3. Mise-en-scène
• a French term meaning what is put into a scene
or frame
• visual information in front of the camera
4. Mise-en-scène
• a French term meaning what is put into a scene
or frame
• visual information in front of the camera
• communicates essential information to the
audience
5. Mise-en-scène
• a French term meaning what is put into a scene
or frame
• visual information in front of the camera
• communicates essential information to the
audience
• made up of 5 elements.
6. Mise-en-scène
• a French term meaning what is put into a scene
or frame
• visual information in front of the camera
• communicates essential information to the
audience
• made up of 5 elements.
9. The 5 Elements of Mise-en-scène
• settings & props
• costume, hair & make-up
10. The 5 Elements of Mise-en-scène
• settings & props
• costume, hair & make-up
• facial expressions & body language
11. The 5 Elements of Mise-en-scène
• settings & props
• costume, hair & make-up
• facial expressions & body language
• lighting & colour
12. The 5 Elements of Mise-en-scène
• settings & props
• costume, hair & make-up
• facial expressions & body language
• lighting & colour
• position of characters/objects in the frame
13. The 5 Elements of Mise-en-scène
• settings & props
• costume, hair & make-up
• facial expressions & body language
• lighting & colour
• position of characters/objects in the frame
14. Each aspect of mise-en-scène
should add more meaning to the film
and send signals to the audience
about how they are supposed to feel
at a certain point
15. Each aspect of mise-en-scène
should add more meaning to the film
and send signals to the audience
about how they are supposed to feel
at a certain point
CONNOTATIONS
17. Settings & Props
• sets & locations are not just random backgrounds
Mise-en-scène
18. Settings & Props
• sets & locations are not just random backgrounds
• sets are either built from scratch or a great deal of time
is spent to find a setting which already exists
Mise-en-scène
19. Settings & Props
• sets & locations are not just random backgrounds
• sets are either built from scratch or a great deal of time
is spent to find a setting which already exists
• settings can manipulate an audience by building certain
expectations (they have connotations) and then taking
a different turn.
Mise-en-scene
20. Settings & Props
• sets & locations are not just random backgrounds
• sets are either built from scratch or a great deal of time
is spent to find a setting which already exists
• settings can manipulate an audience by building certain
expectations (they have connotations) and then taking
a different turn.
Mise-en-scène
21. Costume, Hair & Make-Up
• costume, hair & make-up are an instant
indicator of a character’s personality, status,
job, etc.
Mise-en-scène
22. Costume, Hair & Make-Up
• costume, hair & make-up are an instant
indicator of a character’s personality, status,
job, etc.
• we know immediately whether the film is set
in the present and what society or culture it
centres around
Mise-en-scène
23. Costume, Hair & Make-Up
• costume, hair & make-up are an instant
indicator of a character’s personality, status,
job, etc.
• we know immediately whether the film is set
in the present and what society or culture it
centres around
• certain costumes can signify certain individuals
(i.e. black cloak of a vampire, Spidey’s
Spiderman suit)
Mise-en-scène
24. Costume, Hair & Make-Up
• costume, hair & make-up are an instant
indicator of a character’s personality, status,
job, etc.
• we know immediately whether the film is set
in the present and what society or culture it
centres around
• certain costumes can signify certain individuals
(i.e. black cloak of a vampire, Spidey’s
Spiderman suit)
Mise-en-scène
29. Facial Expressions & Body Language
• facial expression provides a clear indicator of how
someone is feeling
Mise-en-scène
30. Facial Expressions & Body Language
• facial expression provides a clear indicator of how
someone is feeling
• if someone is smiling broadly, we assume they are
happy however other elements can be used to change
and anchor the true meaning of the smile.
Mise-en-scène
31. Facial Expressions & Body Language
• facial expression provides a clear indicator of how
someone is feeling
• if someone is smiling broadly, we assume they are
happy however other elements can be used to change
and anchor the true meaning of the smile.
• body language indicates how a character feels or may
reflect the state of a relationship between characters.
Mise-en-scène
32. Facial Expressions & Body Language
• facial expression provides a clear indicator of how
someone is feeling
• if someone is smiling broadly, we assume they are
happy however other elements can be used to change
and anchor the true meaning of the smile.
• body language indicates how a character feels or may
reflect the state of a relationship between characters.
Mise-en-scène
41. Positioning of Characters & Objects
in the frame
• positioning within a frame can draw our attention
to an important character or object
Mise-en-scène
42. Positioning of Characters & Objects
in the frame
• positioning within a frame can draw our attention
to an important character or object
• the positioning of people in the frame should
indicate the relationship between them
Mise-en-scène
43. Positioning of Characters & Objects
in the frame
• positioning within a frame can draw our attention
to an important character or object
• the positioning of people in the frame should
indicate the relationship between them
Mise-en-scène
54. Lighting & Colour
can be used to achieve a variety of effects
• to highlight important characters or objects within the
frame
Mise-en-scène
55. Lighting & Colour
can be used to achieve a variety of effects
• to highlight important characters or objects within the
frame
• to make characters look mysterious by shading sections
of the face & body
Mise-en-scène
56. Lighting & Colour
can be used to achieve a variety of effects
• to highlight important characters or objects within the
frame
• to make characters look mysterious by shading sections
of the face & body
• to reflect a character’s mental state or hidden emotions,
i.e. bright = happy, dark = disturbed, strobe = confused
Mise-en-scène
57. Lighting & Colour
can be used to achieve a variety of effects
• to highlight important characters or objects within the
frame
• to make characters look mysterious by shading sections
of the face & body
• to reflect a character’s mental state or hidden emotions,
i.e. bright = happy, dark = disturbed, strobe = confused
Mise-en-scène
58. Types of Lighting
LOW KEY
• created by using only key
& back lights
• produces sharp contrasts
of light and dark areas
• deep, distinct shadows or
silhouettes
Mise-en-scène
59. Types of Lighting
LOW KEY
• created by using only key
& back lights
• produces sharp contrasts
of light and dark areas
• deep, distinct shadows or
silhouettes
Mise-en-scène
60. Types of Lighting
HIGH KEY
• more fill light is used and
the light is natural and
realistic to our eyes
• produces brightly lit sets
or a sunny day
Mise-en-scène
61. Types of Lighting
HIGH KEY
• more fill light is used and
the light is natural and
realistic to our eyes
• produces brightly lit sets
or a sunny day
Mise-en-scène
64. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
Analysing a sequence
Mise-en-scène
65. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
• tell a story
Analysing a sequence
Mise-en-scène
66. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
• tell a story
• evoke an atmosphere
Analysing a sequence
Mise-en-scène
67. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
• tell a story
• evoke an atmosphere
• give the audience information
Analysing a sequence
Mise-en-scène
68. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
• tell a story
• evoke an atmosphere
• give the audience information
• provoke an audience response
Analysing a sequence
Mise-en-scène
69. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
• tell a story
• evoke an atmosphere
• give the audience information
• provoke an audience response
• highlight key themes
Analysing a sequence
Mise-en-scène
70. When analysing a sequence in terms of mise en scène, we
need to look at how all the different elements and
techniques work together to…
• tell a story
• evoke an atmosphere
• give the audience information
• provoke an audience response
• highlight key themes
Analysing a sequence
Mise-en-scène