Mood For Love

What is the ultimate form of a tragic love? For Wong, it is neither denial nor acceptance, but an eternal state of longing and waiting. Among Wong Kar Wei’s internationally acclaimed productions, Days of Being Wilde (1990), In the Mood for Love (2000), and 2046 (2004) are loosely counted as a trilogy of love. In the end chapter of his trilogy 2046, Wong continues to focus on Chou-Mu-Yun, a sentimental yet callous writer and womanizer. Revolving around the affairs of Chou, 2046 presents to its audience three pathways that love could possibly offer: to unite in happiness, to move on after the denial from the loved one, and to linger upon the unanswered love in perpetuity. Chou is undoubtedly chosen to be the bearer of the last pathway. As the

A major key element in the film comprises of settings. It is where the actions takes place and helps viewers to understand where and when the film is set. Settings not only create mood, it has social, psychological, emotional and cultural significance in which the film are able to portray. Settings used in the film are very rarely just backgrounds to the characters dialogue. Viewers are often seen shots of places, without any action taking place. They can be used to influence viewers by building certain expectations and then the actions takes a different turn. Gibbs (2002) mention that, ‘Mise en scene therefore encompasses both what the audience can see and the way in which we are invited to see it’. For example, the scene where Mrs. Chan goes to get noodles where she is seen to be walking along a dark alley down the stairs, gives viewers a certain expectation to emphasize the character’s emotional state. Viewers are also made to see Mr. Chow going down the same stairs as Mrs. Chan walks back up without any conversation taking place. This tells viewers what they see suggesting the lost in their daily routine of doing the same thing over and over again, going to work, getting noodles and accepting the unfaithfulness of their spouses. It also gives viewers a sense of developing bond between the two characters over

‘In The Mood For Love’ is a Romance melodrama and is Directed and written by Wong Kar-Wai which is a Hong Kong film and released in the year 2000. The film’s plot takes place in 1962 which tells the story of two married couples that move into the residents of Shanghai living in rented rooms of a neighbouring apartment, a newspaper editor Mr Chow (played by Tony Leung) and his wife, Mrs Chan (played by Maggie Cheung) and her husband a representative of a Japanese-owned company, both couples become neighbours. Mr Chow and Mrs Chan both being the main protagonists in the story discover that both their respective spouses are having an affair, the betrayal brings both of the protagonists together to meet and discuss about their spouses’ secret affairs and practice their countermeasures with one another towards their respective spouses. As they both meet day by day, they begin to have an uncertain affair and at times deliberately try to avoid one another perhaps due to ethical concerns, and yet deeply miss one’s company. Unfortunately, Mr Chow and Mrs Chan’s relationship comes to a regretful end. The following analytic essay will attempt to demonstrate to provide information in detail about the key concepts of the film’s style and the director’s

Mulvey, Laura. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. Thesis. N.d. N.p.: Laura Mulvey, 1975. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. NG Communications, 2006. Web. 20 Feb. 2014. .

The use of distinctively visual images allows an audience to perceive and distinguish the composer’s specific representation. From these distinctive visuals, the audience’s perceptions force them to respond in a particular way. In ‘Crouching Tiger, Hidden Dragon’, Ang Lee utilises a range of film techniques to position his audience through a combination of quiet, dramatic scenes and choreographed action sequences. In his painting, ‘Third of May, 1808’ Fransisco Goya conveys meaning exclusively with distinctively visual techniques. Both the composers are able to effectively convey their message and

Mise-en-scene is the principle by which a piece of film will derive its meaning wholly from what happens in the single shot and not from the relationship between two shots. For example the director might include shots with various composition, angle, depth, movement, and lighting.

Suspense is a crucial ingredient in the making of horror and thriller films. The significance of suspense in horror films is to bring out the “twist or unexpected moment of realization that makes someone scream and one's heart race. In the film industry, there are various types of genre, but as different as films may seem, they all have one element that links them all together. That element is known as Mise-en-scene. Mise-en-scene is a French phrase that means “putting into the scene.” Mise-en-scene includes elements such as setting, lighting, costume, and figure movement and expression (acting).

Director Alfonso Cuarón’s 2006 film Children of Men paints a disheartening picture of the future: a prolonged period of worldwide infertility has led to the near collapse of society by the year 2027. The essence of the film is chilling, undoubtedly due to Cuarón’s attention to detail in designing this dystopian society. His meticulousness lends the film a sense of authenticity and makes its story even more compelling. An element of film style that Cuarón uses to achieve this believability is mise-en-scene. Mise-en-scene consists of all of the elements that are placed in front of the camera and appear in the frame. Four categories that exist within the broad scope of mise-en-scene are setting and props, lighting, costume and makeup, and staging and acting. A filmmaker can manipulate the elements of mise-en-scene in many different ways, and these decisions have a significant impact on the film as a whole. In this particular scene Children of Men, Cuarón uses the first two categories, setting and props and lighting, particularly effectively. He uses these two categories of mise-en-scene in order to depict a believable dystopian future and to highlight the hopelessness that plagues the characters in this world.

Media analysis: Music Music: a cinematic aspect of illustrative themes. Valerie and her week of wonders (1970) is a classical movie that weaves all aspects of entertainment facets to elicit an emotive, thought to provoke and illustrative themes of a spiritualistic society. The aspects that creatively intertwine together to bring out the entire movie include genres, characters, music, symbolism, sound effects and special effects (Limpscomb 41). The interest of our discussion is how the music applied as an aesthetic accompaniment brings out: the sensational, the narrative progression, and a bridge from one thematic aspect to another.

Remember a time when the adrenaline ran through you, speeding your every movement, and the nervous feeling that overtook your entire body. Now remember a time when you felt relaxed and calm, like the clock stopped and time stood still. Now, as strange as it sounds, imagine those two feelings combining. This surreal state seems to describe the mood of the twenty-line poem “We Have Not Long to Love” by playwright and poet Tennessee Williams. This poem reflects that feeling when you know there’s no time and you must act quickly, but time seems not to move.

Mise-en-scene is the arrangement of everything that appears on screen, such as the actors, props and costumes. In the movie Scream, the characters wear outfits to make their roles obvious. The girl’s boyfriend is wearing a highschool jersey which shows who he is quite easily and the killer is

Mise-en-scene is the principle by which a piece of film will derive its meaning wholly from what happens in the single shot and not from the relationship between two shots. For example the director might include shots with various composition, angle, depth, movement, and lighting.

Mise-en-scene consists of various elements including lighting, props, costume – you get the idea. The lighting in Theirry Guetta’s film depends on the location Exit Through the Gift Shop is taking place at that particular time. Whenever Banksy is being interviewed, the lighting is soft and a shadow is casted over his face because of the fact that Banksy did not want the world to know what he looked like. The same goes for the props in Exit Through the Gift Shop, as well. The time and location is key as to what the street artists use.

The objective of the creative project is to familiarize with the aspects of mise-en-scene by means of implementing them in a practical form. The creative project two will showcase how certain degree of changes made with respect to features of mise-en-scene can bring about a differentiation in genre and scenic atmosphere without any alterations brought about in the script. Following aspects such as settings, props, décor, actors, lighting, costume, makeup, space, time, and focusing on the rules that bind these commandments together, effort will be made to bring across authenticity in describing the genres as well as in the creation of scenic atmospheres.

Aspects of Mood Presented Through Setting in "The Love Song of J. Alfred Prufrock" and "Something Whispered in the Shakuhachi"