Mise High Scene Analysis

The term “mise en scene” carries the original meaning of “putting into scene” and was a term that signifies the director’s control of visuals and events in the frame. There are several aspects in mise en scene. Aspect such as setting, lighting, costume and behavior of figures were controlled to allow the director to stage the event and create the overall effect within the frame.

Jordan Peele’s uses sound to his complete advantage in his thriller Get Out. The film sound in Get Out creates the tone of the scenes, advances the plot, and develop the theme of racism.

When Truman does not walk into his workplace the show’s audience respond with excitement and a sense of pride. High angle tracking shots are used as cameras follow Truman and his every step, unable to anticipate his next move. The reverse shot in the side mirror of a car closely follow Truman and as several people obstruct the view it appears as if Truman is trying to get away and disappear from the scrutiny of the cameras. Truman tentatively surveys the area and for the first time listens to conversations around him. Close up shots of several conversations position the audience to also question those around Truman. These techniques used position the audience to respond with enthusiasm and delight towards Truman and his suspicions about the world he lives in. It is no longer seen as perfect.

Citizen Kane uses mise-en-scene is multiple scenes to help tell the narrative. A perfect example is when the parents

Fargo is a movie directed by Joel Coen and Ethan Coen who are brothers. It is a 1996 American crime film. Unlike most common movies, Fargo has its own style. The story is linear. It tells a story in three different lines. The beginning of the film shows a few lines of subtitles. It is adapted from a true story took place in Minnesota in 1987. The reason why this is done, just to be more attractive, if audiences feel it is real, then they will go down. Coen uses lively narrative rhythm in this film. For them, manufactured suspense by concealing the story is far from clear, but can’t control the accident make more enjoyable. The rhythm is ordered, each person’s character and action are fully in the simple plot to show. All the clues seem to fuse

A composer depends entirely upon the nature of the film for all the clues needed to write a suitable score for a film. Brought into the production after a certain amount of film has been shot, the films concept will dictate how the composer will write the music. Whether based on the story line, or providing information by setting an atmospheric state, film music will always have different purposes between different films. Penguin Ballet by Nigel Westlake was composed to focuses upon the graceful, almost ballet like movements of the penguins underwater. Whereas, Writings on the wall by Sam Smith conveys ideas and messages which will be expressed throughout the film, especially through the use of lyrics. Although positioned within the film to provide contrasting messages, both these songs use similar musical elements to support the piece, and its position with the film. The discussion of this essay is that there are similarities between the musical elements that support the lyrics in a song and the action in a documentary. Through this, we will discuss the musical element’s of pitch, and timbre and texture.

This previous phenomenon is because the need of fluent transition in movies. There are some other similar

of what is going on in the scene. It also shows the gaps in people's

“The most exciting moment is the moment when I add the sound… At this moment, I tremble.” (Akira Kurosawa) Sound is arguably the most important concept in cinema studies, being there ever since the beginnings. It can radically change the way a motion picture is looked at and it can render what the director may sometimes find hard to depict using only his camera. Looking upon silent cinema one discovers an era which wasn’t at all silent, but rich in sound of different forms, from the simple narration of the images shown on screen, accompanied by a piano, to the complex score later composed specifically for that film. An example of that complex score is shown in Sunrise, a film by F.W. Murnau, which lies at the border between silent cinema and sound cinema. Considered to be one of the first films with an actual score, Sunrise is a great example of the multitude of dimensions and effects sound can have.

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

The action scenes between Swimming upstream and Shine reflect many similarities and differences. The interior setting within Swimming Upstream provides a claustrophobic space in which stages the frequent family confrontations, similarly the same as the gloomy home featured in Shine. While both films are similar in this aspect, these scenes are portrayed through different camera angles. For example, in Swimming Upstream action scene, chapter … the director uses framing camera shots where Dora and Tony are consistently framed in the constraints of doorways and windows to imply their oppressive situations. Additionally, a hand-held camera and a beneath the floor angle is used within this scene to capture an uncomfortably personal and close-up

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

John Gibbs mentions mise-en-scene to be contents within a frame and the way they are organized (Gibbs, 2002). Settings and sets are the most fundamental features of mise-en-scene (Corrigan, 2004). Tim Corrigan describes the term setting as a fictional or real place in which the action of the scene takes place and defines sets as a setting of a studio sound stage. He also mentions that both these components can be a product of a combination of elements that are natural and constructed. David Bordwell, mentions that settings can play a more vital role with respect to the narrative, rather than just fulfilling their primary function of being a platform for human events to occur (Bordwell, 1979). The books provide a breakdown

design. In Romeo & Juliet, one major element of design is the setting because the film took