The God Father Mis-En-Scene Analysis

While the novel “their eyes were watching god” and the film by the same name were very much alike they were also very different. The movie while touching on major issues that are parallel to book also misses some other points. While the book touches heavily on nature and janies innerself as discovered through nature the movie lacks the symbolism that the book was heavy with, Tea Cake and Janie's relationships are changed and the janies trial is not included in the film either.

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.

(49) cross-cutting: In Inception (2010), cross-cutting is used to parallel the two scenes. Joseph Gordon levitt is getting into an elevator and an intense car chase. The director uses this to show that the two scenes are occurring at the same time, while also leaving the audience captivated by the suspense.

This paper will discuss various elements of mise-en-scene, specifically; character development, lighting, performance, costume, makeup in the film "Casablanca".(Michael Curtiz,1942) The setting of the story sets the tone for the entire film. Shots of tanks and planes show the violence of war that coincides with the cutthroat city that is Casablanca. From there, those sentiments are reinforced when a man is shot in the street while another man pick pockets someone whom is distracted. The mood of the movie stays on the dark side of things when we enter Rick's Café, where we meet our protagonist played by Humphrey Bogart. In this scene we are treated to the jaded portrayal of night club owner. We see his utter disregard for a French woman

Another interesting use of camera cutting can be found in the in between scene where Cleo is roaming the streets of Paris. She is now becoming the one watching other people rather than being the one watched as she was in the beginning (probably because of her beauty and famous singer status). While she is watching the camera cuts between other people’s conversations and then while she is walking the camera is in essence her point of view. However during this walk, the people passing are watching her as well, thus proving that this is the transition time. The use of cutting between shots of her and shots of all these people passing her not only show this change in who is watching who, but also allows for a sense of time passing. Interspersed with these shots are images of people we have already met, the widow, the boyfriend, the piano player, as well as the images of a monkey resting on a clock and her wig resting on the mirror, these things conveying how the people who know her see her and how she sees herself. This is a genius montage because these two things represent the same thing, how people see her, how she sees people, and how she sees herself, and by interspersing them we see

Lastly, Francis’ mind contains an example of “boxes within boxes” because in his mind he sees Dr. Caligari as the mentally unstable one, but in reality, it is him who is unstable. Furthermore, Francis’ mind is a box that is enclosed in delirium, which is enclosed in another box, which is the actual reality. Mise-en-scène can be seen when both Dr. Caligari and Francis are both confined to a straitjacket and placed in a cell at different times in the film. Another example of mise-en-scène is the movements Dr. Caligari

The camera moves to a tight shot of the door, framing it within the screen, showing that all attention is now diverted to it. The sparks from the cutters are exaggerated , to emphasise their importance, and run around the screen, creating the impression that the intruders are breaking into the audience's real world, further allying them with the rebels.

What is mise-en-scene? Mise-en-scene is the arrangement of scenery and properties to represent the place where a movie is enacted. It is most commonly used to show the setting of the movie. But if used correctly can be used to portray the feelings of the characters and to help tell the story. Orson Welles made sure to use the props, actors, and even the camera to use mise-en-scene to tell the story of Charles Foster Kane to its fullest. Character positions, camera angles and music, and framing used to tell the story in Citizen Kane. It’s use of mise-en-scene made it not only ahead of its time, but it made it a masterpiece.

Plantigna deliberates on various differences between the fiction and non-fiction filmmaker, particularly the role of imagination to the two differing styles of film. He discusses that the fiction filmmaker “freely creates imaginative events”, where the non-fiction filmmaker “portrays or makes explicit claims about actual historical events” (104). He then puts forth the idea that imagination is also important for the non-fiction filmmaker as he as the creator “decides how to represent historical events” (104). This is demonstrated in shot 237 where Resnais’ camera pans over the ceiling of a gas chamber that has been carved in and scored by human fingernails and the voice-over narrates, “the only sign—but you have to know—is this ceiling, dug into by fingernails”. Here, Resnais using his imaginative ability, has seamlessly

Citizen Kane has many good examples to show Mise-on-scene usage. The scene that I believe is the most significant and powerful mise-en-scene that I have this seen this semester exists in this movie. This occurs when the parents of the young boy are speaking with a gentleman in the house. As the people are speaking we see the boy playing in the snow as we look into the background through the window. This scene

The awakening scene in The Cabinet of Dr. Caligari is filmed in a theatrical manner, where the set is on a stage, with distorted curtains and secretive shadows. The scene is carefully centered in the middle to make the viewer less distracted of movement within the frame. The stage curtains work in favor of the framing and like the clever set; the costume and makeup fit the bizarre arrangement and design of the scene. The men in the audience are all dressed in gloomy and flowing long cloaks. To accentuate Cesare’s tall and lanky figure he is dressed in a fitting black leotard and his dark character is obscure in darkness. His dead-like face is covered thickly in heavy make-up and his expression is as a warning to the viewer. Caligari, on the other hand, has an eccentric look with crazy white hair and glasses.

By exploring the theory of the “abject”, horror and the role of gender instability within film with regards to The Silence of the Lambs, this essay will attempt to explain the characteristics of the aestheticisation of abjection.

Early movies were shot and viewed as slide shows. With narrations like The Life Of An American Fireman, where instead of cutting we would see full clips linked together. When the filmmakers brought us from one action to the next they, repeated actions instead of cutting and letting

The film ‘Boy’ (2010) uses a range of techniques to construct an effective mise-en-scene. Taika Waititi (director) has been able to create aesthetically pleasing scenes to communicate to the audience about the setting, characters, story and themes. The sequence at the beginning of the film is an appropriate example of the good use of mise-en-scene.

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.