Rob Marshal's Use Of Mise En Scene In The Masque

The film techniques used in this film changes the entire landscape and changes the mood during the scene. The colour reflects on a charters feelings and the camera angles and

{The curtains open to a scene with the backdrop of a train station platform. The background music starts the minute the curtains open and plays under the dialogue. Raul drives the taxi with full speed and reaches the next train station. Ashley and Raul run towards the platform}

The long take begins with an alarm clock waking up a couple, sleeping out on their balcony. As the camera moves from window to window around the courtyard, we see a few brief snippets of characters’ lives. And finally, the audience sees inside the apartment that has been its point of view all along. Mise-en-scene, framing, and cinematography

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

The first scene in this film opens on a dark room inside of which a couple lay naked wrapped in each other’s arms. Light classical music plays in the background, and She tells her story of Hiroshima. He (Eiji Okada) frequently chimes in with his strong, deep voice, telling She that she

After these scenes, the prologue is spoken, while the camera pans across the landscape of the imaginary Verona city. The narrator's voice is soothing and evocative, which again makes the audience feel at peace. Following the reading of the prologue, the camera quickly goes down to the market scene. Here, the atmosphere changes. The contrast here is noticeable, as it goes from a peaceful landscape scene, to the hustle and bustle of the market.

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

Structure – the narrative is driven by storyboarding and montage and is backed into reflective mode through large scale landscapes scenes. For example the opening pages depict items that relate to the emotionally heart-breaking scene where husband and wife prepare for his departure. Later the

The mise-en-scène in Hell or High Water reveals character and shapes the audience’s emotions by the overall visual aesthetic that the film makers accomplish. The mise-en-scène can be broken down into many different aspects, but for now I am only going to touch on a few. Starting with the costumes, the audience can infer that the brothers are not well off due to the worn button-down shirts, sweat-stained cowboy hats, and faded jeans. The hair also ties together the notion that the brothers do not have much because their hair, including facial hair, is quite scruffy and dirty looking. The visual effect of dirt and sweat also create the impression that the men do not cleanse themselves on a regular basis. Opposite of the brothers are two Texas Rangers, Marcus

The movie begins with a shot of a cemetery of unmarked crosses. From the beginning, the audience is clued in that this isn’t going to be a simple film. Herzog does an outstanding job dragging out the transitions between scenes, whether it be the sun setting on a highway, or fields of corn shaking gently in the breeze, to create a bleak ambiance that carries out throughout the film. It gives time for the audience to analyze the new information they’ve been given to add onto their own judgements. When the audience first gets to view the original crime scene where the bodies of two young men were discarded, only the sound of insects and other nightlife can be heard, creating an unsettling effect that only adds to the gruesome

The opening scene of the film utilises multiple aspects in order to display the hopeless that looms over the dystopian world that the audience is presented with. The film uses a mix of both visual imagery to show this along with verbal features in order to convey this to the audience.

In one scene, the film cuts to a shot of an unknown woman who stands surrounded by an agitated crowd as she examines a severed hand with her walking stick. By combining this image with powerful orchestral music, Buñuel seems to invest this moment with a great sense of drama, yet the underlying storyline is not revealed, leaving the viewer confused as to meaning of the scene. This sense of confusion is further emphasised when the woman, seen by Mareuil and Batcheff’s characters, is suddenly run over, yet the other characters’ apparent indifference to this moment seems at odds with conceivable human behaviour, such as the panicked reaction of Hawks’ characters to the wild leopard. Moreover, when one of Batcheff’s characters is seen lying on a bed in a later scene, another man, also played by Batcheff, enters and begins to fight him, only for the first man to shoot him ‘six years later’ in a slow-motion scene set against crescendoing music. Again, drama presents itself in an unusual manner here, as the film rejects a linear, coherent narrative in order to recall a Surrealist

The story begins with a samurai and his wife travelling through Japan, the woman on horseback and her husband walking alongside of her. They encounter a known bandit named Tajomaru, who is known for violence and lust. What happens next is recounted via a conversation between three men; a woodcutter, a priest, and a

Kar-Wai’s film, In The Mood For Love, is a Chinese melodrama, set in Hong Kong, during 1962. This film is not a traditional romantic drama, but rather it shows the irony of love, which connects to a larger audience. Throughout this film, there are many unique camera shots, such as using a mirror to be dramatic, but mysterious. This can also be said for the long shot scenes in the apartment building that both of the main characters, Mrs. Chan and Mr. Chow live with their respected partners. Within the entire film, there are many scenes where a person is seen, but their face remains anonymous. There are countless shots that give off a mysterious tone through the mise-en-scène, from having the camera behind a dirty window, to only showing a person’s back.

The opening scene takes place a month after Japan surrendered to the United States in World War II. The protagonist, Seita, a teenage son of a naval officer, is dying of malnourishment in a subway concourse as people walk by him and look down on him for being homeless and raggedy. Early in the film we can see the lack of sympathy from bystanders. The protagonist dies that night and in spirit reunites with his sister, Setsuko, as the scene ends fireflies surround the siblings. The following scene depicts American bombers headed to hit a target, the target happens to be Seita’s hometown of Kobe Japan. Seita is in charge of securing the house and taking his sister with him to the bomb shelter, for his mother suffers from a heart