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Mise en scene importance in films
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In 2014 two extremely similar movies about the French designer Yves Saint Laurent were released. Although both of these films shared the similar traits of a French biopic about the same person, one of these films had yielded more success than the other. What was the attribute that the film Yves Saint Laurent had that the Saint Laurent filmed lacked in order to be as successful? The film Yves Saint Laurent had a total box office of $21 million USD and dominated its opponent Saint Laurent which had a total box office of $2.5 million USD. The Yves Saint Laurent film was released on July 9th, 2014 and featured the life of the French designer, spanning from the beginning of his fashion career with Christian Dior and carried on up until his death.
According to fashion’s double; Representation of Fashion in Painting, Photography, and Film (Geczy, Karaminas) , the director of Yves Saint Laurent, Jalil Lespert wanted the film to capture the life of Yves in the most accurate manner and provide an authentic depiction of his life. fashion’s double; Representation of Fashion in Painting, Photography, and Film also tells us that Lespert used the original artwork drawn by Yves was used in the film and invited Yves lifelong partner Pierre Berge to the production. These both contribute greatly to the aspect of verisimilitude, which is a trait that the Saint Laurent film lacks. In the New York Times review of the film, "Review: 'Saint Laurent, ' Beautiful People, High Fashion and Career at Its Pinnacle." (Scott), the author criticizes the director of Saint Laurent for his lack of plot structure that “tests a viewer’s patiences” (Scott). In addition to fashion’s double; Representation of Fashion in Painting, Photography, and Film and "Review: 'Saint Laurent, ' Beautiful People, High Fashion and Career at Its Pinnacle.", the source "Yves Saint Laurent -- Time Regained." can be used to verify the verisimilitude of Yves life in Yves Saint Laurent and Saint Laurent by referring to the actual events that occurred in his life. When comparing the truth of events to the films, the film with the most accurate depiction of
As mentioned above the Yves Saint Laurent film spans most of Yves life, where on the other hand the Saint Laurent film only spans from 1967 to 1976. According to Mise En Scene; French Theater Now (Bradby, Sparks) mise en scene is a massive factor in setting of time. What is put into the scene and how it is placed allows the viewers to form an understanding of when this scene takes place in relation to time, even without telling the viewer exactly what the date is. The Yves Saint Laurent film required a more complex level of mise en scene seeing that it spans from the late 1950s up until 2008, and the mise en scene delivered to its expectations for each and every time period. On the other hand the Saint Laurent film only had a time period of 9 years and while it did deliver to its expectations, it did not go as far as to beat the Yves Saint Laurent film. In addition to Mise En Scene; French Theater Now, The Texture of Genius (Lee) provides direct examples of mise en scene in Saint Laurent. The Texture of Genius goes in depth when it comes to analyzing the artwork by Yves Saint Laurent that is portrayed in the film. Each collection has ties with a certain point in time and the director, Bertrand Bonello, uses this to his advantage to connect the viewers to the time
The mise en scenes in this film are unique because it gave viewers the ability to have a sense of how the characters are feeling. For example, low lighting was used throughout the film to express a sense of the unknown and/or fear. Another great example of how mise en scene was used is how human shadows for night shooting were used to increase the feeling of mystery and a threating atmosphere (Awjingyi). And one of the most important examples of mise en scene used in this film is in the last scene where mirrors were used (aka the “funhouse”) to
The elements of classical Hollywood are essential to the success of Casablanca. Without those critics and historians would not be discussing the movie till this day and considering it a classical Hollywood film. Some of the most important elements of classical Hollywood include camera distance, angle, editing, lighting, music, and production design. Each element is crucial to creating a classical Hollywood film.
A female in film noir is typically portrayed in one of two ways; she’s either a dependable, trustworthy, devoted, and loving woman, or she’s a manipulative, predatory, double crossing, and unloving temptress. Noir labels the cold hearted and ruthless woman archetype as a Femme Fatale. A femme fatale is walking trouble, and she’s aware of it. This woman is gorgeous, refined, eloquent, and commands the attention of any room she’s in. When the femme fatale desires something, she pursues it. If there’s an obstacle in her way, she overcomes it. If she can’t handle it herself, all she needs to do it bat her eyelashes and the nearest man is all too willing to take care of it for her. In essence, the most dangerous thing about the femme fatale is her
Mise en scene is a French term, which refers to the visual and design elements of a film. Literally, it is what we actually see on the screen – locations, sets, background details, costumes, even the use of colour and lighting. Mise en scene is used to describe every scene, including framing, composition, costuming, setting, objects, lighting, sound and camera angles. Everything is done purposely and intentionally.
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.
1. I think the place of the movie is very important because even though World War 2 was happening it wasn't happening everywhere. I think that the setting of the movie was supposed to mean something to people of other countries, especially in America. If it had been set in America, it wouldn't have made much sense or as much as an impact because World War 2 wasn't a huge thing to Americans yet. The culture was also so different as well and I think it makes people look at that differently as well.
The mise-en-scene that is first seen in the sequence is Welles 's use of lighting. Throughout the film
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
... the mise-en-scene are the from the beginning of the film. Throughout the film I was aware of the locations. The San Francisco setting was presented to the viewer in the beginning and that made the audience more aware of the film's environment. The monastery and other locations of Corlata's past gave me a better understanding of Madeleine’s problem. The make-up and costume play an important part in the recreation scenes, while the props assisted the audience and John Ferguson in piecing the puzzle together and figuring out Gain’s plan. The lighting enhanced many scenes in the film. The parts that impressed me were the following: the recreation of Madeleine scene, John's dream sequence, the monastery scenes, Judy's guilt trip and the scenes involving John's fear of heights.
...this scene an enraged Alonzo yells at a group of locals in a neighborhood in which he was once well respected and had power over everyone there. To his surprise the crown of people betray him by refusing to comply with his orders. Every element of the mise-en-scene work in harmony and well meticulously placed. The dark lighting, Alonzo frantic movements, the fact that Alonzo was in the center of crowd, and even the scene being set in the middle of a worn down project complex all play their parts in the mise-en-scene and presenting the filmmakers vision.
Charlie Chaplin created amazing films with his career as a director, screenwriter, actor, producer and musician. City Lights is a story of the tramp who falls in love. He is blown away by the unexpected love affair with the flower girl. He does everything in his power to help her and along the way befriends the millionaire. The story shows the contrasts between the two very different worlds of the rich and the poor. The tramp befriends the damsel in distress millionaire and sparks a friendship where the tramp then sees the lives of both worlds. The mise en scene is a way that shows how different each scene is by the way each character lives their life. Not only in the contrast between the rich and the poor, but also a contrast to happiness verses the unhappy. The mise en scene shows symbols of props that represent how the characters are feeling and what we are suppose to be feeling as we watch what is going on onscreen. Mise en scene is used to tell the story and there are many aspects that come together. The composition, props,
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
Mise-en-scéne is something that we see in movies all the time. It’s translated from French and means the staging the different aspects of a movie such as setting, lighting, subjects, or almost anything else. Any common movie, such as Inside Out, shows Mise-en-snéne in it. Three big parts of Mise-en-scéne that are shown in the movie Inside Out are cinematography, sound, and editing. Inside Out uses all of these by describing a plot in which there are feelings in our brains which connect to different memories that we can remember at any time. There were five main emotions that controlled the person on the outside whose name was Riley. The five emotions were named, Joy, Fear, Anger, Disgust and Sadness. They helped Riley as she moved away from
...-en-scene to emphasize the films themes and emotions. It can even be taken into consideration that cinematographer’s use of light isn’t just important when it is used, but also when it is not used. Visually, mise-en-scene allows cinematographers to help guide the audience through the story, making the story powerful and memorable, whilst portraying the mood, tone, and dimensions of the imagery. These techniques also underscore the themes of paranoia, anxiety, and angst, as well as underscoring double identities and shifting values. In essence, mise-en-scene is successful in that it undercuts the typical shot in film, and then creates a visually unstable environment by splashing the screen with low-lighting, shadows, and ambiguous scenery. This visually impelling sequence and imagery evoke all principles of safety and security, thus creating a noir-esque atmosphere.
Designer collaborations have become the popular tend for retailers and consumers. The designers are able to use the partner’s procedures of business to its benefits such as their merchants, funds and advertising plans. They are able to influence a different demographic and broader customer based through the store’s marketing operations. This is the impeccable opportunity for the designer to form a devoted fan base who cannot afford the real thing to become aware and fall in love with the brand. Customers are conveyed into believe that they need to buy pieces from designer collaboration now because of the popularity for limited time. For instance, H&M is able to draw labels like Balmain because of its winning record of accomplishment. The profits go both ways. Nonetheless, a collaboration with H&M can offer a quick cash for a steadily growing luxury label like Balmain, with yearly sales of just over $34 million. Balmain x H&M pieces are not Balmain pieces, which can often sell for thousands of dollars. However, for a luxury brand like Balmain, the secret to built-up needs occurs in the pressure between being observable and highly limited at the same time. The designer’s objective was to give the H&M customer spending $300 the same feeling and familiarity of a Balmain customer spending