78 terms

Looking at Movies - Chapter 5: Mise-en-scene


Terms in this set (...)

staging or putting on an action or scene
Two major visual components of mise-en-scene
Design and composition
decor, prop selection, lighting setup, costuming, makup, and hairstyle
organization, distribution, balance, and general relationship of actors and objects within the space of the shot
How does the visual aspect of miss-en-scene help you?
What you see in a scene: from a well dressed actor, or striking bit of lighting, helps you to understand the narrative, characters, and action of the movie
What gives the shot its overall meaning
each thing placed into a shot
Mise-en-scene in Rear Window
everything is tightly controlled,
everything is photographed from the stationary point of view of Jefferies, first few minutes we are introduced to different worlds of the different tenants living across from jefferies
Mise-en-scene in individual shots
everything is controlled: objects, lighting, camera angles, sounds
Visionary mise-en-scene
movies based on dreamlike or mystical visions
Design involves
expressing a movies vision: create convincing sense of times, spaces, and mood; character state of mind; and developing themes
Western design
open skies
Film noir design
shadowy streets
horror design
creepy expressionistic effects
Production designer
works with director and director of photography in visualizing the movie that will appear on the screen. Responsible for the overall design concept. (hairstyling, makeup, costume design, carpentry, location, etc)
Design begins
pre-visualizing: imaging, thinking, discussing, sketching, planning
Production designer responsibilities
helps visual continuity, balance, and dramatic, emphasis
Production designer and Animation
has much more control over miss-en-scene
Directors communication with production designer
some create detailed drawings
Elements of design
1. setting , decor, and properties
2. lighting
3. costume, makeup, and hairstyle
Spatial and temporal setting of a film
the environment (realistic or imagined) in which the narrative takes place
Set director
in charge of details that go into furnishing and decorating a set
Settings can be
on location, or on a set
On location
create authenticity and natural depth but are expensive
On set
evolution of larger studios made larger 3-D interiors.
Decor (interior shooting)
the color and textures of the interior decoration, furniture, draperies and curtains, etc
Properties "Props"
paintings, vases, flowers, silver tea sets, guns, fishing rods, etc
First movie sets
no different from theatre sets: flat backdrops, observed by the camera as an audience would. Skylights and artificial lights provided indoor lighting
windowless, soundproofed, professional shooting environment that is usually several stories high and can cover an acre or more of floor space
Production designers and lighting
they include an idea of lighting in their sketches
Importance of lighting
shaping the way the final product looks, guiding our eye through the moving image, and helping to tell the story
light calls attention to shapes and textures
mask or conceal things
Lighting on set and on location
light is controlled and manipulated to achieve expressive effects, no such thing as wholly "natural" lighting
the use of deep gradations and subtle variations of lights and darks within an image
Two most personal aspects of box-office appeal
makeup and hair
Early studios and the look of actors
"improved" stars: dying hair, fixing teeth, plastic surgery. had actors under contract to undergo plastic surgery or dental procedures
Costume (wardrobe)
clothing worn by actors in a movie
Costume contributes
to setting, and suggests specific character traits, state of mind, overall situation, helps to tell a movies story
Costumes and past
costume designers undertake extensive research to get it right
Contemporary costumes
relate back to the audience memories and experiences we have had
Film involving future
costumes must reflect the social structure and values of an imaginary society
Historical films
reflect both the years they hope to represent and the years in which they were created
Make up is used to enhance or alter (positively or negatively)
an actors appearance, two categories: traditional materials and digital methods
Traditional materials
cover the full dance of facial and body cosmetics familiar to consumers, often specially blended to comply with camera and lighting (prosthetics, wigs foam or plastic to alter weight)
Makeup artist
responsible for all makeup
Script supervisor
kept a detailed log of each days shooting,
Video assist vamera
mounted in the viewing system of film camera and provides instant visual feedback
Film design two fundamental styles
realistic and fantastic
give objective expression to subjective human feelings and emotions by using objective design elements (structure, color, texture) Heightening reality by relying on non objective elements (symbols, stereotyped characters, stylization)
Expressionist films characterization
extreme stylization on sets, decor, acting, lighting, and camera angles. They were distorted and abstract sets.
Italian neorealism
stories set amongst the poor and working class, filmed on location, and used non-professional actors
Composition is part of
the process of visualizing and planning the design of a movie
What is composition?
organization, distribution, balance, and general relationship of stationary objects and figures, as well as light, shad, line and color
any significant things that move on the screen
Two aspects of composition
framing and kinesis
what we see on the screen
what moves on the screen
Why is composition important?
it helps ensure the beauty and flow of the movie and guides our looking, how we read the image and how we interpret the characters physical, emotional, and mental relationships to one another
Composition, two images
flat image: figures and objects are arranged and photographed in the foreground of the screen
Or an image that has the illusion of depth
change in camera angle without a cut and can change the focus of the screen
Frame around a motion-picture
image can move and thus change its point of view (results from moving frame)
Framing implies
Point of View (POV)
Subjective POV
single character point of view
Omniscient POV
view that comes from no one in particular
Cinematic seeing
the window you look through when taking a picture
The frame of cameras viewfinder
indicates the boundaries of the cameras point of view
entire visual composition of a shot
both onscreen and off screen spaces
Six segments of offscreen space
the four infinite spaces that lie beyond the four borders of the frame
the spaces beyond the movie settings (call our attention to the entrances into and exits from the world of frame)
the space behind the camera (helps viewer define the cameras point of view)
open and closed films
two ways of designing and representing the visible world through framing int
Open frame
designed to depict a world where characters move freely with an open, recognizable environment (realistic films)
Closed frame
designed to imply that other forces (fate, social, educational) have robbed characters of their ability to move and act freely (nonrealistic films)
In realistic (verisimilar) films
frame is a window on the world, has many views
In anti realistic films
frame is similar to frame of painting or photograph, enclosing or limiting the world by closing it down and providing only one view
When do directors choose the closed frame
when their stories concern characters who are controlled by outside forces and do not have the freedom to come and go as they wish
When do directors choose the open frame
to enable their characters to act freely, come and go within the films world
We perceive movement when we see
1. movement of objects and characters
2. apparent movement of the frame itself
director and teams process of planning the positions and movements of the actors and cameras for each scene and in rehearsals familiarize the cast and camera operators with the plan