Psychology of film: Mise-en-scèneen-scène Psychology of film: Mise-en-scene Page 1 Mise-en-scÈneen-scÈne What is put into the scene (put before the camera) everything in the frame of the film includes lighting, costumes, props, sets and set design, staging and movement of the actors, the style and quality of the acting, and other aspects in the scene Psychology of film: Mise-en-scene Page 2 1
Mise-en-scÈneen-scÈne Vs. mise-en-shoten-shot Mise-en-scène exists prior to filming, distinguishing the filmed events from the way they are filmed mise-en-scène exists independently of editing, camera position, and camera movement (mise-en-shot) Of course, the viewer sees these two dimensions united in one image mise-en-scène and mise-en-shot combine to influence the viewer Psychology of film: Mise-en-scene Page 3 Example of Creating Mise-en-scÈneen-scÈne Video: Anatomy of a Scene Prozac Nation (2001) (19:39) Psychology of film: Mise-en-scene Page 4 2
Realism The powerful illusion of realism is at the heart of the film medium in movies, we often presume that what is put into the scene" is simply what is there without fully realizing that what is presented is only one possible version of reality one that is constructed by the film maker for a purpose Psychology of film: Mise-en-scene Page 5 Realism One aspect of creating realism is the principle of the fourth wall: actors do not address or acknowledge the audience creates the illusion that viewer is simply dropping in and observing the action in the film Psychology of film: Mise-en-scene Page 6 3
Realism Aspects of mise-en-scène can also help create a visual world that strikes the viewer as realistic as appropriate to the narrative film realism isn t restricted to situations that actually exist it involves making the visual image look right for the narrative, even if the story takes place in a fantasy setting Psychology of film: Mise-en-scene Page 7 Realism The article argues that cinema is better able to create the illusion of reality than are stage plays because the methods of producing what we see are less obvious and less well known to viewers I wonder if this is changing due to the extensive availability of DVD and web featurettes that thoroughly explain the process Psychology of film: Mise-en-scene Page 8 4
Settings and Sets According to the article, settings and sets refer to the location or the construction of a location where a scene is filmed I like to separate the terms and define setting as the time and place in which the narrative takes place locations and sets are then used to communicate the setting to the viewer Psychology of film: Mise-en-scene Page 9 Set Settings and Sets refers to the actual construction in which the actors are filmed sets are usually built for a film, as opposed to shooting on location, where a scene is shot in the actual place in which it occurs in the film Psychology of film: Mise-en-scene Page 10 5
Settings and Sets set can also refer to the place where a film is being shot so even in location shooting, the director would be on the set whenever he or she went to the place where the crew was shooting for that day Psychology of film: Mise-en-scene Page 11 Sets can be Settings and Sets realistic or stylized simple or detailed interior or exterior brightly colored or muted These features can create different meanings for the viewer Psychology of film: Mise-en-scene Page 12 6
Settings and Sets The appearance of a set can be manipulated by filming a matte painting that looks like a large space video: Behind the Camera: Shooting (18:43-22:59) Acting can take place in front of a blue- or green- screen with minimal features in the actors space and the setting that is depicted on screen is computer generated Psychology of film: Mise-en-scene Page 13 Settings and Sets Locations and sets often relate to the themes of the film in North by Northwest (1959), an advertising exec is mistaken for a government agent by foreign spies the climactic climb across Mt. Rushmore reflects the themes U.S. security and government video clip: North by Northwest (about 3:30) Psychology of film: Mise-en-scene Page 14 7
Settings and Sets Sets and settings can suggest real, everyday life e.g. The Apostle fantasy times and places e.g. the afterlife in What Dreams May Come (video clip) (about 3:00) what s going on in person s mind e.g. Eternal Sunshine of the Spotless Mind Psychology of film: Mise-en-scene Page 15 Art directors Set Design design or select the sets and décor of a film Production designers coordinate the look of an entire film develop a visual concept around which sets, props, lighting, and costumes are designed to work together Psychology of film: Mise-en-scene Page 16 8
Set Design The production designer begins by making sketches and building models to determine the best way to build the actual sets building film sets is very expensive often film sets are only partially constructed Psychology of film: Mise-en-scene Page 17 Examination of Production Design Video: Designing Buffy featurette frombuffy the Vampire Slayer Season 2 (1997-1998) (13:42) Psychology of film: Mise-en-scene Page 18 9
Set Design Set design can determine the look of a film, and even the identity of a studio Two examples: 1930s Warner Bros. films 1930s and 1940s MGM set design Psychology of film: Mise-en-scene Page 19 Set Design in 1930s Warner Bros. Films In the 1930s Warner Bros. produced low-budget films many with contemporary themes like gangster films e.g. Little Caesar, The Public Enemy Sets were usually simple and bare (e.g. shabby rooms and bare streets) Even though the sets were determined by economics, they were consistent with the themes and subject matter of the films Psychology of film: Mise-en-scene Page 20 10
Set Design in Warner Bros. The Public Enemy (1931) Psychology of film: Mise-en-scene Page 21 Set Design in 1930s Warner Bros. Films To compensate for the cheap sets directors often used close-ups and medium shots so the actors took up most of the frame low-key lighting (only part of the set is lit) was also used, keeping much of the set in darkness video clip: Little Caesar trailer video clip: The Public Enemy Psychology of film: Mise-en-scene Page 22 11
MGM Set Design In contrast to WB, MGM spent a great deal on sets and lighting Had the largest costume, prop, and art departments in Hollywood MGM art directors created large, elaborate sets which were well lit creating bright images MGM color films were saturated Examples: The Wizard of Oz, Gone With the Wind Psychology of film: Mise-en-scene Page 23 MGM Set Design One possible problem is that the sets may dominate the action and stars With so much money spent on sets, the filmmakers often felt obligated to show them off for example: Meet Me in St. Louis opens with a fairly long take of the set of St. Louis built on the MGM backlot Psychology of film: Mise-en-scene Page 24 12
Set Design in MGM s Meet Me in St. Louis (1944) Psychology of film: Mise-en-scene Page 25 MGM Set Design In MGM films, directors often used long shots or very long shots in which the whole actors appeared in his or her surroundings Video Clip: Opening of Meet Me in St. Louis (about 1:35) Psychology of film: Mise-en-scene Page 26 13
Costumes What the characters are wearing Can vary from realistic to extravagant Often help provide a sense of time and place Often provide the viewer with indications of character e.g. character types Make-up generally has similar effects Psychology of film: Mise-en-scene Page 27 What Does this costume tell The Viewer? Psychology of film: Mise-en-scene Page 28 14
What Does this costume tell The Viewer? Psychology of film: Mise-en-scene Page 29 What Does this make-up tell The Viewer? Psychology of film: Mise-en-scene Page 30 15
Lighting Various ways elements in a scene can be illuminated natural sunlight artificial light Allows filmmaker to direct the viewer s attention in certain ways Psychology of film: Mise-en-scene Page 31 Lighting Allows filmmaker to create certain moods or atmosphere the bright outdoor lighting in classical Westerns creates a feeling of clarity and optimism the shadowy darkness in the alleyway of a gangster film creates a feeling of oppression and gloom Psychology of film: Mise-en-scene Page 32 16
Lighting Three-point lighting was very common in Classic Hollywood films key light the main light used for a scene back light a secondary light source, usually placed behind the actors fill a light placed to the side of the actors Psychology of film: Mise-en-scene Page 33 Low-key lighting Lighting the film is shot using only the key light at a very low setting this low level of lighting creates dark shadows on the faces of actors and is particularly moody when used with black-and-white film most often associated with filmnoir but is not exclusive to that genre Psychology of film: Mise-en-scene Page 34 17
Lighting Close Encounters of the Third Kind (1977) used unusual lighting effects to create a sense of wonder and otherworldliness video clip: Close Encounters of the Third Kind video trailer Psychology of film: Mise-en-scene Page 35 18