1. Mise-en-scene & Design What do you see?

2. What is mise-en-scene? »It is a physical creation and an emotional concept French phrase that literally means - »Staging or putting on an action or scene in theatre or cinema »In critical analysis t generally refers to the filmmakers control of such staging, or how a filmmakers determine what the audience hears, sees with in the frame of the movie image. »It is a physical creation and an emotional concept French phrase that literally means - »Staging or putting on an action or scene in theatre or cinema »In critical analysis t generally refers to the filmmakers control of such staging, or how a filmmakers determine what the audience hears, sees with in the frame of the movie image.

3. What is a frame? »A frame demarcates the 3 dimensions of the image we see on screen Height Width Depth »A frame demarcates the 3 dimensions of the image we see on screen Height Width Depth

4. What are the functions of the frame and the process known as framing? »Filmmakers must decide what to include and what to exclude What is seen/not seen (onscreen off screen space) Control distribution, balance and spatial perspectival relations of what appears on screen In controlling framing, filmmakers shape the from, content, and meaning of the image »Filmmakers must decide what to include and what to exclude What is seen/not seen (onscreen off screen space) Control distribution, balance and spatial perspectival relations of what appears on screen In controlling framing, filmmakers shape the from, content, and meaning of the image

5. So…… »Mise-en-scene results from the filmmakers total control of what occurs with in the frame both visually and aurally.

6. Planning a shot means… »Placing people, objects and elements of deocor »Determning their movements (if any) »Setting up lighting »Figuring out camera angles »Creating sounds »Placing people, objects and elements of deocor »Determning their movements (if any) »Setting up lighting »Figuring out camera angles »Creating sounds

7. So generally speaking Mise-en-scene is… »The total arrangement of settings, costumes,lighting, sound and acting - in other words - everything you see. »Ultimately mise-en-scene happens because the director and his/her creative team envisioned it. »The total arrangement of settings, costumes,lighting, sound and acting - in other words - everything you see. »Ultimately mise-en-scene happens because the director and his/her creative team envisioned it.

8. Eyes Wide Shut Stanly Kubrick

9. F.W. Murnau Sunrise »What do you see in each frame? »How does this shape your interpretation of the scene? »How does this shape your interpretation of the characters? »What do you see in each frame? »How does this shape your interpretation of the scene? »How does this shape your interpretation of the characters?

11. Composition and Mise-en- Scene »Mise-en-scene is the product of directorial vision and planning. »Composition is the process of visualizing and putting those plans into practice. »Mise-en-scene is the product of directorial vision and planning. »Composition is the process of visualizing and putting those plans into practice.

12. Composition Basics »Organization »Distribution »Balance »General relationship of stationary objects and figures »As well as light, shade, line, and color with in the frame »Organization »Distribution »Balance »General relationship of stationary objects and figures »As well as light, shade, line, and color with in the frame

13. Composition & Mise-en- scene »Cause effect relationship »Calls attention to the actual work of the director and the production team »This helps develop a movies narrative, suggests meaning (story boards, models, sketch books) »Cause effect relationship »Calls attention to the actual work of the director and the production team »This helps develop a movies narrative, suggests meaning (story boards, models, sketch books)

14. Shaping Mise-en-scene »Two aspects of composition »Framing - what we see on the screen »Kinesis - what moves on the screen »Two aspects of composition »Framing - what we see on the screen »Kinesis - what moves on the screen

15. The Best of Our Lives William Wyler »What does the composition of picture 1 suggest? »What does the composition of picture 2 suggest? »What does the composition of picture 1 suggest? »What does the composition of picture 2 suggest?

17. Framing: What we see on Screen »Cinematic seeing = framing The frame of the cameras viewfinder indicates the boundaries of the cameras point of view. The frame offers filmmakers complete control over 2 kinds of cinematic space »Onscreen space »Offscreen space »Cinematic seeing = framing The frame of the cameras viewfinder indicates the boundaries of the cameras point of view. The frame offers filmmakers complete control over 2 kinds of cinematic space »Onscreen space »Offscreen space

18. Onscreen Space »Inside the frame Includes the people and objects the filmmakers want us to see Creates relationships between people and objects and focuses our concentration on what we see by excluding the rest of the world from the frame »Inside the frame Includes the people and objects the filmmakers want us to see Creates relationships between people and objects and focuses our concentration on what we see by excluding the rest of the world from the frame

19. Off Screen »The spaces beyond the 4 borders of the frame »The spaces beyond the movie settings which call attention to the entrances to and exits from the world of the frame »Space behind the camera »The spaces beyond the 4 borders of the frame »The spaces beyond the movie settings which call attention to the entrances to and exits from the world of the frame »Space behind the camera

20. Stage Coach Clip »See CD clip

21. Open Frame »People and things can enter and leave the frame Generally used in realistic films Frame can be seen as a window on the world »People and things can enter and leave the frame Generally used in realistic films Frame can be seen as a window on the world

22. Closed Frame »Neither characters nor objects enter or leave the frame Generally used in antirealistic films example: expressionistic films »Neither characters nor objects enter or leave the frame Generally used in antirealistic films example: expressionistic films

23. Cast Away Slide Show »http://www.wwnorton.com/college/ film/movies/chapters/ch3/frameseq. asphttp://www.wwnorton.com/college/ film/movies/chapters/ch3/frameseq. asp

24. North By Northwest Slide Show »http://www.wwnorton.com/college/ film/movies/chapters/ch3/frameseq. asphttp://www.wwnorton.com/college/ film/movies/chapters/ch3/frameseq. asp

25. Kinesis: What Moves on the Screen »Perception of motion in film Can be accomplished in many ways »Music in an otherwise static scene »Movement of objects and characters with in the frame an by the apparent movement of the camera (moving frame) How the elements of cinematic form are handled determines how we will interpret all movement in a movie. »Perception of motion in film Can be accomplished in many ways »Music in an otherwise static scene »Movement of objects and characters with in the frame an by the apparent movement of the camera (moving frame) How the elements of cinematic form are handled determines how we will interpret all movement in a movie.

26. Kinesis Continued »All movies move – some move differently than others »Kinetic quality of many movies is determined by their genres War stories, cartoons, and comedies include more and faster movement than love stories or biographical films »All movies move – some move differently than others »Kinetic quality of many movies is determined by their genres War stories, cartoons, and comedies include more and faster movement than love stories or biographical films

27. Crouching Tiger Clip

28. Movement of figures within the frame »Most important figure – the actor »How do all the actors move with in the space created to tell the story »Where and how a figure moves may dictate the width, depth and height of the setting in which the movement occurs »Most important figure – the actor »How do all the actors move with in the space created to tell the story »Where and how a figure moves may dictate the width, depth and height of the setting in which the movement occurs

29. The General Buster Keaton

30. The Unvanquished Satyajit Ray »http://www.wwnorton.com/college/ film/movies/chapters/ch3/frameseq. asphttp://www.wwnorton.com/college/ film/movies/chapters/ch3/frameseq. asp

31. Works Cited »This presentation is based on information from Looking at Movies: An Introduction to Film by Richard Burnam