1. FILM TOPICS OUTLINE
Mise en Scéne
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2. Mise en Scéne Literally, “Placing on Stage”
The arrangement of all the visual elements of a theatrical production within a given playing area
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3. Topics of Discussion The Frame Composition and Design
Territorial Space
Proxemic Patterns, Camera Shots (close, long, full)
Open and Closed Forms
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4. Topics of Discussion The Frame Aspect Ratio Masking Iris
Early (1.33:1)
Standard (1.85:1)
wide screen (2.35:1)
Television (1.33:1)
Masking
Iris
Frame Area Symbolism
Early films: 1.33:1
Standard: 1.85:1
Wide Screen: 2.35:1
Television: 1.33:1
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5. Topics of Discussion Composition and Design Dominant contrast
Subsidiary contrasts
Intrinsic interest
Weights
Axis point
Skeletal structures S, X shapes, triangular designs, circles
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6. Topics of Discussion Territorial Space Midground Foreground Background
Film Positions (full front, quarter turn, profile, three-quarter turn, back to camera)
Tightly framed, loosely framed
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7. Topics of Discussion
Proxemic Patterns, Camera Shots (close, long, full)
Intimate
Personal
Social
Public
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8. Topics of Discussion Open and Closed Forms
Open (free, loose, unrestricted)
Closed (tight, confined, restricted)
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9. Summary of mise en scéne analysis of any given shot:
Dominant. Where is our eye attracted first? Why?
Lighting key. High key? Low Key? High contrast? Some combination of these?
Shot and camera proxemics. What type of shot? How far away is the camera from the action?
Angle. Are we (and the camera) looking up or down on the subject, or is the camera neutral (eye level)?
Color values. What is the dominant color? Are there contrasting foils? Is there color symbolism?
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10. Summary of mise en scéne analysis of any given shot:
Lens/filter/stock. How do these distort or comment on the photographer’s materials?
Subsidiary contrasts. What are the main eye-stops after taking in the dominant?
Density. How much visual information is packed into the image? Is the texture stark, moderate, or highly detailed?
Composition. How is the two-dimensional space segmented and organized? What is the underlying design?
Form. Open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene, or a proscenium arch in which the visual elements are carefully arranged and held in balance?
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11. Summary of mise en scéne analysis of any given shot:
Framing. Tight or loose? Do the characters have no room to move around or can they move freely without impediments?
Depth. On how many planes is the image composed? Does the background or foreground comment in any way on the midground?
Character placement. What part of the framed space do the characters occupy? Center? Top? Bottom? Edges? Why?
Staging positions. Which way do the characters look in front of the camera?
Character proxemics. How much space is there between the characters?
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12. Next Topic:
Movement
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