LITE 216

Film Interpretation

From David Bordwell and Kristen Thompson, Film Art, Chapter Six:  "Mise-en-Scène"

MISE-EN-SCÈNE: the composition of the film frame.  In the original French, mise-en-scène [MEEZ AHN SCEN] means "putting into the scene" and was first applied to the practice of directing plays.  In controlling mise-en-scène, a film director stages an event for the camera.  Elements of mise-en-scène include setting, lighting, costume, and the behavior of the figures.  In analyzing the effectiveness of mise-en-scène, we consider not its realism, but how it works in relation to the total film.

SETTING: the time and place in which the action of a film occurs.  An already existing locale may be used, or the filmmaker(s) may choose to construct the setting.  The overall design of a setting can significantly shape how we understand story action.  Objects in the setting that have ongoing functions in the action are called "props" (short for "properties").

COSTUME AND MAKE-UP:  Here, the range of possibilities is huge.  Costumes may be realistic (e.g., "authentic" for their time and place) or they may be quite stylized, calling attention to their purely graphic qualities.  The same is true for make-up.  Any portion of a costume may become a prop.

LIGHTING  

LIGHT:  Light is a form of radiant energy. VISIBLE LIGHT is that portion of the electromagnetic spectrum that normally stimulates the sense of sight.

LIGHTING is the illumination of performers, action, and setting.  Essentially, lighting is the deliberate control of light.  It is complex and difficult; typically, lighting is the most time-consuming task involved in shooting a motion picture.  Most films have a different lighting arrangement for each camera position.

Lighting can be realistic or expressionistic.  Realistic lighting is shaped by available light sources (such as sunlight) and/or "motivated" sources (such as lamps that appear in a shot). Expressionistic lighting seeks only to create the most striking image possible; it often distorts natural light patterns.

BEHAVIOR OF FIGURES:  The most familiar cases of figure expression and movement are actors playing roles.  Acting should not be judged by its realism, but by how well it achieves and embellishes the overall style of a film.  If an actor looks and behaves in a manner appropriate to his or her character's function in the context of a film, the actor has given a good performance.

All the elements of mise-en-scène come together to shape screen SPACE and TIME.

SPACE: screen space is flat, but visual cues allow us to infer a three-dimensional space.  Such elements include movement, color differences, balance of distinct components, and depth cues.

TIME:  both the shot and our viewing of it take place in time.  The director can control the rhythm of time as it unfolds.  For example, our glance may be directed from place to place by various speeds, directions, and tempos of movement.