Mise en scène Short Film Project Name: Mise-en-scène is an expression used to describe aspects of a theatre or film production, which essentially means "visual theme" or "telling a story" both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction When applied to the cinema, mise-en-scène refers to everything that appears before the camera and its arrangement composition, sets, props, actors, costumes, sounds, and lighting The mise-en-scène, along with the cinematography and editing of a film, influence the verisimilitude of a film in the eyes of its viewers The distinctive mise-en-scène of The Cabinet of Dr Caligari (19) features stark lighting and jagged architecture STEP ONE: RESEARCH the key aspects on the attached sheet about Mise-en-scène STEP TWO: SELECT a theme (lyric/poetry) for your Short 3 minute Mise-en-scène film Your final film should be no longer then 3 minutes in length (including credits) and follow the key aspects of Mise-en-scène Nosferatu (19) STEP THREE: STORYBOARD your short film incorporating the Mise-en-scène Requirements APPROPRIATE IMAGERY: All themes/footage should meet appropriate Catholic school expectations STEP FOUR: SHOOT your footage based on your approved storyboard by the teacher and save files as AVI format Mise-en-scène Requirements: 1) Maximum length: 3 minutes total ) Black and White 3) No Sound 4) Follow the key aspects (on attached sheet) STEP FIVE: EDIT your footage using Adobe Premiere 65 REMEMBER your finished should be no longer then 3 minutes in length (including credits) STEP SIX: REFLECT: Answer the questions using the elements and principles of design and hand them in with your completed work for evaluation 1 What part of your finished project did you find most successful and why? What part of your finished project did you find least successful and why? The Cabinet of Dr Caligari (Germany, 19) 3 If you had to do this project, what part would you change or improve on and why?
Key Aspects Set Design An important element of "putting in the scene" is set design the setting of a scene and the objects (props) visible in a scene Set design can be used to amplify character emotion or the dominant mood, which has physical, social, psychological, emotional, economic and cultural significance in film One of the most important decisions made by the Production designer and director is deciding whether to shoot on location or on set The main distinction between the two is that décor and props must be taken into consideration when shooting on set Shooting on set has, however, been proven to be much more cost effective, therefore, more popular than shooting on location Lighting The intensity, direction, and quality of lighting can influence an audience s characters, actions, themes and mood Light (and shade) can emphasize 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 Highlights, for example, call attention to shapes and textures, while shadows often conceal things, creating a sense of mystery or fear For this reason, lighting must be thoroughly planned in advance to ensure its desired effect on an audience Cinematographers are a large part of this process, as they coordinate the camera and the lighting 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 Mise en scène by Constant Puyo Composition The organization of objects, actors and space within the frame One of the most important concepts with the regard to the composition of a film is maintaining a balance of symmetry This refers to having an equal distribution of light, colour, and objects and/or figures in a shot Unbalanced composition can be used to emphasize certain elements of a film that the director wishes to be given particular attention to This tool works because audiences are more inclined to pay attention to something off balance, as it may seem abnormal 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 Makeup and hair styles Establish time period, reveal character traits and signal changes in character Acting There is enormous historical and cultural variation in performance styles in the cinema In the early years of cinema, stage acting and film acting were difficult to differentiate, as most film actors had previously been stage actors and therefore knew no other method of acting[5] Eventually, early melodramatic styles, clearly indebted to the 19th century theater, gave way in Western cinema to a relatively naturalistic style This more naturalistic style of acting is largely influenced by Constantin Stanislavski s theory of method acting, which involves the actor fully immersing themselves in their character Filmstock The choice of black & white or color, fine-grain or grainy Aspect ratio The relation of the width of the rectangular image to its height Each aspect ratio yields a different way of looking at the world and is basic to the expressive meaning of the film Character Placement Where the director place the character depend on the importance of the role
Mise en scène Short Film Title: Name: A) Research Questions: 1 What does Mise en scène mean? (1) What are the nine key aspects of Mise en scène? (9) 1 3 4 5 6 7 8 9 B) Mise-en-scène used in my work and how they support my intended visual message: 1) ) 3) C) Reflect on your finished work by answering the questions: 1 What part of your finished project did you find most successful and why? What part of your finished project did you find least successful and why? 3 If you had to do this project, what part would you change or improve on and why?
Mise-en-scène Project : Storyboard Evaluation Name: Achievement Criteria Thinking/ Inquiry Concept & Meaning: Film Short: Mise-en-scène Knowledge/ Understanding Storyboard Design Process: Develop and apply a variety of approaches to communicate ideas and solve problems Aspects & Techniques Level Level 1 Level Level 3 Level 4 Concept is unclear and/or weak Meaning or ideas conveyed are not on par with student s grade level 5 5-5 techniques while composing storyboard Concept is slightly unclear and/or weak Meaning or ideas conveyed are below expectations for student s grade level 5 5 5-1 composing storyboard Concept is clear and valid Meaning or ideas conveyed are on par with student s grade level 5-75 1-175 composing storyboard Concept is clear and strong Meaning or ideas conveyed are above expectations for student s grade level 1 the design composing storyboard /1 Application/ Creation Demonstration of Design and Creation Processes and procedures: Storyboard Design: Aspects & Techniques does not meet assignmen t expectations for this category of assessment 5-5 processes and concepts, skills, and procedures to image(s) with limited 5 5-1 processes and concepts, skills, and procedures to image(s) with moderate 6-65 1-175 the design and concepts, skills, and procedures to image(s) with a high degree of 8-1 /1 Communication Clarity of concept: Theme Clarity of concepts: Aspects & Techniques clarity 5-5 clarity in concepts of 5-5 clarity 5-1 clarity in concepts of 5-1 7-75 degree of clarity 1-175 degree of clarity in concepts of Miseen-scène: aspects & 1-175 high degree of clarity high degree of clarity in concepts of Miseen-scène: /19
Mise-en-scène Project: Final & Reflective Questions Evaluation Name: Achievement Criteria Knowledge/ Understanding Design Process: Develop and apply a variety of approaches to communicate ideas and solve problems Level Level 1 Level Level 3 Level 4 ete 5-5 5-1 1-175 the design Aspects & Techniques Media Arts Journal: Project Questions: Reflective Application/ Creation Demonstration of the Design and Creation Processes and procedures: Aspects & Techniques ete ete does not meet assignm ent expectat ions for this category of assessm ent ete film 5-5 Poor, yes/no answers/limited incomplete 5 limited 5 film 5-1 what coherent and somewhat complete 5-1 moderate 6-65 film 1-175 Clear and substantial answers 1-175 7-75 film and insightful answers processes and to image(s) with a high degree of 8-1 /1 Communication Clarity of concept: Theme Clarity of concepts: Aspects & Techniques ete ete clarity 5-5 clarity in concepts of Miseen-scène: 5-5 clarity 5-1 clarity in concepts of Miseen-scène: 5-1 degree of clarity 1-175 degree of clarity in concepts of 1-175 high degree of clarity high degree of clarity in concepts of A1 The Creative Process: apply the creative process to create media art works, individually and/or collaboratively; A11 use a variety of strategies (eg, brainstorming, concept webs, mind maps, advisory/production team discussions, research using a variety of sources) to investigate increasingly complex creative challenges and to generate and organize innovative ideas, individually and/or collaboratively, for addressing these challenges A1 develop detailed plans, individually and/or collaboratively, that address a variety of creative challenges, including increasingly complex challenges (eg, reflect on and filter their ideas to select a feasible one as the basis for their plan; use storyboards, thumbnail sketches, production notes), and assess and refine their plans on the basis of feedback and reflection A13 produce and refine media art works, including increasingly complex art works, using research, exploration, input, and reflection (eg, research audio/visual codes and alternative media; extend their skills by experimenting with new tools and practising unfamiliar techniques; reflect on feedback from their teacher, peers, and others, and modify their preliminary work as appropriate on the basis of this feedback)
A15 create a detailed record of their use of the creative process in the production and presentation of a media art work, using a tracking tool compatible with the medium/media used in that work (eg, a sketchbook showing modifications to of their installation; a video of the development of a performance art piece), and use this record to determine, through reflection, how effectively they applied the creative process A The Principles of Media Arts: design and produce media art works, applying the principles of media arts and using various elements from contributing arts (dance, drama, music, visual arts); A1 investigate and analyse how media artists use the principle of hybridization, and apply that principle and at least one other principle in the design and production of media art works that incorporate elements from contributing arts A3 investigate and analyse how media artists use the principle of duration, and apply that principle and at least one other principle in and production of media art works that incorporate elements from contributing arts A4 investigate and analyse how media artists use the principle of point of view, and apply that principle and at least one other principle in the design and production of media art works that incorporate elements from contributing arts A3 Using Technologies, Tools, and Techniques: apply traditional and emerging technologies, tools, and techniques to produce and present media art works for a variety of audiences and purposes A31 explore a wide range of increasingly complex traditional and emerging technologies, tools, and techniques, and use them to produce highly effective media art works A3 create and present media art works that are highly appropriate for a variety of specific audiences and venues A33 communicate their purpose and artistic intention when creating and presenting media art works, using a variety of approaches, tools, technologies, and techniques in an increasingly skilful and personalized way B1 The Critical Analysis Process: demonstrate an the critical analysis process by using it to monitor the creative process, and by examining, interpreting, assessing, and reflecting on media art works; B1 use the critical analysis process, including the process of deconstruction, to analyse and evaluate different types of media art works B Identity and Values: demonstrate an how media art works reflect personal and cultural identity, and affect personal, cultural, and community values and their awareness of those values; B analyse, on the basis of investigation, the ability of media art works to express and promote cultural identities C1 Terminology: demonstrate an, and use correct terminology when referring to, elements, principles, and other concepts relating to media arts; C11 explain the stages of the creative and critical analysis process with reference to media art works, and explain and use correctly and appropriately a broad range of terms related to the conventions, concepts, principles, and elements of media arts when creating or analysing media art works C1 analyse, on the basis of research, how elements from contributing arts are applied through the principles of media arts C Contexts and Influences: demonstrate an the sociocultural and historical contexts of media arts; C3 Responsible Practices: demonstrate an responsible practices associated with producing, presenting, and experiencing media art works C34 identify a broad range of positive character traits associated with media arts production, and exhibit these traits consistently in both their independent work and their interactions with others (eg, show initiative at the outset of creative production processes; demonstrate cooperation and responsible leadership in a team environment; show respect for their tools and work environment and for the opinions of others)