Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power
“Mise-en-scene was originally a French theatrical term meaning “placing on stage.” The phrase refers to the arrangement of all the visual elements of a theatrical production within a given playing area-the stage. (Giannetti 47)” Zombieland utilizes formalism in a unique way throughout the whole film. Not only is the concept portrayed through the kinetics in which the zombies display, but also the way in which the main characters travel throughout their days in order to stay alive. Analyzing the mise-en-scene of Tallahassee protecting Columbus from a massive zombie in the movie Zombieland revels that Tallahassee is willing to protect Columbus in a near death situation. While examining the still shot my attention focuses on the dominant, which
Mise-en-scène literally means “put in the scene” or, in other words, it describes all the components of the movie including lightning, setting design, costumes, staging and even camerawork (Gabe Moura 1). In fact, the film director of Nightcrawler successfully uses mise-en-scène to convince the audience that it is all happening for real. We are shown the world of commercial broadcasting where
Sunset Boulevard used a lot of high-contract lighting which also known as low key lighting, for example, in Norma’s house, the lighting are low key and because of this lighting, it creates dark shadows which is also one of the characteristics of film noir (Film Noir, 2013). This helps the director depict the dark side of fame to viewers, along with the help of the characters, Norma and Joe. Another example of how lighting sets the mood is the living room where Norma is dancing to entertain Joe, the bedroom of Norma and Joe, the ballroom where Norma is dancing with Joe during the New Year’s Eve and the place where Norma writes her script. All of these spaces are dimly-lit and there are a lot of items in these rooms, showing that their lives are chaotic and the characters can get lost in their settings. The film also contains some German-expressionistic elements such as the oblique vertical and horizontal line, for example in Norma’s house; viewers can see a lot of lines which are in oblique vertical and horizontal line (Film Noir, 2013).
Mise-en-scene doesn’t just refer to identifying the components of a shot but also explaining the meaning and depth behind the components and connecting the shots to the theme of the film to create a sense of realism by the use of lighting, complexity, colour values, composition, depth, framing, character placement, angle, the setting, it also includes costumes and make-up, props, all the other natural and artificial details that characterizes the spaces that has been filmed. The opening scene is like the first page of a novel, it must attract viewers into wanting more; complete what was started. In my research I will be analysing the opening scene of “Inglorious Basterds”, hoping to bring to the attention the elements used to evoke emotions
Sunset Boulevard (1950), directed by Billy Wilder, is a black and white film, where Norma Desmond, a famous actress of the silent film era, cannot come to terms with her career’s end. Desmond meets a guy named Joe Gillis, a struggling writer who is in financial trouble. The two come to an agreement that Gillis will polish up her script, which Norma believes will be her ticket back to the big screen, and Norma will take care of Joe financially. The one thing Norma and Joe have in common is that Hollywood has deemed both of them as undesirable. Norma experiences delusions of grandeur, and Joe cannot get his scripts picked up by a studio.
The viewer now sees three new characters. The woman in the middle (Maude) looks to her right to the man that then punches The Dude in the face then the camera fades into the explosion of the firework, initiating the dream sequence. The Dude’s actual dream is his subconscious telling him that Maude is taking back the rug which is evident through the Coen Brothers’ use of mise en scene. Mise en scene is a term used to represent everything that is on the set during a scene or sequence, etc. For example, The Dude flying over the big city makes the viewer aware that The Dude is dreaming because this is an impossible point of view.
Norman Bates in Psycho (1960) observes... Making to get viewers get involved in the plot. Moreover, of all the movies made by the celluloid genius, we can consider Rear Window (1954) film one of the greater 's admirable expressions of the art of the cinematographic glance. As the paradigm in which this curiosity exposed 's inhabit the human being, that voyeurism that uncounted of us have inside. Hitchcock is able to use this element to catch the spectator, building a devilish and fascinating tale of suspense set in a microcosm. In which there reflects the intimate and daily life of the current man, where the protagonist observes from his window.
Mise-en-scene is often cited as one of the most important indicator in a film of the director’s personality. It is the way how the director control and create his individuality into his own film through expressive cutting skills, camera movements, slow or face pacing, the direction of the characters and their placement in the film and decorations, the angle and distance of the camera, and even the content of the shot. Nowadays audience would observe and detect the mise-en-scene of the film as a way to determine or indicate whether the film is directed by the same particular person. On the other hand, Almodovar film’s normally can be spotted easily for its striking mise-en-scene, its bold attractive colors and glossy decorations. He also sometimes may uses unusual and shaky camera angles, specially costumed made outfits and his prevalent uses of LGBT themes in the film.
In the use of black and white film in Wings of Desire, the entire image is drab, thus preventing the viewer from inadvertently focusing on certain objects over others. Instead of just focusing on the character in the foreground, the viewer sees the image on screen as a whole and is inclined to look at ancillary or distant objects and notice small details. Thus the perceptions of all objects in the film are altered or different; perhaps they are now mysterious, endearing or impersonal. The camera is often the first-person view of the