In this section I will be explaining the uses of mise-en-scene as a whole, and in two films
1. Aim
This page will explain and discuss the use of Mise-en-Scene in 2 thriller films: Let The Right One In and Michael. In particular I will be focusing on how the Mise-en-Scene has influenced my own project's narrative and style.
2. Objectives
This page will:
- Define what is meant by Mise-en-Scene
- Explain what is meant by Mise-en-Scene
- Identify/denotate the conventions of the Mise-en-Scene of 2 thriller films
- Analyse/connotate the conventions of Mise-en-Scene of 2 thriller films
- Explain how the Mise-en-Scene of these 2 films have influenced the design of my own short film
3. Defining Mise-en-Scene
Mise-en-Scene is a French term generally used in theatre which means 'put in the scene'. It can also be used to describe everything that is used in the shot within film for example lighting, location, costume etc. |
4. Explaining Mise-en-Scene
Mise-en-Scene refers to what is in the scene and everything that can be seen in the frame. For example, the use of character movement, the use of lighting (whether it is studio, indoor or natural light), sets, and location, which are all key during the filming process. It also includes costume design which helps to portray the character or characters. Mise-en-Scene also refers to the visual environment which can be classed as 'cinematic space'. It can show viewers what is being portrayed in the shot. A good way to think about Mise-en-Scene involves the idea that it 'presents' characters or locations in a cinematic way. It creates meaning for the audience. |
5. Identifying/denotating and analysing/connotating conventions of Mise-en-Scene
Example 1: Let The Right One In
(dir. Tomas Alfredson)
The Mise-en-Scene of Let The Right One In uses many different techniques to create a claustrophic feel. The film opens in a natural location using a council house in a small town, which automatically makes the viewer feel isolated. The setting of the winter and the snow makes the audience feel cold and scared. It draws the audience in to the small surroundings and town, and puts them in the position of the protagonists. Many shots are used that linger on the location and have little to no diegetic sound which instills a sense of horror. The protagonist Oskar is shown as young, blonde, pale and rather weak. There is not much exposition to explain the position that he is in, however his clothes and shots showing him only from the back or the side give the impression that he is shy and not very confident. He looks very feminine, and rather 'pure', which makes the audience feel sorry for him. We also see him trying to fight with a knife not very successfully, which makes him look not as strong as he would like to be. Another protagonist is Eli, a girl about the same age as Oskar. They form an unlikely friendship which is shown by Eli looking stronger and more confident than Oskar, with the clothes she wears and her movement during the film. The lighting is stark - at times it is very bright and alarming (like in the snow scenes) and at times it is almost completely gone. This addresses the balance between good and evil in the film and the struggles that the characters go through. Alfredson seems to be addressing the struggle of the underdog throughout the film which is represented in the weakness of Oskar's character, and the strength he finds through Eli. The costume design is very of the time (1980s) and reflects the characters. Oskar wears woollen jumpers and skinny trousers whereas Eli's clothes appear to be a lot more supernatural.
let the right one in trailer
Example 2: Michael
(dir. Markus Schleinzer)
The Mise-en-Scene in Michael also uses a lot of techniques to create tension and dispair. Michael's clothes are drab and dull and try to make him blend into the background which is what he wants the other characters in the film to see him as. However they also make him appear strict and almost 'too perfect'. He appears like a typical adult but this would appear threatening to Wolfgang, the child he has abducted. Wolfgang also wears normal everyday clothes in order to blend in as much as possible, and not draw any attention to himself. The lighting in the car park scene is natural and emphasises the normality of the situation, which in itself creates a worrying atmosphere as the audience knows that this situation is not normal at all. The tracking shot through the car park scene uses a natural location and is simple but very effective at creating a tense atmosphere. The fact that this is just one shot showing Michael and a young boy walking through the car park with the camera tracking opposite looking through the cars emphasises the watchful nature of the film. Michael doesn't want anyone to see him but the camera pins him down and tracks him. It uses only the cars as a frame and vocals, which I felt was one of the strongest scenes in the film because of the tension and little dialogue. As with Let The Right One In, the acting is very naturalistic which suits the genre.
Michael trailer
Marika hackman (You Come Down) music video
Marika hackman (You Come Down) music video has a real eerie and quite scary feel and thats because of its location and clothing she is wearing. in the music video you see her in a white nighty as if she's going to sleep but she's walking through a empty abandoned house with doors coming off while she's singing. this idea of an eeriness to the music video continues because she creates her self to be almost ghostly like while walking around as if she's oblivious of whats around her. in our first film idea i really wanted to take these ideas of abandoned houses and scary looking characters into our own film but it became to hard to create and still be realistic.