CINEMATIC CONCEPTS:
PART 1: MISE-EN-SCÈNE:
Literally “placement in a scene” or “onstage”
Refers to those elements of a movie scene that are put in position before the filming
actually begins
The scenic elements of a movie, including actors, aspects of lighting, settings and sets,
costumes, make-up, and other features of the image that exist independently of the
camera and the processes of filming and editing
a) Mise-en-Scène and the History of Cinema
Western theatrical tradition that began with early Greek theater around 500
b.c.e and evolved through the nineteenth century
1900–1912: Early Cinema’s Theatrical Influences
1915–1928: Silent Cinema and the Star System
1930s – 1960s: Studio-Era Production (Cinecittà. Mussolini, 1937)
1940–1970: New Cinematic Realism (Italian Neorealism, The French New
Wave…)
1975–Present: Mise-en-Scène and the Blockbuster
SETTINGS: a fictional or real place where the action and events of the film occur.
E.g. Marie Antoinette (2006). A scenic background of extravagance creates an atmosphere in
which the character’s discontent, desire, and duty come into sharp relief.
PROPS:
a) Singin’ in the Rain (1952). An ordinary umbrella is transformed into a dancing prop,
expressing how Gene Kelly’s new love can transform a rainy world and all its problems
into a stage for an exuberant song and dance.
b) Psycho (1960). A knife can also be a murder weapon associated metaphorically with
male sexuality
STAGING: PERFORMANCE AND BLOCKING
a) The Blue Angel (1930). The voice, body, and eyes of Marlene Dietrich become the
signature vehicles for her dramatic performances as an actor and character in her
breakthrough role.
b) A Streetcar Named Desire (1951). Ever since this landmark adaptation, Marlo Brando’s
physical performance of Stanley has become difficult to distinguish from the essence
of that fictional character.
POSITIONING OF CHARACTERS & OBJECTS WITHIN A FRAME:
Positioning within a frame can draw our attention to an important character/object.
A film-maker can use positioning to indicate relationships between people.
COSTUMES AND MAKE-UP
Costume, Hair & Make-Up act as an instant indicator to us of a character’s personality,
status & job.
It tells us immediately whether the film is set in the present and what society/or
culture it will center around.
Certain costumes can signify certain individuals (i.e. black cloak of a vampire,
Spiderman suit).
a) The Avengers (2012). Iconic costumes distinguish the heroes of this comic-book
adaptation.
LIGHTING: Three-point lighting is a common lighting style that uses three sources: a key light
to illuminate the object, backlighting to pick out the object from the background, and fill
lighting that minimizes shadows.
Key Light is the main source of lighting from a lamp. It may be balanced with little
contrast in the case of high-key lighting, or the contrasts between light and dark may
be stark, as in low-key lighting.
These terms indicate the ratio of key to fill lighting; high-key lighting is even (low ratio
of key to fill) and used for melodramas and realist films; low-key lighting is (contrary to
the colloquial use of “low- key”) dramatic (high ratio of key to fill) and used in horror
films and film noir.
Types of lighting:
1. HIGH-KEY LIGHTING:
o More filler lights are used. Lighting is natural and realistic to our eyes.
o Produces brightly lit sets or a sunny day.
E.g. Rom-Coms
2. LOW-KEY LIGHTING:
o Produces sharp contrast of light and sark areas
o Deep, distinct shadows/silhouettes are formed.
E.g. Horror Films
PART 2: CINEMATOGRAPHY: FRAMING WHAT WE SEE EDITING: RELATING IMAGES
FILM FORM:
1. Camera Works:
o Framing:
The Rule of Third and Diagonal Crossing (Canted frame, Aspect Ratio for old
movies)
o Camera distance:
Extreme close-up
Close-up
Medium close-up
Medium shot
Medium long shot
Long shot
Extreme long shot
o Angles:
High angle shot
Low angle shot
Reverse angle shot:
o Camera movement
o Lenses
2. Post-Production:
o Cuts
