Before reading Gail Lathrop and David O. Sutton’s lecture, I have already watched the video about MISE-EN-SCENE on youtube, which has given me a basic understanding of MISE-EN-SCENE. And I also had a blog on the video(Click link for the blog).
Now that I have talked about it before, I will add the content that was not mentioned last time this time. Start form setting.
Setting
One method of setting control lies in the selection of natural or artificial locale. Lush green countryside or snowy forest suggest a storyline as well as the conflict that is very different from the Gothic cathedral, inner-city ghetto or sterile institution.
The set might represent exactly a particular place, or it might be deliberately constructed to include the possible, improbable or even impossible locale.
Whether selected or constructed, real or surreal, the setting functions variously to orient viewers, to contribute dramatic impact, and to add meaning to the film’s narrative.
Costume
The costume is an indispensable means of establishing authenticity.
The costume can serve to enhance the narrative, or story, for instance, by suggesting the social position of characters.
The costume can imply, too, the psychological disposition of characters.
The costume also can hint at character development in the film.
In addition to informing narrative through contribution to setting, character, and plot, clothing—as an aspect of mise-en-scene—functions also as a prop upon which the film’s unity may rest. For example, one of my favourite <
Fantastic Beasts and Where to Find Them >.
Any portion of a costume may become a prop.
Figure Behavior
Like setting and costume, figure expression and movement are important elements of mise-en-scene used by the director to support the narrative as well as help develop the thematic unity of a film.
Figure expression refers to the facial expressions and the posture of an actor, whereas figure movement refers to all other actions of the actor, including gestures.
Two of the most important aspects of film study are the appropriateness of the expression of the actors and the control the director exhibits over the actor’s movements.
The viewer should always remember that the appropriateness or inappropriateness of a character’s behaviour should be judged in relation to the setting of the particular scene and the overall make-up of that particular character.
Lighting
To the film director, lighting is more than illumination that enables the viewer to see the action. Lighting, like the other aspects of mise-en-scene, is a tool used by the director to convey special meaning about a character or the narrative to the viewer.
Lighting can help define the setting of a scene or accentuate the behaviour of the figures in the film.
The quality of lighting in a scene can be achieved by manipulating the quality and the direction of the light. When the director manipulates the quality of the lighting or the relative intensity of the illumination, he can control the impact of the setting or the figure behaviour has on the viewer and can emphasize the intended central focus of the frame.
1. The setting contains a definite area of shadow. It would be easy for the director to create a feeling of suspense by having one of the figures in the film move into the shadows.
2. Two characters, one good and one evil, are portrayed in a scene in which the director has chosen to use soft lighting. In this scene, the director can send the viewer two messages about the relationship between good and evil in his film. By eliminating the crisp edges of shadow and light, the director may suggest that distinguishing between good and evil people is not an easy task in the view of the world presented in his film.
It is important to keep in mind that hard and soft are relative terms that designate two extreme conditions of illumination. Actually, most lighting arrangements are variations of hard or soft lighting.
There are five primary types of directional lighting and I have talked about them before in my blogs.
Summary
Though each element of mise-en-scene is combined with other elements to create a specific atmosphere in every film, studying elements of mise-en-scene separately helps the viewer understand the function of each particular element.
By focusing on the setting of a scene, the viewer can identify the exact importance of the time and place that he is shown so that he can think about the scene in relation to the proper historical or cultural context.
Costume, like setting, helps the viewer understand the action of a scene in relation to a larger context.
Concentrating on the behaviour of the figures helps the viewer to understand the personal motivation of the individual characters.
Lighting can intensify or subdue a setting, but regardless of its effect lighting is one more tool that the director uses to complete his cinematic statement.
By studying these elements as separate entities, the student of the film can begin to appreciate the artistry required in filmmaking.
RESEARCH ACTIVITY 1
Settings & Props: Lab equipment, Goggles, Fire extinguisher
Costume, Hair & Makeup: Students dress, Dusty hair, Dusty face
Facial Expressions & Body Language: No excessive expressions but shows characters well, Snap fingers，Reach out a hand, Vivid gestures during a conversation
Lighting and Colour: warm light, frontal lighting from the fire, backlighting for characters’ edges.
Positioning of characters/objects within the frame: Medium shots
What role does the shot choice (Cinematography) play in the scene?: Explain the relationship between people and tell the stories.
Research Activity 2
A couple lying in bed desperately.
The different colours of the costumes of the characters express the different personalities of the characters.
Two characters side by side in the centre of the screen.
Research Activity 3
Rebecca (1940)
MR. De Winter Mrs De Winter Mrs Van Hopper Mrs Danvers Black and white costume Cramped Mrs. De Winter
I watched <Rebecca> (1940) for 50 minutes from the beginning.
The story starts with Mrs De Winter and MR. De Winter’s first meeting in front of the sea. And Mrs De Winter moved to Manderley.
relationship between the characters?
MR. De Winter and Mrs De Winter are husband and wife. (Figure Behavior: The behaviour of the two shows that they are very close.)
Mrs Van Hopper and Mrs De Winter were an employment relationship. (Mrs De Winter has been following Mrs Van Hopper to show their employment relationship.)
Mrs Danvers and Mrs De Winter are a hostile relationship. (The black and white costumes of the two highlight the opposition of the two characters.)
By the way my favourite lines: He travels fastest who travels alone.
Research Activity 2
Can you describe the mise-en-scene in this picture?
A girl wearing a red headscarf is in the centre of the crowd and the picture.
What type of shot is it?
Medium shot
What is the camera angle?
Low angle shot
Where is the character located in the frame?
Mid
What is she wearing?
High saturation costume
What is the depth-of-field?
The focus is on the little girl.
Describe the colour palette?
The whole picture is low saturation except for the girl’s headscarf.
Describe the lighting?
Single side light