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History of cinematography
Importance of mise en scene in film
History of cinematography
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Comparing two great directors
I. Introduction
What is mise en scene?
When speaking of movies today, mise en scene is a well-used term. If you want to translate it, I think the best translation would be “put in the scene”.
Mise en scene generally means everything within the shot, everything that the camera is showing. Mise-en-scene is all about the film staging, all that is visible in front of the camera and all its design included; trim, music, clothing, environment, camera movements, makeup etc. Every director in the world uses their own different kind of techniques when making movies, and it is very common that a director becomes famous and well-known just because of that; their own style of making movies. As directors worldwide are working in different ways, and using their own, special style, they also use ”mise-en-scene” in different ways.
Purpose with the paper
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
II. Roman Polanski
Characteristics of Polanski’s mise en scene
It is very important how you put things up on the screen. It tells the viewer what the movie is about. Every single frame in a movie tells the fate of the characters.
The director Roman Polanski likes to make a lot of scenes in his movies through doorways and windows, and the reason of that is simply because in that way, he creates a bigger sympathy with the audience, they get to see the films from the main characters o...
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... Polanski and Almodovar?
To begin with, these two directors uses mise en scene in different ways. Polanski uses point-of-view shooting, and likes his characters to be isolated or trapped. He shoots a lot of scenes through windows and doorways to give the audience a feeling of just that; isolation. He wants the viewer to have the same emotions as the characters in the movie, to create sympathy with the viewer.
Almodovar however, expresses emotions with the colors red and blue. He often has got beautiful women in his movies, and has got a thing for beautiful costumes.
When speaking of themes, Polanski’s main theme in the movie is human isolation, and most of his movies are quite sad and about lonely people. Almodovar’s themes are more about human chemistry, relationships between different people and families. Sexuality and desire is important for Almodovar’s movies.
Giannetti defines mis en scene as, “the phrase that refers to the arrangement of all the visual elements of a theatrical production within a given playing area” (50). This French theatrical term provides an understanding of the meaning of arrangements the director chooses to place in the frame and where they are located. While mis en scene can be analyzed in any film, we looked at The Sandlot and The Longest Yard for strong examples. The Sandlot (1993) directed by David M. Evans is a film about a new kid, Scotty Smalls, moving to a new town and trying to befriend the local boys and finding a love for baseball while playing for the Sandlot team. On the other hand, we have The Longest Yard (2005) directed by Peter Segal, which is about Paul
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
use of the camera the sound and the mise en scene. I will analyze the
An inner courtyard becomes a large stage that serves the director to show a portrait of human relationships. Angles and perspectives put the audience in a place where it is not normally found. Hitchcock with his camera can get in someone's personal life and invade their privacy. With Rear Window it makes the public more aware of itself as an observer. This displaces and transforms the public into a player into the action since across his look, the observer assumes the responsibility of the characters and believes an experience different from any other film of their
In the early 1900’s Georges Melies introduced his film “A Trip To The Moon” to audiences in France. This film, when first seen by viewers at this time, was jawdropping. Melies who happened to be a magician, and illusionist before becoming a filmmaker, made one of the first-ever narratives in motion picture history. Similarily throughout “Trip To The Moon” and many of his later films, Melies, who also worked in theatre, took full advantage of what is known as Mise-en-scene. Mise-en-scene is defined as: All the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and make-up, and figure behavior. In “Trip to the Moon” Melies created a world to which no one had ever seen on film, and utilized all the characteristics to which mise-en-scene is based upon.
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.
When it comes to films most people think that the filmmakers just draft up the script, hires some actors, films and edits some scenes, then releases the next number one movie in America to the world (or select theaters near you). In actuality, there are a lot more details that go into film than that. Filmmakers are constantly making decisions in regards to a films narrative and cinematic style and making sure a film comes out as well as it can. One of those decisions fall under cinematic style and is called mise-en-scene. Mise-en-scene has four elements: lighting, costume/makeup, sets/props, and figure expression and movement. The three that will be focused on when analyzing the film Modern Times are costume/makeup, sets/props, and figure expression
Mise-en-scene includes everything that appears in front of the camera. The director generally controls these elements. The mise-en-scene affects if the audience perceives the degree of realism or fantasy in the film. Broken Blossoms clearly aims for realism, however, the actors needed a more expressive style in order to portray their characters without sound.
It is a common mis-conception that films are merely entertainment, and serve no other purpose than to provide for the viewer a two-hour escape from reality. This is a serious under-estimation of the power, purpose, and potential of film, because film, upon reflection, revea...
The film “Yellow Earth” is the sad tale of a girl being forced to follow her “fate.” She sees an opportunity to escape in a foreigner, a soldier from the south. In this film, director Chen Kaige and cinematographer Zhang Yimou create windows into their characters. Several scenes are made more significant because of the use of mise en scene. This technique allows the viewer to see everything that happens during the course of the scene.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on
According to John Gibbs, mise-en-scène consists in ‘the contents of the frame and the way they are organised’, thus including in the definition lighting, costume, props, setting, performance, blocking, position of the camera and framing (Gibbs 2002: 5-26). Combined, these visual elements can convey meaning and information about the film’s narrative, and its themes, often including perspectives on gender, race and social class. An excellent example of the expressiveness of mise-en-scène can be found in Charles Vidor’s well-known movie: Gilda (1946). One of the main characters of the picture, Gilda herself, is considered a classic femme fatale, truly desirable and licentious; yet, at the same time, she does not fully correspond to the stereotypical definition of ‘evil seductress who tempts man and brings about his destruction’ (Janey Place 1989: 35). In fact, although she tries to
Movies take us inside the skin of people quite different from ourselves and to places different from our routine surroundings. As humans, we always seek enlargement of our being and wanted to be more than ourselves. Each one of us, by nature, sees the world with a perspective and selectivity different from others. But, we want to see the world through other’s eyes; imagine with other’s imaginations; feel with other’s hearts, at a same time as with our own. Movies offer us a window onto the wider world, broadening our perspective and opening our eyes to new wonders.