1. Classical Realist Texts: American Films between 1916 and 1960
Mise-en-scène

2. Purer Form of Realist Narrative
Purer form of realism in narrative is found in non-diegetic elements.
Diegetic - being relevant to the progress of a story
Non-diegetic - being irrelevant to the progress of an imaginary story

3. Purer Form of Narrative
Siegmund Kracauer points out an inverted relation between the images that further the story and the images that ‘retain a degree of independence of the intrigue and thus succeed in summoning physical reality.’

4. Purer Form of Narrative
Roland Barthes characterizes as ‘reality effects’ the literary reference to objects and events that have no discernible narrative function except to give a material, worldly weight to the description.

5. Purer Form of Narrative
A purer form of film realism is found in an incidental or contingent element in narrative. ‘… in the middle of the chase the little boy suddenly needs to piss. So he does.’ (André Bazin)
Vittorio de Sica’s Ladri di biciclette (1948)

6. Table of Contents 1. Visualizing methods in classical American films
2. Mise-en-scéne in classical American films

7. Visualizing Methods in Classical American films
(Mise-en-scène = ‘put it in the scene’; what is filmed, how it is shot. It includes the directing of performance, the placement of cameras, camera movement, lighting, the choice of lenses, décore, costume, location hunting, etc.)

8. Visualizing Methods in Classical American films
(Montage = editing, how to present shots. It
includes cutting, mixing sound effects and
music, and dubbing)

9. Mise-en-scéne in Classical American Films
Classical Hollywood films aim to make the viewer not notice that they were watching a film. They do so through telling a plausible narrative.
In making narrative the dominant force in a film, the classical Hollywood cinema chose to subordinate mise-en-scène and montage to narrative.
It lets mise-en-scène serve for the 'invisible’, plausible and realistic narrative.

10. Mise-en-scéne in Classical American Films
They achieve reality and truth effects by concealing filming techniques through sophisticated filming teachniques MISE-EN-SCENE and MONTAGE
Unartificial → natural → real
Use of arts → make a film look artless → natural → real

11. Mise-en-scéne in Classical American Films
Film arts which are employed to make a film artless
No unusual angles, eye-level placing of camera, follow-focus (follow shot), no strong contrast, choice of normal size lens (35 to 50 mm), balanced composition, verisimilitudinous camera movement, etc.

12. Mise-en-scéne in Classical American Films
ANGLES OF FRAMING
High angle shot
Low angle shot
Camera angle can suggest the vulnerability or power of a character.

13. Mise-en-scéne in Classical American Films
Straight-on angle
Following the point of view of a character - the most natural way to deciding an camera angle
Orson Wells, Citizen Kane (1941)

14. Mise-en-scéne in Classical American Films
Expressive angles
Stanley Kubrick’s Clockwork Orange (1971)
Extreme low-angle shots

15. Mise-en-scéne in Classical American Films
LEVEL OF CAMERA
Low-level and high-level placing of the camera
Following the eye level of a character - the most natural way to decide the place of the camera.

16. Mise-en-scéne in Classical American Films
However, eye-level positioning of camera becomes expressive and formalistic, when it is set at an extreme level.
Expressive level
Danny Boyle’s Trainspotting (1996)

17. Mise-en-scéne in Classical American Films
COMPOSITION
The important figure should be place in the slightly off-centre of the frame

18. Mise-en-scéne in Classical American Films
Slightly off-centre composition: Wim Wenders’ Paris, Texas

19. Mise-en-scéne in Classical American Films
Yasujiro Ozu’s famous composition in which a character comes right in the middle of the screen
Unconventional composition stands out in his films - more formalist stylistic element

20. Mise-en-scéne in Classical American Films
DEPTH OF FIELD: FOCUS
SELECTIVE FOCUS or SHALLOW FOCUS = only one plane is in sharp focus
To direct the viewer’s attention to that plane.

21. Mise-en-scéne in Classical American Films
RACK FOCUS
Changing of focus within a shot in such a way that one plane of the frame goes out of focus and instead another plane comes into sharp focus.

22. Mise-en-scéne in Classical American Films
FOLLOW FOCUS
Keeping a moving object or character in focus
DEEP FOCUS
Keeping elements at different depths of the image in focus
More natural focusing

23. Mise-en-scéne in Classical American Films
Watch the four clips from three different films and identify the types of focus used in them.
1. Francis Ford Coppola’s Godfather
2. Bernardo Bertolucci’s The Last Tango in Paris
3. Federico Fellini’s Le Notte di Cabiria
4. Orson Wells’ Citizen Kane
Which one(s) serves better to the creation of the reality effects? Which one(s) more formalist shot(s)?

24. Mise-en-scéne in Classical American Films
Camera movements
The camera moves following the movement of a character - the most natural way to move the camera
Martin Scorsese, The Age of Innocence
Is the camera movement in the opening scene realistic or formalistic?

25. Mise-en-scéne in Classical American Films
LIGHTING
High-key lighting: all areas of the image are equally lighted.
Low-key lighting: create strong contrast between light and shadow e.g. A Touch of Evil

27. Mise-en-scéne in Classical American Films
Mise-en-scene ought to be motivated as narrative does. The chain of cause and effect shoould dictate mise-en-scène.
e.g. When a character is a hero, he may be placed in the centre of the frame. When he walks into a room, the camera also moves with him. When he is walking in the darkness, no strong light is cast on his face.

28. Mise-en-scéne in Classical American Films
However, Motivated Mise-en-scène should not let itself stand out.
e.g. A protagonist must be placed in the centre of the frame, but not in the dead centre. When he walks into a room, the camera also moves with him rather than it uses rack focus. When he is walking in the darkness, not too much contrast between light and shade.

29. Mise-en-scéne in classical American films
F.W. Murnau, Sunrise: A Song of Two Humans (1927)
Travelling shot from a tram
Motivated: when the characters and the vehicle on which they are on move, the camera moves.
Sunrise