Film School Essentials: Mise en Scéne

Transcription of Mise en Scene.

In the last video, we talked about how the placement of the camera can tell a story, but those are just the basic terms, the bread-and-butter shots. The true strength of a shot, its unique qualities comes through what’s called the mise en scène. This is a French term meaning placing on stage. It’s a broad term which describes the overall look of a film. So how do you place on a stage – let’s remove the camera from the scene and look at the decor. A director starts by setting a scene, by choosing a setting for the shot, whether it’s outdoors, indoors, a real place, a set or composited on a green screen. This is where the scene takes place. Once that location is chosen, it gets filled first with objects than with actors. The objects if they are not used by actors, are called set dressing. They can show place, like how this studio backlot was first done up as a modern setting and then redressed as itself is 30 years younger, or the objects can show character like how these photographs serve as exposition for the action that left this man in a cast. Sometimes they can just add texture to a scene like how the water in this dilapidated set indicates decay. If the objects are meant to be used by actors then they are called props. These can range from simple things like papers, or complex things like this ornate sword. They can also show character, like how these two characters choice of weapon emphasize their spiritual connection and ideological differences. Character can also be shown through costumeConsider how much you are being told about this character just by how they dress or this character, or this one under all that make up. These are all things that start telling a story even before the camera rolls.

Even before camera and action come the lights. It’s impossible to overstate how important lighting is for movies. Each frame is a photograph and each photograph is captured light bounced off its subject. One of the most common lighting setups is three point lighting, perfect for close-ups. There is a key light which serves as the main source of light in a scene, the fill light which fills in the shadows created by the key light, and the backlight which lights the back of the subject, separating them from the background. Most lighting setups use some variation on this basic triad of key, fill and back. Now there are many, many types of artificial lighting techniques with 1000 things to consider*that requires an explanation of F stops and aperture and focal length, but that’s only if you are lighting the scene yourself. If you are a moviegoer, it’s much easier to read the results than the process.

Aside from the standard three point style, there is high key lighting, bright lights, bright colors, strong key, stronger fill. Compare that with low key lighting. The lights are darker, the mood more somber. Weak key, weak fill, but a very strong backlight to emphasize the outline of the person. A contrasting mix of strong highlights with deep shadows creates a Baroque painterly effect, which in the Renaissance was called by the Italian name literally meaning light, dark, high contrast between the bright bits and the dark bits. This kind of look is the stuff of film noir, of moral ambiguity and melancholy. Films shot with a style generally take advantage of a technique called hard lighting; bright, harsh key lights that create hard shadows making the scene tough, angular and unflattering. Its opposite of course is soft lighting where the lights diffuse through a filter causing it to wrap around the subject, sculpting the subject without harming it. It’s a romantic kind of lighting. Most of the time lighting doesn’t draw attention to itself, simply serving to set the mood and let the camera and the subject speak for themselves. You can see this in ambient lighting which uses the light that’s there in the scene or in unmotivated lighting which simply shapes the scene without being an element of it, like how the light that hits the night and death*seem to be coming from two different suns, not realistic but still striking. Its opposite is of course motivated lighting where the light is an element of the scene itself as in this shot.

Directors can get creative with motivated lighting is in this scene. A woman above turns on her light revealing a key character. The light goes out and the character disappears. Creative lighting were two of the primary tools early directors used which would change drastically as film technology improved and directors could start experimenting with color. For decades, the default for film color was black and white. The camera takes in light and records everything just by luminosity, whether it’s light or dark. For about half a film history, movies were quite happy to use this, not only because it has a certain simplicity to it but because color processing used to have a hefty price tag. Now it’s just another creative option for filmmakers with classic taste.

There are a few examples of early color films where each frame was hand-painted for a fake color film effect, but the most common early color effect was tinting, where the entire scene is bathed in a certain color. You don’t see this much outside of the old silence or the more experimental corners of the avant-garde. One of the most famous forms of tinting is sepia tone. This was one of the most common colors to tint film in the monochrome area which gave it a dusty look. In this famous use of film tinting, Sepia is used for the drudgery of Kansas, but once Dorothy goes to Oz, the fantasy world is in bright, vivid color. Now it would be easy to list color film as its own term, but color is a complicated process which filmmakers can control the same way they can control their lights and not just through costuming and production design, but through a process called color grading where a film’s color is selectively adjusted for a distinctive look for each scene. Grading can involve adjustments to everything black-and-white filmmakers did, but it can also do interesting things with color like adjusting saturation, the intensity of a color in a scene.

A highly saturated scene can feel bright and exciting while a lowly saturated scene can feel washed out and desolate, but if it’s done in post or composed in frame, this makes up a film’s overall color palette. Like a painter’s palette, these are the dominant colors in a shot. The palette can be broad, taking in the entire spectrum or selective, drawing attention to a single color that dominates the others, deep erotic reds, cold and unfeeling whites, rich emotional blues, digitized unnatural greens, stately browns, reds and golds to make it feel antique. De-saturated reds, blacks, and golds to make it feel in ancient. Saturated blues and oranges to make it feel modern, whites and steely cyan to make it feel futuristic. Blacks and blues for a dark night, yellows, reds, and greens for a bright new day. There are an infinite number of combinations and each one can vary by context. Still, it’s an important thing to look for.

And finally, let’s look at how things are composed in the frame. The final thing that makes a shot a shot, space. We’ve already covered the basic types of shots, but it’s the use of space within the frame that makes a scene unique. There are thousands of ways to talk about space since there are thousands of ways to set up a shot. But to simplify things, let’s define some basic terms for looking at some creative examples. There is balance which gives weight to the frame. This shot emphasizes the symmetry between the man and the woman with the child in the middle as a fulcrum, but that’s a very controlled a shot. Even a wild shot like this has asymmetrical balance; the man with the mask in the foreground is balanced by the man on the chair in the background with the radial pattern below for added texture. This shot has a sense of balance staged in deep space, where the scene places elements both far and near to the camera, drawing attention to the distance between them from the people in the front of the scene who are talking about the child, all the way back to the child in the window whom the scene is about.

Scenes can also be staged in shallow space. This scene is staged flatly, emphasizing the closeness of the subject and the background objects, or even implying no depth at all. There is also one of the most important spaces, the offscreen space where a scene draws attention to something out of the frame. This shot uses a mirror to expand the space that this man is sitting in. This shot uses a look and an actor’s performance to imply something huge out of the frame. An actor’s performance can sometimes to be enough to set a scene and create space within the frame. All the movements an actor makes in the scene are called blocking. Though it may look freeform much like a dance, the actor’s movements are heavily choreographed, whether they are actually dancing or just doing a simple, powerful gesture. All of these things, all of them create a space within the frame. They create mise en scène. That space can be symmetrical, asymmetrical, round, linear, expensive, cramped, busy or deceptively simple – everything that makes a shot unique like creating something within the frame and without the frame. If the type of shot can indicate a word, the mise en scène can be the tone in which the word is said, harshly or softly, jokingly or majestically. But if you’re going to learn to speak a language, you can learn all the words in the dictionary and still be lost if you don’t know how to put them together.