MIS-EN-SCENE
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Transcript MIS-EN-SCENE
DÉCOR/Visual Design
Usually
used to combine foreground
action, often actors in conversation,
with a background often shot earlier,
on location.
Can
be used to illustrate symbolic
meaning (e.g. The Sixth Sense)
As part of the narrative organization (e.g.
Malcolm X)
Psychological mood and tone (to
augment and intensify the emotion)
More
of a focus on brightness levels
Film noir a specific style of film that
creates a darker, moodier look
Three-point
lighting-The
standard lighting scheme
for classical narrative
cinema. In order to model
an actor's face (or another
object) with a sense of
depth, light from three
directions is used, as in the
diagram to the right.
Light
on screen is cast by one or more
specific sources
Practical light-actual light on the set that
works for the exposure of the film
Stresses
purely pictorial or visual values
that may be unrelated to strict concerns
about source simulations
Many films use both
Technical acting-focused on a more
traditional dramatic mode similar to
the theatre focused more on body
language and facial expression
Method-focused more on inner
emotions and personal experience (a
more modern style)
Typage-refers to the selection of actors
on the basis that their facial or bodily
features readily convey the truth of the
character the actor plays
Stars
(usually lead actors/actresses who
receive top billing)
Supporting Actors (secondary and
supporting roles in films)
Extras (performers who appear
incidentally or in the background)
The Star Persona – collective screen
personality that emerges over a star’s
career
Personality
Stars – stars whose
personality changes only slightly from
film to film (Tom Cruise, Julia Roberts,
John Wayne, Bette Davis)
Character Stars – plays a greater range of
roles and is known for being “lost” in the
character (Robert DeNiro, Dustin
Hoffman, Meryl Streep, Christian
Bale)
4 different ways to accomplish this:
Emphasizing unique body language:
- John Wayne’s walk in The Shootist
(1976)
- Charlie Chaplin
Regulating Intensity of Emotion:
- how does the film regulate
expression?
- Chaplin’s face at the end of
City Lights
Maximalist
Performance Style:
- going to the opposite extreme (not
naturalistic or plausible, but over the top)
- either very emotional or very
unemotional: Al Pacino vs. Clint Eastwood
Typage:
- performers are visually stylized, often to
the extreme
Visual
Mediation of Performance:
- connecting a performer to additional
visual elements within the film
- Citizen Kane
A
deliberate distortion imposed by
artists upon the linear perspective cues
within a model or painting
Used
to create effects by erasing visual
information from the frame (Gary Sinise’s
legs in Forrest Gump)
Building entire images inside the
computer and then integrating these with
live-action photography (The Lord of the
Rings, Jurassic Park, etc.)