliments her. Her outfit is a simple light brown strap dress with white flowers patterns. Agnes also wears two yellow circle clips next to ears. The Beaver, Kristofferson lab partner, is wearing an ocher shirt (almost as if it was a school sport uniform).

Facial Expressions & Body Language Ash displays a moody, eccentric personality. His tensed relationship with Kristofferson is dictated by the fact that his cousin is considered better than him at just about everything. Agnes maintains a passive attitude against Ash’s rude behaviour and keeps her arms hold together on her belly. Kristofferson exchanges eye contact with Agnes too and the beaver (who is probably a bully of the school) causes their experiment to blow up, making Kristofferson slightly annoyed and he goes to extinguish the Magnesium. Agnes is very impressed with this.

Lighting and Colour throughout the scene, and the whole movie the predominant colour palette is composed by warm colours colour scheme (ochers, reds, browns): the colour scheme also is involved with the characters and the characters’ costumes.The lighting throughout the scene, and also the movie, is distinguishable and has a very “normal” feel to it: in this scene, in particular, there are also some key lights illuminating the characters from beneath in front of they desks, probably to highlight characters actions and expressions. Moreover, in the background there is this constant orangey light which could possibly allude to the fact that the scene is set during daytime.

Positioning of characters/objects within the frame both pairs are working on a desk in the middle of the scene.

What role does the shot choice (Cinematography) play in the scene. The fact that there are multiple crane shots, that skip between two desk of the class at the same time, points out how Ash lab partner’s attention is directed to his cousin Kristofferson (her eyeline is always towards Kristofferson) not paying any attention or even assisting Ash in their experiment. As I said before the establishing shot a the beginning helps to better set the scene with the script on the door saying “elementary chemistry”

Research Activity 2

Anomalisa. Charlie Kaufman 2016

Can you describe the mise-en-scene in this picture? How are the characters placed in the frame?  Settings & Props The characters are in a bedroom lying on the bed. there are hotel-like flip flops on the man side of the bed. On top of the bed there is also a cover at the end which resembles those in hotel beds. There are also two bedside tables on both bed sides, and a note on top of the bed with a logo on top. Costume, Hair & Make Up The man has grey hair which make him look a bit older that the woman who has long brown hair. The woman is wearing brighter colours: a pink cardigan with a white shirt and a jeans skirt. the man is wearing a green jacket with a light blue shirt and brown trousers. Facial Expressions & Body Language The woman seems to be very self-conscious about her body, almost as if she was ashamed of it since that her arms are covering it. Form her facial expression she seems worried too. The man, on the other hand, seems not present in the moment as if his mind was somewhere else: he is staring at the ceiling with an alienated expression. Lighting and Colour The artificial lighting represent the one of a room at night with lights switched on: in the whole scene, however, the characters and props seem to have a soft/hazy light creating a nostalgic melancholic mood. The overall colour palette is composed by warm colours but almost not saturated at all, so the colours appear to be a bit dull. Positioning of characters/objects within the frame The two bed sides are very different and make the frame almost asymmetrical. The man side is messier: the bed covers are not completely in place, the flip flops are not parallel.

 Research Activity 3

Watch this scene from Rebecca. https://www.youtube.com/watch?v=OLRMrb6NvmA(Approximately 31mins into the film) Can you describe the relationship between the characters?

                 Hitchcock, A. Rebecca (1940)

How do we know what the relationship is?  The relationship between the two characters is established by several elements: they costumes and make up, their position within the scene, their facial expression and body language, the lighting on them: the Characters are the new bride of Mister the Winter and her maid. Can you describe how the mise-en-scene works together to tell us what the relationship is?     Settings & Props The scene is set in the mansion where the groom already lived and that after their marriage became the residence of the bride too. It is a spacious house with plenty of sophisticated furnitures and decorations such as flowers. In this scene the two characters are in the bride’s room since she is getting ready to dinner: there is a perfume, some make up and jewels too. From the view from the window we can see that is raining outside. Costume, Hair & Make Up an important element establishing the relationship between the two is constituted by their costumes and hair and makeup: the bride is wearing a fancy light dress with a big bow on the back, she has a pearl necklace highlighting her status, and her hair are styled in a classy way. We understand the the other woman is her maid from the fact that she is wearing a black uniform with a white collar and her hair style is very neat but in a practical way not to show off. Facial Expressions & Body Language The made is always tensed and on her guard, observing the bride behaviour and comparing her to Rebecca (the deceased bride) with a superior attitude but being respectful, since she is her maid, at the same time. At some point the rain covers their faces when the maid is talking about Rebecca as if she was remembering her with nostalgic feelings. On the other hand, the new Mrs.The Winter seems to get her new made to like her and she tries to relate to her in a kind and polite way but she is also scared of her. She is confused and new to her current situation trying to figure out what she seems to be the only person to not know about Rebecca. Lighting Since this is a black and white film, lighting becomes part of the scene, “acting” as if it was an actor itself: there is a high key lighting illuminating Mrs.The Winter who, compared to her maid appears much lighter and referring to her innocence maybe. Positioning of characters/objects within the scene  There is a shallow focus to make the audience focus on the characters. In the frame above, in particular, the position of the characters can tell us many information about their relationship: the maid is standing up in an omniscient way suggesting that she does not consider the new Mrs.The Winter to be worthy of staying where Rebecca was. Mrs.The Winter looks up at her as if she was inferior somehow.

Research Activity 4

Can you describe the mise-en-scene in this picture?: Settings & Props this frame is set outdoors in what to seems to look like a local market: crowded, busy street full of people (older compared to the young girl in the foreground), there are also some baskets with fabric inside, old buildings and red tends (which are sheltering shops probably), some wires which are maybe bringing electricity throughout the city. Facial Expressions & Body Language the girl in the foreground as a worried and concerned expression and even her body language seems to communicate so: she is holding tight to her bag (she might not be trusting the people who surrounds her) and holding to her burka probably she is trying to cover up her face because she does not want to be seen (she is might be escaping from somebody. What type of shot is it? medium shot showing the audience the young girl character approximately from the waist up. This medium shot is used to emphasise both the character and her surroundings by giving them an equal presence on screen. What is the camera angle? slightly high to make us feel the loneliness and confusion of the character: the director might want the audience to feel “small” just like the young girl does. Where is the character located in the frame? she is in what seems to be the middle of the frame, however she is not completely symmetrical. The frame is actually displaying the elements using the rule of thirds. Proportionally she looks smaller compared to the environment. What is she wearing? The young girl has a long green dress with long sleeves; a magenta burka and a brown bag of which we can only see the handle. What is the depth-of-field? Deep focus since everything is in focus the “camera” lens and lighting make sure that both close and distant planes are shown in sharp focus. Describe the colour palette? warm desaturated colours (except for the young girl which has bright, vibrant colours to create a contrast with the rest of the scene emphasising the young girl). Describe the lighting? hight key lighting with defined lines that distinguish illuminated parts from those in the shadows.