1. Mise on scène

2. What Mise on scène is When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting. Mise-en-scène also includes the positioning and movement of actors on the set, which is called blocking. These are all the areas overseen by the director, and thus, in French film credits, the director's title is metteur en scène, "placer on scene."

3. Interpretation This narrow definition of mise-en-scène is not shared by all critics. For some, it refers to all elements of visual style—that is, both elements on the set and aspects of the camera. For others, such as U.S. film critic Andrew Sarris, it takes on mystical meanings related to the emotional tone of a film. Recently, the term has come to represent a style of conveying the information of a scene primarily through a single shot—often accompanied by camera movement. However, there are no citable examples in academic papers to justify this definition. Two academic papers, Brian Henderson's Essay on the "Long Take" (1976) and Lutz Bacher's MA thesis entitled "The Mobile Mise-en-Scène" (1976), discuss the use of Mise en Scène in long shots and shots that encompass a whole scene. Neither conflates its meaning with how the term was originally applied to film in the Cahiers de Cinéma. This recent and limiting redefinition of the term makes it synonymous with a "oner" or a single shot that encompasses an entire scene. This use of the term displays a blinding ignorance of both the traditional use of the term in French theatre and film and it's actual translated meaning, which is, broadly, "to put in the scene".

4. In German filmmaking in the 1910s and 1920s, one can observe tone, meaning, and narrative information conveyed through mise-en-scène. Perhaps the most famous example of this is The Cabinet of Dr. Caligari (1919) where a character's internal state of mind is represented through set design and blocking. The similar-sounding, but unrelated term, "metteurs en scène" (figuratively, "stagers") was used by the auteur theory as a disparaging label for directors who did not put their personal vision into their films. Because of its relationship to shot blocking, mise-en-scène is also a term sometimes used among professional screenwriters to indicate descriptive (action) paragraphs between the dialogs. Only rarely is mise-en-scène critique used in other art forms, but it has been used effectively to analyse photography.

5. When its used: Set design Set design An important element of "putting in the scene" is set design— the setting of a scene and the objects (props) there in. Set design can be used to amplify character emotion or the dominant mood of a film, or to establish aspects of the character.

6. Lighting Lighting The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. Light (and shade) can emphasise texture, shape, distance, mood, time of day or night, season, glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition.

7. Space Space The representation of space affects the reading of a film. Depth, proximity, size and proportions of the places and objects in a film can be manipulated through camera placement and lenses, lighting, set design, effectively determining mood or relationships between elements in the story world.

8. Costume Costume simply refers to the clothes that characters wear. Using certain colors or designs, costumes in narrative cinema are used to signify characters or to make clear distinctions between characters.

9. Acting Acting There is enormous historical and cultural variation in performance styles in the cinema. Early melodramatic styles, clearly indebted to the 19th century theatre, gave way in Western cinema to a relatively naturalistic style.