Mise en scene, Cinematography, Sound and Editing
In the exam you will refer to EACH of the 4 features above and you will have to make notes on each feature before answering any questions.The sequence will be 3-5 minutes in duration and you will be shown it 4 times.
Mise en Scene - ‘putting in the scene’
This covers the visual aspects of what we actually see in a single shot; objects, movements, lighting, colour, shadows. We can break it down into a number of areas.Mise en Scene covers the non-verbal (Visual) codes of a moving image text (Film, TV)
Setting
What is the significance of a particular geographical and temporal location used in a film? Is the setting real or fictional?How ‘realistic’ is it?
Is the film shot on location or in a studio on an artificially constructed set?
Is the environment claustrophobic or open?
Is the setting utopian (a wonderful world) or dystopian (a nightmare vision of the future)?
Colour schemes and themes may be significant within the film, as particular colours may recur or be repeated and contrasted in the setting – harmony or disharmony
Art direction is the process of setting up the sets and location settings ready for filming placing props and objects and arranging space
Props
What are the key props in a text and what is their significance to the narrative?Genre - props may provide genre iconography (an image associated with a genre) e.g. ‘tough guys’ (Tasker – 1993) usually have guns and cars in Action-Adventure texts. This ‘repeated’ use of props conforms to Steve Neale’s “Genre’s are instances of repetition and difference” ideology.
Props can be used to anchor characters and act as a signature or trademark - such as Indiana Jones’ whip and fedora (hat).
Hitchcock called key props the ‘McGuffin’ - something that sets the plot in motion.
Lighting
Hard or soft lighting – is the image harsh and glaring or soft and romantic?High key lighting – bright lighting with little contrast between light and shadow creates a sunny mood e.g. in a musical or a romantic comedy
Low key lighting – dark shadowy and atmospheric e.g. in a thriller or horror movie
Side lighting – self explanatory – shapes the characters face and creates shadow
Back lighting edge or rim lighting – creates silhouette shapes - suspenseful
Under lighting – can be quite sinister e.g. under a face
Top lighting – casting shadows on the floor quite glamorous
Click here for an interactive simulator:
Single source lighting e.g. a torch, or spotlight
Natural lighting- sunlight
Artificial lighting– light bulbs, interiors
Shadow – used to suggest mood, character or hide objects
Lighting effects – shadow, movement
Natural lighting- sunlight
Artificial lighting– light bulbs, interiors
Shadow – used to suggest mood, character or hide objects
Lighting effects – shadow, movement
Cinematography
The use of colour or black and white footage – films may mix both, black and white is sometimes used for period feel or for flashbacks
Choosing a multi or monochromatic palette – where a single colour is emphasised only in terms of purity and lightness e.g. shades of grey
Exposure – over exposed film tends to be harsh and bleached, underexposed film is dark and muddy
Filters – can be used to change the colour composition of the film by draining colours out or emphasising a particular colour
Rate of projection - slows down or speeds up the film for effect
A shot may contain single, multiple, or overlaid images for effect e.g. by juxtaposition – a man thinks of his past love and her face is overlaid on the screen
Camera position can suggest lots of different things;
High or low angles can suggest power or inferiority
Pan – when the camera moves from right to left or left to right on a pivot - a high speed pan is called a whip pan
Tilt – when the camera moves on a pivot to look up or down an object
Zoom – a way of moving in and out on objects without moving the camera – this has an amateurish feel to it as the camera tends to shake or the zoom may be uneven and jerky – often used to suggest the use of binoculars
Tracking /dolly shot – when the camera moves to follow or track a person or object – often this may involve the camera moving on a trolley or dolly, sometimes on rails in order to minimise camera shake
Crane shot – used to suggest scale or to track in or out on objects
Helicopter shot – common in chase sequences or to convey landscape or cityscapes
Steadicam – a portable handheld camera system which minimises camera shake when the camera is moved
Static camera – the camera is in a fixed position and does not move
Head on shot – shooting from the front
Oblique angle – shooting from the side
Range of shots - Close up/medium/long shot/ECU/ELS/overhead/from below
Choice of Lens – the standard aspect ratio for most films is 1.33 – 1. A lens may be standard or special/distorting –perhaps to suggest a no human eye or a peephole in a door. Panoramic may be used to suggest space and perspective - widescreen for action epics
Colour motif/palette – directors may choose to repeat a colour motif or a narrow range of colours in a shot
Space – screen space is two-dimensional but must usually suggest three dimensions to the viewer – compositional balance of colours and objects is important here. Colour and light shape our understanding of on screen space
Aerial shots – directors may shoot from a plane, helicopter or gantry to open up the space in a scene and suggest scale
Size diminution – aerial shots may make objects appear smaller than they are and seem more vulnerable
Oblique angle – shooting from the side
Range of shots - Close up/medium/long shot/ECU/ELS/overhead/from below
Choice of Lens – the standard aspect ratio for most films is 1.33 – 1. A lens may be standard or special/distorting –perhaps to suggest a no human eye or a peephole in a door. Panoramic may be used to suggest space and perspective - widescreen for action epics
Other aspects to consider
Colour motif/palette – directors may choose to repeat a colour motif or a narrow range of colours in a shot
Space – screen space is two-dimensional but must usually suggest three dimensions to the viewer – compositional balance of colours and objects is important here. Colour and light shape our understanding of on screen space
Aerial shots – directors may shoot from a plane, helicopter or gantry to open up the space in a scene and suggest scale
Size diminution – aerial shots may make objects appear smaller than they are and seem more vulnerable
Terminology
ELS - Extreme Long Shot – bird’s eye view of a landscape
LS - Long Shot – background dominates image
MLS - Medium Long Shot - shots of the human figure from the knees up
MS - Medium Shot –the human figure shot from the waist up
MCU - Medium Close Up – from the chest up
CU - Close Up – e.g. of head, hands or feet
ECU - Extreme Close Up – of a detail e.g. an eye
OTS – Over The Shoulder
LS - Long Shot – background dominates image
MLS - Medium Long Shot - shots of the human figure from the knees up
MS - Medium Shot –the human figure shot from the waist up
MCU - Medium Close Up – from the chest up
CU - Close Up – e.g. of head, hands or feet
ECU - Extreme Close Up – of a detail e.g. an eye
OTS – Over The Shoulder
Editing
Editing is about how the various shots in the film are joined or cut together, ordered and juxtaposed in terms of duration and number of edits in order to deliver the films mood or message through pacingEditing dictates the pace of the film – action may be speeded up or slowed down for emphasis by the number of edits
As the Russian filmmaker Lev Kuleshov discovered, we have a natural tendency to link images together and interpret them, we project our own meanings onto the visual ‘clues’ we see. For instance, if we see a shot of a man's face and then a shot of a woman we assume he is looking at her or is, perhaps, in love (this is called The Kuleshov effect). We interpret them according to our mental perceptual set.
Different Edit techniques
Cut - to new shot; Cut in – when an object in or part of a previous scene is shown again in close up e.g. a cigarette lighter in a man’s hand. Cut away – when an object visible or potentially visible outside the scene is shown e.g. a man sat at a campfire followed by a shot of the moon (but if he looks as if he is looking at the moon it is an eyeline match!)
Fade out - at the end of the shot to a colour – usually black
Fade in – new shot gradually lightens in
Dissolve – the end of shot A is superimposed over shot B giving a sense of continuity.
Lap dissolve – the image changes in steps instead of smoothly
Wipe - a line goes across the screen replacing one shot with another
Black and white shots may be used to underline that we are in the past and are flashing back (we dream in black and white apparently).
Classical continuity editing
Continuity editing involves cutting shots to tell a story in the smoothest, simplest and least challenging way for the audience - ensuring narrative flow and continuity. For instance keeping figures in continuity so that they match from shot to shot, lighting remains constant and action stays central to the frame (e.g. we do not see half of someone’s face) The 180 degree rule - everything happens in the half circle in front of the camera, which marks the centre line this stops the actors look as if they are looking in different directions from shot to shot for no apparent reason. This rule is only broken when the progress of action is clear.
This ensures the same space is described in every shot and the characters positions are not reversed
Titles - between scenes or overlaid to give information
Opening shot e.g. of a landscape or cityscape without figures, gives a sense of place.
Establishing shot – establishes the space in which action is to happen and shows the physical relationship between characters
The 30 degree rule - that the camera must move by more than this angle to stop subsequent shots looking as if they have been shot from almost the same angle and distance
Shot/reverse shot - one shot looks down one end of the central line between two characters the next shot is from the other end, this is commonly used when characters talk to each other (see Pulp Fiction or Rear Window) Often employed as an ‘over the shoulder’ shot
Eyeline match – when character looks off screen the next shot shows us what they see (see Rear Window)
Establishing shot – establishes the space in which action is to happen and shows the physical relationship between characters
The 30 degree rule - that the camera must move by more than this angle to stop subsequent shots looking as if they have been shot from almost the same angle and distance
Shot/reverse shot - one shot looks down one end of the central line between two characters the next shot is from the other end, this is commonly used when characters talk to each other (see Pulp Fiction or Rear Window) Often employed as an ‘over the shoulder’ shot
Eyeline match – when character looks off screen the next shot shows us what they see (see Rear Window)
Match on action – a character begins to move in one shot, we see continuation of this movement in next shot. This can also help to create the illusion of the lapse of time e.g. we see a shot of a car leaving then cut to a shot of it ‘arriving’ at its destination
Cross cutting – when we move via editing from one set of actions happening in one place to events happening elsewhere (see Sabotage)
Flashback or flash-forward – moving backwards and forwards in time (see Memento)
Temporal elliptical editing – missing out events to compress time e.g. we see a car pulling away from a house then cut to it arriving at its destination
Film speed - slow motion or speeded up – film may be slowed down or speeded up during production to expand or contract time or for comic or other effect
Non-diegetic insert – insertion of something from outside the plot, i.e. A metaphorical image, intertitle, etc. to break up the action, organise it for us or comment on it e.g. a rowing couple intercut with a nuclear explosion
Cross cutting – when we move via editing from one set of actions happening in one place to events happening elsewhere (see Sabotage)
Flashback or flash-forward – moving backwards and forwards in time (see Memento)
Temporal elliptical editing – missing out events to compress time e.g. we see a car pulling away from a house then cut to it arriving at its destination
Film speed - slow motion or speeded up – film may be slowed down or speeded up during production to expand or contract time or for comic or other effect
Non-diegetic insert – insertion of something from outside the plot, i.e. A metaphorical image, intertitle, etc. to break up the action, organise it for us or comment on it e.g. a rowing couple intercut with a nuclear explosion
Sound
Sound is an extremely important aspect of the film – music can convey emotion and enhance action, consider Star Wars or Indiana Jones without their music. Dialogue anchors the meaning of the image
Areas could include;
Music
Dialogue
Areas could include;
Music
Dialogue
Sound effects
We can consider:
Loudness – volume of music, dialogue and effects
Pitch – high or low
Timbre – bass or depth, the tone or musicality of the sound e.g. of a voice
Fidelity - how accurate is the sound and how directly does it relate to the image
Sound perspective – how does sound suggest the space on the screen – e.g. sound can convey the sheer scale of a spaceship
Synchronous sound/asynchronous – how far is sound synchronised with the image is the sound simultaneous with, before or after the image?
Diegetic sound - Sound may be contained within the text of the film itself for instance sound effects, dialogue or one of the characters playing music.
Non-Diegetic Sound – Sound may then be dubbed onto a film in post production e.g. a soundtrack this is called non diegetic sound as it is not a part of the action.
Ambient sound – the general background sound that goes on in a scene is described as ambient sound
Loudness – volume of music, dialogue and effects
Pitch – high or low
Timbre – bass or depth, the tone or musicality of the sound e.g. of a voice
Fidelity - how accurate is the sound and how directly does it relate to the image
Sound perspective – how does sound suggest the space on the screen – e.g. sound can convey the sheer scale of a spaceship
Synchronous sound/asynchronous – how far is sound synchronised with the image is the sound simultaneous with, before or after the image?
Diegetic sound - Sound may be contained within the text of the film itself for instance sound effects, dialogue or one of the characters playing music.
Non-Diegetic Sound – Sound may then be dubbed onto a film in post production e.g. a soundtrack this is called non diegetic sound as it is not a part of the action.
Ambient sound – the general background sound that goes on in a scene is described as ambient sound
Music can convey a number of things:
To mirror, comment directly upon and relate to action
To punctuate and signpost action and to dictate pace of film and mood
To counterpoint and contrast with action and be used ironically – jolly music contrasting with a tragic scene
To provide direct mise en scene e.g. in a nightclub
Suggest the mood of a film tragic, optimistic etc
Symbolic use e.g. military style music, national anthems or songs with particular associations
Themes and motifs related to characters
Convey Genre e.g. stereotypical horror music, romantic music
Suggest a particular historical time period or convey a culture or to suggest ethnicity and social class
“Mickey Mousing” – when characters move in time to the music (cartoon rather than dance style)
Sound Effects- are very important in creating suspense, suggesting action or conveying off screen space
Other Terms
Dialogue – two people speaking
Monologue – one person speaking
Multilogue – a group of characters speaking over each other
Direct address to camera – breaks realism
Paralanguage and style of delivery – tone of voice, pitch, speed, hesitation phenomena, volume
Sound Motif - Sound that is associated to a character or shape the Narrative
Sound Bridge – when the sound carries over from one scene or shot to another to provide continuity
Voiceover – a common device to fill in details of the plot and introduce characters thoughts and feelings
Monologue – one person speaking
Multilogue – a group of characters speaking over each other
Direct address to camera – breaks realism
Paralanguage and style of delivery – tone of voice, pitch, speed, hesitation phenomena, volume
Sound Motif - Sound that is associated to a character or shape the Narrative
Sound Bridge – when the sound carries over from one scene or shot to another to provide continuity
Voiceover – a common device to fill in details of the plot and introduce characters thoughts and feelings
Overlapping dialogue – a realistic effect - people talk over each other in real life, dialogue may also, less realistically, overlap from scene to scene
Improvised dialogue (improv) – made up on the film set to suggest realism and interplay of character
Silence – to create tension or draw attention to the visual image
Improvised dialogue (improv) – made up on the film set to suggest realism and interplay of character
Silence – to create tension or draw attention to the visual image
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