Mise en scene booklet GCSE Film Studies

FILM FORM: MISE-EN-SCENE
NAME_____________________________________________
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SECTION 1: Mise-en-scene introduction, settings & props.
YOUR SUMMARY OF THIS SECTION:
SECTION 2: The position of people and objects.
YOUR SUMMARY OF THIS SECTION:
SECTION 3: Costume, hair and make-up.
YOUR SUMMARY OF THIS WEEK:
SECTION 4: Performance.
SECTION 5: Summarising mise-en-scene.
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SECTION 1: MISE-EN-SCENE INTRODUCTION, SETTINGS & PROPS.
INTRODUCTION
Mise-en-scene is a French phrase that means ‘placing on stage’. It is used to
describe aspects of film that we can see. Over this half term we’ll be learning how to identify
the different examples of mise-en-scene, explore why they’ve been included and what we learn
from their inclusion.
To analyse and discuss mise-en-scene we need to identify and analyse 4 main areas;
1. settings and props,
2. position of people and objects,
3. costume, hair and make-up,
4. facial expression and body language and
We’ll look at each one over a range of different lessons and then ensure that we can evaluate
the use of mise-en-scene in any film we watch.
Let’s begin with Settings and Props.
SETTING
The setting refers to the place that a film is set in. However, almost every film takes place in
more than one place, so there are often multiple settings in a film.
The setting is used to help show where a film takes place, but it can also help to show when a
film takes place. While a setting in a film can also show where a character comes from or is
going to, it can also suggest things about a character or the story, for example-the size of a
house can reflect the wealth (or not) of a character. This can be taken even further though: a
specific room within a building can also help to convey something depending on what the type
of room is and how it looks. The key things to consider when watching a film is, why these
places? Why these buildings? And why these rooms? Why did the screenwriter, director or
producer make these decisions? To tell us something.
When we consider setting, first identify the place, then what is happening and then finally,
consider why the scene is taking place there.
Second to this is the idea of filming location. In order to make a film it will need to be filmed in
a specific location that looks like the identified place in the film. We can also consider then, the
filming location to get an idea of what has been filmed and where, to understand why a certain
setting or location has been chosen.
For JURASSIC PARK, it mostly takes place on an island called Isla Nublar. However, this is a
fictional place, made up for the purpose of the book that the film is based on. Therefore, much
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of the film was shot on location in Hawaii, which looked like the perfect representation of Isla
Nublar. But the film also has a range of other settings-the first major scene takes place in the
Badlands desert in Montana, America, then in a trailer in that desert, later over Isla Nublar in a
helicopter, and numerous locations on the island itself, in just one example, in an auditorium.
TASK:
Now that you know where these scenes takes place, consider why they take place there: what is
the reason for having these scenes in these places? These are available to watch on YouTube if
you wanted a little more context beyond the images provided. The link is at the end of this
booklet.
Consider things like: what are the characters doing there? What do we learn from this? Could
the same conversation or scene have taken place somewhere else and if not, why?
In the boxes below, write down why the scene takes place in this setting and what we learn
from this.
1 2
3 4
1 2
3 4
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Settings then often work well as the first things we see on screen because they can tell us
WHERE a film is set, WHEN it is taking place and also SUGGEST something about a person or
place-they instantly tell us what is happening.
This can be done in two ways: explicitly, with a title card (more on this in a moment) or
implicitly by letting the audience work it out for themselves.
Title cards look a little like this:
This is a quick and simple way of establishing place, time and tone. You may recognise the
places, but some might be slightly more obtuse and ambiguous. By including the name on the
screen however, it quickly communicates the idea of where or when this scene is to the
audience. This is especially important if the place itself has some relevance or connotations
associated with it. Again, some are more obvious than others: for example, France in 1941
likely has a lot more connotations than ‘Ego’s Planet’ has.
TASK:
Connotations are things that we think of when we see or hear something. List as many
connotations for each of these locations as you can. If you don’t have any connotations for a
particular place take a look at what it looks like or ask someone nearby for ideas.
1 4
2 5
3 6
1 2
3 4
5 6
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Settings can also be established using props in the scene to tell the audience where someone is
or where they’re going to, for example using signs or famous landmarks:
TASK:
Take a look at the shots below-match the name of the city to the image and write the name
below the image.
London | Shanghai | Rio De Janeiro | San Francisco | Sydney |
St. Petersburg | Dubai | New York | Tokyo
TASK:
Research and list the names of films which feature these cities in them. Aim to find at least one
film per location, but you’ll probably find more than one quite easily.
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Settings can also be used if they’re not places that are instantly recognisable as they help to
establish tone or genre.
Tone is a way of describing the mood of a scene. There is more work on this in the
Cinematography unit, but just by looking at an image it can help to help suggest the mood for
the audience or, what type of film or scene we’ll be watching in this setting.
TASK:
Below each image write down what type of film (known as genre) you think this scene is
suggesting the scene or the film will be, and then what you think the mood is.
As an extension, give reasons why, focusing on things like the colours, light, props and anything
else you see that makes you think of that genre and mood.
Just like these exterior shots that we’ve been looking at, interior settings can also reveal what a
person or place is like, establish tone and help to reinforce genre. Interiors are especially useful
for suggesting things about people quickly and implicitly. Part of this will be done through the
use of props, of which we’ll learn more about soon, but the overall style or aesthetic of a setting
is called the set design or the art direction and when combining props with setting and
cinematography, we can then understand what a person or place is like.
TASK:
For example, in this shot to the right we can see a small group of people but
they’re not the important factor here: look at the size of the room-it has 5
people in it but still has plenty of room around them suggesting that it’s a very
large room. This then suggests that these people are rich or at the house of
someone rich. This is reinforced by the presence of the chandelier and the
expensive looking furniture. There is another room beyond this that looks large
as well, emphasising the wealth of the owner. Finally, notice how the curtains
billow here: this is because the windows are open and this is could be because
this is setting is either in a warm country or it’s a hot time of year.
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TASK:
Take a look at the 3 images below. Using the example on the previous page, analyse at LEAST
ONE of the images and aim to establish what genre they could belong to, what we learn about
the places or the people in the settings. Aim to explain why and how you came to those
conclusions and aim to focus on the setting and the things in there rather than the people.
Finally, to create a settings used in a film, there are three main options; either filmed on
location, or shot in a studio where people have made sets that look like they’re a real location,
or, finally, a studio which uses green screen to augment the setting.
On location refers to filming in a real place which exists. This could be in a new country,
in a specific house that already exists or in a location which needs some changes
being made to it through use of physical sets. On the next page we can see how
STAR WAR: THE FORCE AWAKENS and THE REVENANT were filmed on location.
As we learned in the Film History unit, filming on location was the most immediate and original
way of making a film. The Lumiere Brothers filmed everyday life to document what a camera
could capture and to show an audience what they may not have seen before-they created
essentially, documentaries. However in fictional feature films, filming in the place where the film
is supposed to take set, it not only creates the sense of realism to the setting and the film, but
adds authenticity and allows the audience to be submersed in the world, just like the actors
were.
Your analysis:
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A location scout will work with the rest of the crew before filming takes place to find
locations where scenes in the film would be best filmed. They may scour the entire
earth looking for somewhere suitable and may end up filming in an entirely
different place compared to the name of the place in the film. This can be very expensive;
moving an entire film unit and all of the cast and crew to a specific place can be very costly and
time consuming, so other options might be preferable. Of course, filming on location like in the
shots above, may not be convenient or even literally possible if working with a sci-fi film, so the
location scout will find somewhere that looks like as if it could be the setting.
Even if filming takes place on location, often that location may need to have changes made to
it. At the most obvious it will be to include a range of adaptions that allow for cameras, sound
equipment and most crucially, lighting setups to be added, as seen in these behind the scenes
photos from ONCE UPON A TIME IN HOLLYWOOD, SPECTRE and the HARRY POTTER series.
Scenes in STAR WARS like the one on the next page below
were filmed in the Rub' al Khali desert, near Abu Dhabi to
stand in for the planet of Jakku.
Some of THE REVENANT was filmed in Argentina to
represent the middle of America during Winter.
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If a location cannot be found, if something isn’t suitable, if it’s too expensive to use or if
it’s technically very difficult to film on, a film set in a studio might be used. These have
been the traditional way to make films, especially in Hollywood during the ‘golden
age’ of Hollywood between 1910 and 1960s. Some studio sets were made at huge
expense and used for only one film, such as DW Griffith’s astonishingly ambitious set for the film
INTERLORANCE in 1916 (below on the left), or Fritz Lang’s sci-fi masterpiece, METROPOLIS
(1927) below on the right.
However, not all films had the budge to create sets on such an extravagant scale, and the
dominant method of filming would be the use of a studio lot, where film companies would build
entire studios and a range of sets which could be used for many different films and could be
reused quickly and cheaply. The images on the next page give some typical examples of what
this looked like, with permanent structures used for a range of different films.
Eventually, as cameras became smaller, as portable lighting became easier to create and as
CGI became more prevalent, working on a studio that already existed became less and less
popular. Many of these old studio lots can be visited and toured around. These days studios are
used for all kinds of films, with some of the most famous props and costumes still on display.
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Of course, films are still often shot in studios, but these tend to be huge spaces that can be
changed and adapted for each film, often at great expense. Peopl may build not just rooms,
or house, but even entire villages in order to achieve a realistic setting. You can see the
level of detail and therefore expense that has gone into the set from SPECTRE and
INCEPTION below, so that he filmmakers can achieve exactly what they wanted from the setting in their
film. We can then see in the shot next to it on the right that this also allows the filmmakers to create
interesting and unique visual styles because they’re able to control the set in a way that might not be
possible if filming on location. Of course, not every film has the budget to make such huge sets,
especially ones which will then be dismantled after use or that are so bespoke that they cannot be used
again in another film. There are some options in this case.
One is to create a ‘miniature’ set. These have been used for decades and involve making a smaller
version of the setting, usually for the larger areas such as a whole building, street or even city. These are
then filmed in a way that, when projected onto a screen, give the illusion that this a ‘real’ size place. We
can see in these classic examples below from STAR WARS and GHOSTBUSTERS how miniatures were
used to create large scale scenes before CGI allowed filmmakers to do so.
However, miniatures have made a comeback in the last 15 years or so, as filmmakers seek to create
realistic looking settings that can be manipulated, such as being blown up, destroyed and generally
messed around with, in a way that looks more realistic than CGI can. We can see in these examples
from INCEPTION and the HARRY POTTER series however, that the idea of a ‘miniature’ doesn’t
necessarily mean that these models are small!
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In the modern world of film making, the reality is that all methods of creating a set are used, including
using studios and real life locations but combined with green or blue screen technology to allow
filmmakers to create real sets for the actors to work with, but then augment, develop and extend these
sets using CGI. This can also allow filmmakers to include additional details like characters or special
effects like explosions, magic or specific weather.
As well as this, the advancements in CGI and physical technologies such as lighting and giant
displays using advanced technologies mean that even the traditional ideas of what makes a
set are changing. For the TV series The Mandalorian for example, the variety of locations
needed to create a convincing series of locations in space, meant either travelling around the world at
great expense, or using CGI which can produce
slightly unconvincing results. In the end, they used
a new technology which involved the actors
working in a set with a giant display above and
around them to create ethe sense that they are in
that setting. Not only that, but the amount of
control offered to the filmmakers meant that that
were able to easily manipulate the setting and
the lighting and weather conditions in a way that
is not only innovative, but realistic and relatively
cheaply compared to some other methods.
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SUMMARY
Overall then, scenes in a film are set in specific places for a variety of reasons. The way in which these
look are partly to do with props, which we’ll look at later on, and cinematography, which we’ll cover in
a different Unit of work.
The actual places where these scenes are filmed are chosen for a variety of reasons and in modern
cinema tend to be a mix of technology, meeting budgets and the requirements of the cast and crew.
Complete the tasks below to show your understanding of setting in film.
TASK:
Describe, in as much detail as possible, referring to a range of examples, what kind of settings, buildings
or overall places you’d use as a setting for these types of films below:
A horror film: A teen film:
A Western film: A sci-fi film:
TASK:
What can a setting in a film can suggest or what can it be used for? Read back and summarise these
ideas in exactly 40 words below.
TASK:
What are the 3 different types of setting when making a film?
For each one, give at least one thing positive about using it and one negative thing about using it.
1.
2.
3.
TASK:
In your own words and in the space below, explain why films aim to be shot on location. Then, explain
why it make be easier for filmmakers to shoot in a studio and use green screens.
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SETTING HOMEWORK/EXTENSION TASK:
Research the filming locations for Harry Potter films.
Give a list of at least 5 filming locations, either real or in a studio. For each one, explain why you think
that location was used as a filming location.
Then, choose ONE of the scenes and explain what it tells the audience and how it does this.
SETTING ANALYSIS TASKS:
Now is your turn to analyse a range of different settings. You will do so by describing the explicit details
of that setting and then the implicit suggestions that come from that setting. You should use all of the
ideas and information you have learned so far to help inform your analysis.
EXPLICIT: (describe what you can see) IMPLICIT: (what this setting suggests)
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SETTING MINI-ASSESSMENT:
Watch the following clip from Mission Impossible: Fallout.
https://www.youtube.com/watch?v=W70CRKtm1do
Firstly: identify what type of setting this is and what genre of film you think it is.
Then: where or how might this scene have been filmed and why do you think that place or method of
filming was chosen?
Next: what mood do you think the film is seeking to achieve for the audience? How does the setting help
to achieve this?
Finally: what is the significance of choosing this setting for this scene? Look at what you can see and
what can be seen in this setting-why does this setting work for what is happening in the film?
GLOSSARY
aesthetic
art direction
augment
bespoke
connotations
context
explicit
exterior
genre
implicit
interior
location scout
mise-en-scene
on location
props
representation
setting
studio
tone
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While this shot from TAXI DRIVER shows that this is a local corner
shop style setting (often referred to as a ‘deli’) in America, but the
messy nature of the props and the inclusion of the gun shows that
a violent crime has taken place.
In this shot from FROM RUSSIA WITH LOVE, props show that this is
an ornate and luxurious setting, but also that the character is
intelligent and calm: playing competitive chess in front of a crowd
but happy to relax and smoke a cigarette as he does so.
PROPS
Props, or to give them their full name, theatrical property, are the objects in a scene that help to make a
scene appear realistic or at the very least, as if the film we’re watching is a real place. Props can help to
make somewhere look old or new, busy or quiet or just show us what is happening. They can create
convincing worlds in a sci-fi film, suggest ideas about a character or propel a story.
Props can be almost any item that is included in a scene, such as food, furniture or photos but they can
be items that people use, things that people own or even things which we as the audience don’t see, but
the characters do or are aware of. We’ll visit this idea in more detail later.
As with most aspects of film language, props can work on two levels-the explicit description of what we
can see, but also the implicit suggestion of what the props suggest. For this reason, a setting may have
been carefully created by a prop master, working with a production designer. Every setting then will
include a specific set of props to suggest what the person in the person or people in the scene is like, or
as we learned about settings to create tone.
In the remainder of this unit, we’ll be exploring why props matter. They’re often overlooked in favour of
analysing other aspects of a film, but as we can see from above, props hold significance and provide
interesting relevant detail in ways that demand a closer inspection. We could list thousands of uses for
props but we’re going to focus on just 5; they establish the world of the film, they create deeper
meaning, they represent characters, they develop the plot and they set the tone.
The key thing to remember is that they’re objects, but objects that have been placed on screen for a
reason. As a result these objects are significant, either to a character or the film as a whole and we need
to try and find out why those objects have been included-what do we learn from their inclusion?
The inclusion of the food and drink items in this shot from SHAUN
OF THE DEAD make clear to the audience that this is a local corner
shop, despite not being told that explicitly.
At first, this shot from the film NINE looks like a behind-the scenes
shot of a film. That’s because the use of props in this shot here
help to accurately recreate what a film set would look like.
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PROPS ESTABLISH THE WORLD OF THE FILM
Every object is placed on screen, in a specific place, for a specific reason. Most props, when used
correctly contribute to the verisimilitude of the film and the scene . However, anything that looks out of
place in the world will snap the audience out of the film because it won’t make sense visually (a good,
literal, example of this on TV was the mistaken inclusion of a Starbucks cup in an episode of GAME OF
THRONES). The introduction of the now iconic blue lightsabre gifted to Luke Skywalker in STAR WARS
(1977), suggests that this really is a galaxy far, far away. In the other shot below from
BLADE RUNNER 2049, we see hundreds of children stripping electronic components from old
electronics. The props in their hands and the piles of them on the table depicts precise, painful and
repetitive work that suggests the world we are seeing on screen represents a period of time after basic
electronics are no longer used or have much importance or value beyond scrap. It also suggests ideas
about child slavery, orphans and the conditions in which they live.
TASK: THINK OF AND/OR RESEARCH, EXAMPLES OF PROPS HELPING TO ESTABLISH A WORLD OR
SPECIFIC SETTING IN A FILM
PROPS CREATE DEEPER MEANING
Some props can offer a deeper insight or meaning to something or someone. Objects can be seen
throughout a film and can simply be an object, but later be revealed to be something significant. In
CITIZEN KANE for example, the revelation (SPOILER ALERT) of Kane’s final word of “rosebud” is that it
refers to a small sled from his childhood. It represents that, despite all of his success in life, the sled from
his childhood represented simplicity, comfort, and his mother's love. In the 1992 Director’s Cut of BLADE
RUNNER, the seemingly odd prop of an origami unicorn represents that (SPOILER ALERT) the main
character is in fact, a robot. Though it’s a bit more complex than that!
TASK: THINK OF AND/OR RESEARCH, EXAMPLES OF PROPS CREATING A DEEPER MEANING OR
UNDERSTANDING.
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PROPS REPRESENT CHARACTERS
A prop can represent and provide insight into a character in many different ways. It can show or suggest
a way of life, a character’s social status, or can even become a character itself. When a character has
an emotional connection to an object, such as Thor and his hammer, the prop becomes a key part of the
story. But in THOR, Mjölnir is not only used to provide and support Thor in his physical strength, it is also
represents the journey he must go on as in order to become a worthy, mature leader. It later becomes
Thor’s best hope for survival, and as such, is an essential part of his identity and then as a result, a
symbol of hope for others. In RUSHMORE, props are used to show the hobbies that the protagonist Max
fleetingly adopts. In the example below we can see his stamp and coin collection but notice how large
the collection is and how he’s looking after it very carefully. Not only does this implicitly suggest that
he’s taking this seriously and caring for the things he’s collected, but stamp collecting can be said to be
quite a boring hobby for many, so the props here suggests that he’s also somewhat of an outsider.
TASK: THINK OF AND/OR RESEARCH, EXAMPLES OF PROPS REPRESENTING CHARACTERS, EITHER
EXPLICITLY OR IMPLICITLY.
PROPS DEVELOP THE PLOT
Some props are so important that they put entire plots in motion. An example of this is
the pregnancy test from the opening scene of JUNO. A single shot of a positive test
result sets the entire story in motion. Props can not only
propel the story but can be so important to the story that
the film is named after them! In THE MALTESE FALCON,
the object of a statue of a bird is central to the mystery
of the film and therefore is the reason for the entire story. In THE LORD OF
THE RINGS, the Ring in the title also becomes the whole reason for the
story and the prop of the ring is not only important to every character in
the film but has become an iconic object in its own right.
Objects like these are often referred to as a plot device and their main, if not sole purpose, is purely to
drive the plot, to maintain the development in the story or to resolve situations within it. These objects
could be something everybody wants to obtain or a device that must be destroyed. It may also be an
object or gadget introduced early in the story for the sole purpose of solving or saving someone later on
in the film. To take this even further, an object which initially seems to be insignificant on the screen in
the setting or mentioned in passing, but later turns out to be important, is known as “Chekov’s Gun”.
Named after Anton Chekov, this Russian playwright and author once wrote that "If you say in the first
chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off.
If it's not going to be fired, it shouldn't be hanging there."
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The Winchester rifle from Shaun of the Dead, a literal
gun and a perfect example of Chekov’s Gun.
An obvious example of this is the rifle in the Winchester pub in
SHAUN OF THE DEAD. This gun is mentioned early in the film
as a seemingly random discussion piece but later turns out to
be an important object that the characters need to use.
Over time, Chekhov's gun has come to be synonymous with
foreshadowing and when you realise how often this is used in
films, you quickly become suspicious of any object that a
character mentions early in a film!
In some ways, the opposite of a Chekov’s Gun is a MacGuffin. This is an object, though not always
actually shown, that is a term for an object that is used to drive the plot but serves no further purpose. It
won't pop up again later in the film once it’s been used or tracked down, it won't explain the ending,
and in some cases, it won't even be shown. It is usually a mysterious package/artifact/superweapon that
everyone in the story is chasing. An example is the briefcase in PULP FICTION — it adds mystery and
intrigue to the moment while effectively building tension every time it makes an appearance because the
contents of it are never shown on screen-we just know that it’s important, that characters want it and that
it makes people’s faces glow golden when it’s opened.
PROPS SET THE TONE
As we discovered when looking at setting, the mood of a film or an individual scene can be established
through the things we see on screen, no matter how briefly or if they’ve been referred to. Whilst
Cinematography plays a large part of this, a character selecting a weapon will instantly suggest a tone
of conflict, anxiety or aggression. We can see in the example below from TERMINATOR 2 that the tone
of the scene is one of aggression and of being very serious, creating a sombre tone, created in part by
the selection of and need for, the weapons. Similar props are used in KICK ASS, but here the tone is
lighter and slightly more comedic because of the absurdity of having so many options, especially when
there is a small child in the room and her father who seems very blasé about the props and the situation.
TASK: THINK OF AND/OR RESEARCH, EXAMPLES
OF PROPS WHICH MOVE THE STORY ALONG.
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TASK: take a close look at the image to the left,
and using the ideas above, aim to analyse what
you can see and then what these props suggest.
In another example we can see how this shot from HOME ALONE, which is a comedy, not only
establishes the time period through use of props, but by having the festive props to the side and back of
the frame, it allows the dark boots to be central to the frame. Whilst boots are part of costume, which
we’ll cover later, the tone here is much more dramatic and almost threatening because the bright and
colourful props are not the most immediate things in the frame. Finally, this shot from the beginning of
BLADE RUNNER 2049 shows large vats of a strangely coloured chemical. When you combine with the
pipes coming from these into the water and the in a strange suit which looks like a cross between an old
diving suit and an astronaut’s suit, you get a very strange, mysterious tone which make the audience feel
quite uneasy but also intrigued.
TASK: THINK OF AND/OR RESEARCH, EXAMPLES OF PROPS WHICH HELP TO CREATE MOOD.
In this shot from the end of INCEPTION, the table reveals a
lot of information through the use of props. We’ll start at the back of
the table where the amount of fruit suggests a healthy person or
people live there. To the left are some toy dinosaurs which suggest that
a young person or people not only live there and this is reinforced by
the child’s paintbrushes and paint and the toy monkey. Because they
have been left on the table perhaps they left them in a hurry or that
they’ve been recently playing with them and stopped. The neat and
empty side of the table could imply that the adult likes to keep things
today where they can. Notice also the spinning object-it has a lot of
significance from the film, but for now, simply note how it’s still
spinning, suggesting that people have only recently been at or near the
table.
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HINT: What do the props here tell us about character? How?
HINT: What do the props here tell us about the world of the
film? How?
HINT: Look closely! What do the props here tell us about tone of
the character? What do the How?
TASK: Below are 3 shots that each feature an array of props.
Look at them closely and pay attention to what you can see and consider why those props have been
included. Working your way through them, from top which is the easiest to hardest at the bottom, firstly
explicitly identify what you can see. Then, consider the ideas from the previous pages as to the 5
reasons props get used and then write down what you think each shot is implicitly suggesting. To help
you, each comes with a small hint or clue of what to focus on.
SUMMARY
Overall, props are placed in films for very specific reasons. Whilst there are many of these reasons,
we’re focusing on just 5 of them but all involve firstly identifying then and then working out why they’ve
been included. Props work in tandem with other aspects of film form and language, we need to be able
to analyse them and recognise their importance in their own right.
Complete the tasks on the next few pages to show your understanding of prop use in film.
2
3
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KNOWLEDGE CHECK: PROPS
TASK:
Below is a list of film genres. For each, list a range of props that you would expect to see in any scene in
a film from that genre.
Action: Sci-fi
Western: Romantic comedy:
Fantasy: Horror:
TASK:
List the 5 main reasons why props are used in a film. In your own words, summarise what each means.
1.
2.
3.
4.
5.
TASK:
Below are a list of props you might find in many films. Next to each, note what tone you think each
could enhance or create and aim to explain why. Avoid describing what might happen.
A gun: A teddy bear:
Some pots and pans: A jumper:
Some food: A bottle of alcohol:
PROP HOMEWORK/EXTENSION TASK:
Watch a scene from any film of your choice. Ensure it has props in it! List the props used in that scene. If
there are many props, list the most important ones. Then, explain why those props have been included,
referring to the implicit idea in their inclusion and at least one of the 5 main reasons props are used.
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PROPS MINI-ASSESSMENT:
Watch the following clip from JURASSIC PARK https://www.youtube.com/watch?v=jsoQzBLkA1g&t=17s
Firstly: identify what type of setting this is from 34 seconds in and then what genre of film you think it is
based just on what happens in this scene.
Then: identify the relevant props based on our 5 reasons to examine a prop.
Next: what mood do you think the film is seeking to achieve for the audience? How do the props and the
setting help to achieve this?
Finally: what is the significance of choosing this setting for this scene and how do the props contribute
towards this?
GLOSSARY
artifact
Chekov’s Gun
insight
MacGuffin
plot device
production
production designer
prop master
verisimilitude
PLAYLIST:
https://www.youtube.com/watch?v=yVCkuJFnA4k&list=PLeNerb9lxe3mFwo9AjIwGzmqz2CN32Lty
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NOTES:
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SECTION 2: THE POSITION OF PEOPLE AND OBJECTS
INFORMATION:
We’ve explored how settings and props work to provide information to an audience.
Often, this is done implicitly through use of connotation or inference. A key aspect in this
is where on the screen in relation to the word of a film someone or something is placed.
Therefore, the position of people and objects is important as it helps to inform the
audience as to where to look first or what to focus on, if the scene is especially busy. Of
course, every person and prop on screen is important in some way-that’s why they’ve been included in
the scene, so the key is to first explicitly describe where someone/something is and then to analyse what
the implicit suggestion is of them being in that place is. As we’re exploring mise-en-scene in this unit, it’s
important to remember that this literally means, ‘putting on stage’ and therefore, has developed since
the original use in theatre. A theatre stage is a 3D space, almost a large box, in which the characters
can move around in it in any direction. When we watch a film and to analyse position, we need to
consider both what we can see, the film on a screen, but also consider the world that we are watching to
be a 3D space. We’ll look at this in more depth later, but at its most basic, someone, or something, close
to the front, or the middle of the screen suggests importance or power. The further away they are and
the less central they are, the less important they are.
TASK:
Look closely at the cube below. Imagine that the front is the screen and that the ‘cube’ area behind it is
the world of the film (if it helps, think back to that idea of a stage in a theatre. Then, use the words below
to accurately label the blank cube. This will allow you to explain positions in film studies accurately.
Front | Middle | Back | Left | Right | Top | Bottom
TASK:
Below is a screenshot featuring two people. Firstly, describe, using the words above, where they are in
the shot. Then try to analyse why they are where they are. Consider what the reasons might be and why
these two people are in two very different positions in the frame.
The shaded area indicates
the 2D screen that we
would watch the film on.
Where are the people in this scene? What does their positioning suggest?
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TASK:
Now have a go at analysing the position of these people in these shots. Remember to again describe
where people are in the shot first and then try to analyse why they are where they are. You may need to
consider the setting and any relevant or prominent props to help do this.
TASK: Now combine what we’ve looked at so far in total and analyse positions, props and
settings. Annotate the image with explicit details and then, aim to develop your annotations to
then include implicit suggestions from all 3 aspects of mise-en-scene.
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We can see how the vast amount of negative space here in THE
DARK KNIGHT creates the sense that our protagonist, Bruce Wayne
is isolated and lonely, whilst his placing in the centre of the frame
shows his importance.
In this shot from THE RAID, note how the negative space works in
two main ways here: it firstly draws attention to the characters
and their own situation, but it also allows us to clearly see what
the apartment looks like.
As we’ve seen so far, positioning, like props and setting, can be used to communicate ideas to the
audience but given that people and objects can move, or be placed anywhere, it’s difficult to say for
certain that there are rules. However, we’re going to dip into the worlds of art and photography and the
ideas of composition. This is an area that is vital key in cinematography and we’ll revisit composition
when we look at that Unit, but it’s also important in mise-en-scene as it helps to inform the ideas about
the position of people and objects on our screen. Therefore, we’re going to use these 10 rules of
composition when analysing position or people and objects:
1. Negative space
2. Rule of thirds
3. Top intersections
4. Leading lines
5. Diagonals
6. Foreground
7. Background
8. Symmetry
9. Centre framing and
10.Close up.
NEGATIVE SPACE
The first of our rules of composition then, is negative space. This is an idea that has come from the world
of photography and art and as a result the effect of it is a recognisable feature in the composition of film
shots. Negative space is simply the space around and between the subject of a composition. For
example, in a wide shot of a man standing in an empty field, the sky, ground, and everything in between
would is the negative space. The power of negative space is that it can be used for many different things.
More than anything, it's used to isolate a person or object to focus our attention on them/it. This can be
done to show that someone is important, to show us the answer to something or, as in the case of horror
films, to allow something to pop into the negative space to scare the audience. Of course, this means it
can also be used for comedy by using the negative space as a place to add a surprise.
We can then combine the idea of negative space with other aspects and rules of composition to provide
different reactions and experiences for the audience.
TASK:
Summarise what negative space is in the box below, aiming to fill it as much as possible, but not writing
outside of it!
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The lines on this image from CHINATOWN have been added by
me to show the shot has our protagonist positioned so that he
is ‘on’ the intersecting lines created when using the rule of
thirds. Notice how it also allows us to see the character in the
background and our main character.
In this shot from 2001: A SPACE ODYSSEY, the inclusion of lines
not only shows how the characters have been separated and
are equally positioned on screen, but that the background is
now what we should be looking at. In the next shot, it’s
revealed that the background holds some interesting secrets.
Note how the rule of thirds and negative space have been used
here in combination with the lines created from the walls and
doors of the corridor to create some leading lines. If you follow
the lines and look into the background, you might see
something strange…
Just like the shot on the left, see how this shot from TAXI
DRIVER uses the rules of thirds to position the character to the
left but being in the foreground means that we still appreciate
that he’s important. Notice though, the leading lines on the
right. What are we being told to look at. And why?!
RULE OF THIRDS
Our second ‘rule’ is a compositional guide that trisects the frame vertically and horizontally, dividing the
shot into small sections which then creates a dissected composition. The idea is that your characters or
object are placed at the intersection of some of the lines which then psychologically, creates for an
interesting composition.
TOP INTERSECTIONS
If we look at the top section of the frames above, the lines along the top, the intersections, are important
because they help to suggest power. Note that in both images, the eyelines are near the top
intersections rather than the bottom. This is because, as we’ll continue to see throughout our work on
mise-en-scene and cinematography, the idea of power is deeply attached to the power that someone or
something has. Generally, the lower an object or person, the less power they have, literally or
metaphorically and therefore, the top intersections of a frame can help to indicate power.
LEADING LINES
A key aspect of composition is where you are being asked to look at. This is achieved, in part, by using
the intersections from the rule of thirds, but also using the setting and often lenses that allow the camera
to focus on a range of things at once. Just like all of these techniques, there is no literal lines put on the
screen, rather we notice these would imaginary lines, also called vertices. Often there might be a lot on
screen, or it’s clear that we should be looking elsewhere,, rather than our main character or object.
sometimes much of the frame goes ignored by the human eye, certainly, we can't focus on every element
in an image at once. As well as this, because we can’t focus on everything at once, a clear use of
leading lines can help to guide our eye toward a specific point in the frame.
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In this famous shot from THE EXORCIST, the diagonal line we’re
looking for is created by the light from a room in the house,
which then highlights the fog. Notice how the diagonal here
links the person in the foreground to the room, indicating that
that, as our eyes have gone, he will also have to go.
This shot from STAND BY ME is a clear example of how
diagonals lines can work. Notice that they don’t cover the
whole screen, but work as classic leading lines here, moving
the focus from foreground to background and showing how
large and dominant the train tracks are.
DIAGONALS
Diagonals are part of leading lines because they lead the viewer's eye towards something in particular.
However, instead of the audience being lead into the image, they're instead lead across the
composition, which creates "movement". This is because diagonal lines are more ‘intense ‘than
horizontal ones. Take the first image below: notice how the diagonal lines cover the entire image, not
just from left to right and also up to down but also from front to back. Therefore the diagonal, crossing
so many of the intersectional lines of an image separated by the rule of thirds, creates the sense that the
birds are inescapable and dominating the sky line. These lines do not have to be a literal diagonal line
and can be suggested by the outline of things, be part of the environment or even created via light.
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FOREGROUND
At the start of this we began by referring to the screen, or the part of a theatre stage
nearest the audience as the ‘front’. The correct terminology for this however, is the
foreground. This is such an important area for film, photography, art and the theatre because placing a
person or object in the foreground not only brings them closer to the audience but also puts them in front
of others in the scene. This reinforces the importance of that person/object as it shows that they’re
essentially "first in line" and as we tend to look at the things in the foreground first and then move
backwards through the image, being at the front gives objects and people power. The use of the
foreground doesn’t mean that there is nothing of interest in the background, simply that it’s not the thing
we should concentrate on just yet.
BACKGROUND
Just like placing something of importance in the foreground is a useful compositional element, as is using
the background. Again, the thing/s in the foreground are still important, but the inclusion of something in
the background has been done for a specific reason. One key part of this is the use of focus depth and
this is something which we’ll look at in the cinematography Unit, but if there is something clear and
perhaps dramatic in the background, that suggests we should look there first. The reason for use of the
background is an important area of the scene is that it creates an interesting juxtaposition; because we
naturally look at the foreground and now need to look at the background too, it creates a relationship
between them that allows us to make new meaning.
For example, in the shot on the left from ALL THE PRESIDENTS MEN, the inclusion of the man in the
background, hidden in shadow, suggests to the audience that he is hiding and is distant from us and the
people who will be standing in the foreground. In the shot from CITIZEN KANE on the right, consider
why this shot isn’t just the man in the foreground watching, or just the rally with Kane. This is because the
composition is designed to suggest that there is a clear relationship between the two.
TASK:
Using the boxes below, draw (to the best of your ability) one shot that places something of emphasis in
the foreground (remember to draw a background though) and then one shot that places something in
the background of the shot that suggests a relationship between the foreground and the background.
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SYMMETRY
Symmetry is the visual arrangement of something being made up of exactly similar parts
facing each other. This creates a visual balance-things look very similar, if not identical, on
both sides of the image. This in turn brings balance to the image we’re looking at and it’s
believed that balance creates peace and tranquillity-essentially this means that we like to see symmetrical
things. Asymmetry creates the opposite-a sense of chaos, imbalance and an overall feeling of things
being complicated.
Consider these two shots below. Notice how other aspects of composition such as leading lines and
diagonals can be used to help create symmetry. Also note how the two sides do not need to be identical
but do need to be as visually similar as possible to each other and this often means that the two sides
have similar sizes, shapes and angles to each other. This also ties in with the idea of the one point
perspective or vanishing point which we’ll look at in more depth in Cinematography and below, in
‘centre framing’.
TASK:
Using the boxes below, draw (to the best of your ability) one shot that places something of emphasis in
the foreground (remember to draw a background though) and then one shot that places something in
the background of the shot that suggests a relationship between the foreground and the background.
You can see that I’ve drawn on a line through the center of the
image to help highlight that the image is very, very similar on
both sides, therefore creating symmetrical image. This has
been achieved via the framing of the shot, something done as
part of cinematography, but here the mise-en-scene contributes
to the meaning of the scene in its visual serenity.
Another classic shot here, this time from 2001: A SPACE
ODYSEEY, and again you can see how the added line through
the centre of the image helps to make the symmetry clear.
Note that the image is not perfectly symmetrical, but the
overall appearance is that both sides are generally the same,
part of the style of the film but also creates a pleasing image.
This shot on the left from SNOWPIERCER, you can see that the shot
isn’t symmetrical-the random nature of the plants and the trees
mean that the shot isn’t the same on both sides. However, the use of
architecture of the room in terms of the lines on the wall and ceiling
and the use of the fountain in the centre of the frame create a sense
of symmetry. In such a tranquil and peaceful scene the symmetry
really helps to sell the idea that this is a pleasant and enjoyable
place to be.
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In SOME LIKE IT HOT, we can see how the choice of using centre
framing helps to really emphasise who we should be looking at
and paying attention to, even on a beach where some people
are sat in similar positions and with similar props.
There is a lot to consider in this shot from SPIDER-MAN: INTO
THE SPIDERVERSE, but for the moment, consider how the centre
framing highlights that, of all the things going on in the city,
it’s our protagonist that we should be following.
CENTRE FRAMING
The centre of the frame is one of the places which are eyes are drawn to first. As a result, it’s
an important area for placing people and objects as it tends to dominate our first initial
glimpse at a shot. As we’ve seen though, it doesn’t necessarily mean that placing something in
the middle of the shot makes for a particularly nice image to look at and it can make things a touch too
‘obvious’. Of course, it's still a vitally important part of the screen and therefore placing someone or
something in the middle of a shot can be a useful way of communicating ideas. It can also help to
contribute to other ideas involving composition. For example, notice how the image below from THE
SHINING uses ideas of leading lines, diagonals, symmetry, foreground AND background to help
emphasises the idea emphasised here from centre framing-that our protagonist is important but that
they’re now in direct sight of something, or someone, sinister at the end of the journey that they’ve been
on.
With centre framing, be sure to consider not only why something may be positioned in the centre of the
frame but also why something may not be in the centre. Don’t forget our other aspects of composition
though-something in the centre of the frame in the foreground may mean something entirely different to
something framed in the centre in the background.
TASK: First of all, describe in detail
what is in the centre of this
screenshot.
Next, analyse why you believe this
shot has been constructed in this way.
What does it suggest? And how does
the centre framing do this?
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THE CLOSE-UP
Our final idea of positioning is, perhaps more than many other aspects of composition, an
example with of cinematography rather than mise-en-scene. However, by using a close-up, the
film is placing an object or person in the foreground of the image and therefore making it
larger than it would normally appear. We can therefore explore some it as an idea in relation to mise-
en-sine because the size of an object within the frame directly determines how much importance it has:
the bigger it is, the more "important" it is. When we think back to other aspects of mise-en-scene we also
need to remember that a larger object will also likely be first thing that an audience is most likely to look
at and therefore suggests power or dominance. Of course, the opposite then applies-the smaller the
object, the less important or powerful the object. This does not mean that the object or person themselves
need to take up the whole screen, but that it’s make bigger or more prominent than other aspects of the
shot and therefore provides more immediate focus on that object.
POSITION OF PEOPLE AND OBJECTS SUMMARY
The placement of people or objects on the screen is done for a specific purpose and aims to
communicates ideas of power, influence, focus and importance. As a film student we need to be able to
accurately describe where the person or object is using the correct terminology to indicate within a 3D
space, as if describing a position on a theatre stage.
From there, we then need to consider why the positions have been chosen, considering the basics of the
front of the shot being an area which suggests power and prominence. We should also consider
relationships between people and objects, as the closer things are, the closer their relationship, with
distance suggesting the opposite.
To develop our understanding of positioning we can refer to composition. This is something which is an
aspect of cinematography but we can consider it here as it can move people or objects into specific
places. If you want to extend your knowledge even further, research the topic of ‘blocking’ online.
This iconic shot from JURASSIC PARK is famous for a reason:
how often do you see a glass of water in such a big close-up?
So why is it used here? Well, as we can see from the water
movement, it’s telling us something that’s happening off
screen and therefore, we need to see nothing else in the shot.
In BACK TO THE FUTURE, there’s a lot happening in this scene,
but the key part involves Marty playing the guitar. The way in
which this is communicated is by taking a vital, but small
aspect of this, the guitar pick and making it appear in close-up
in the shot to give it emphasis to the audience.
TASK: In the box in the right, draw a scene which
uses the frame to create an object in close-up.
Ensure that this object or person is significant in
some way, so you will likely need to include some
detail in the background to the image to help
emphasise what is in close-up. You should also
consider other aspects of composition in order to
make an especially interesting image.
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TASK: Choose your own screenshot from a film. You could copy and paste, draw it or print and stick. Firstly,
identify the leading lines and draw them on. Then, identify where the most important person or object is and
explain how the image reinforces their importance through positioning.
TASK: Finally, draw or take a picture of your own and explain what your positioning of choice is and explain
any techniques of composition you’ve used.
KNOWLEDGE CHECK: PROPS
TASK: You can see three images with pink lines on them that helps to identify the leading lines in the
composition of the two shots. Look closely at the two blank images and neatly draw on the leading lines or key
aspects of composition that you can identify. Then, next to each, identify where the most important person or
object is and explain how the image reinforces their importance through positioning.
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POSITION OF PEOPLE AND OBJECTS MINI-ASSESSMENT
Watch the following clip from 12 ANGRY MEN https://youtu.be/TUzp2XUhskY
Firstly: identify a shot or few moments where it seems that the positioning of people and/or objects is
especially important. Describe, draw or copy and paste below.
Then: describe the position used in the scene, especially in relation to rules of composition.
Finally: How does the positioning help to communicate a key idea?
GLOSSARY
background
bisect
composition
foreground
intersection
juxtaposition
negative space
rule of thirds
trisect
PLAYLIST:
https://www.youtube.com/playlist?list=PLeNerb9lxe3nKCs4aYu4uaJA0XZIPuDML
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SECTION 3: COSTUME, HAIR AND MAKE UP
INFORMATION:
As we continue to explore mise-en-scene and have paid significant attention to props, we
also need to consider the clothes that people wear and other aspects that help to create
the style and look of characters. In theatre, TV and film we refer to clothing as costume
and it’s a vital aspect of mise-en-scene as it not only helps to establish what and when the
characters are/are from, but also helps to communicate ideas about characters and their
personalities. As with other aspects of mise-en-scene, this is often done implicitly through use of
connotation or inference and whilst some of this can be suggested through colour theory and having an
understanding of fashion and style, it also comes from simply watching many films-often ideas about
costume are repeated and recognisable to people who consume a lot of films. As well as costume, the
hair style of a character and their make-up can also provide insight to them as a person or their history
and beliefs. However, make-up goes further than this as it’s one of the earliest example of a ‘special
effect’-something created and manipulated to make things appear different on screen. As a result, make-
up is not just used in film to make people look a certain way but also provide people with injuries,
fantastical features and a practical and realistic alternative to CGI.
The combination of costume, hair and make-up can dramatically alter how a person looks, to the extent
that they can appear to be genuinely different in each role. However, this isn’t done to simply make
something appear to be different, but rather because these aspects of mise-en-scene provide the
audience an appreciation of what a person is like before they even speak any dialogue or act in a
scene. Johnny Depp for example is an actor who has undertaken many roles that rely on costume, hair
and make-up to really help create a detailed, authentic and interesting character.
TASK:
Begin by describing explicit details first: what you can see. Then analyse what these things tell us about
the character. Consider colour, materials and special effects in the make-up. Then, analyse what you
think this implicitly suggests about the character.
EXPLICIT DETAILS IMPLICIT DETAILS
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TASK:
Costume doesn’t always have to be a dramatic thing. For each screen shot below, again
describe what you can see (the explicit) and then describe what the costume tells us about that
character/s:
Costume can also signify change in a character. For this screenshot, explain what the change in costume
tells us about how the character has changed.
TASK:
Around the image, describe what the character is like based on their costume and then describe how the
costume has changed to the image above so that you can then explain what that tells us about the
person and how they have changed.
EXPLICIT DETAILS
EXPLICIT DETAILS
EXPLICIT DETAILS IMPLICIT DETAILS
IMPLICIT DETAILS
IMPLICIT DETAILS
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COSTUME AS METAPHOR
Like props, costume can be used to indicate a variety of ideas. As with all aspects of film form
however, it’s important to select only the most important or relevant examples of costume in
order to create a meaningful, accurate and insightful analysis.
Costume then, can help to show what a person is like, or to help reinforce a change in the character. It
can also indicate the time or place of a film, a genre or the potential narrative. It can help build or
emphasise the world of the film, allow the audience to gain an understanding of the character and their
motivations, or can be used in a less dramatic way, such as showing what characters like or don’t like.
They key however, is ensuring that you identify what aspect of costume is relevant and then analysing
something that allows you to be insightful; analysing every aspect of costume may prove futile if,
untimely, you simply describe costume, rather than exploring the significance of it.
One way of doing this lies in colour theory, of which we’ll do in relation to cinematography
later on, and how colours can help characters stand out or show that they’re clearly different
from others or just worth paying attention to.
TASK:
Clothing, as with most things, can be a visual metaphor. Complete the table below:
CLOTHING METAPHOR EXAMPLE
Wearing no/few clothes Vulnerability, fragility Oskar at the end of LET
THE RIGHT ONE IN.
Wearing lots of clothes Armour, protection
Torn clothes
Expensive clothes
Mis-matched colours and styles
Missing clothes from an outfit
Clothes which resemble a
uniform (for example a 3-piece
suit, a whole tracksuit)
An actual uniform (give an
example)
A costume (think fancy dress-
what does the choice of
costume suggest?)
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TASK:
Consider the shots below from JOKER (2019) in terms of costume as a metaphor. You’ll see the
costumes on Arthur Fleck change and help to firstly display certain personality traits or aspects
of context, but as the film and the costume develops, so does the range of ideas associated with
them. Begin by writing an adjective (or 3!) in the boxes below that correspond to each ‘version’
of the character. Then, annotate and analyse the costumes by firstly identifying the key aspects
of costume and then then aim to analyse how the overall costume design helps to imply ideas
about character.
COSTUME AS REPRESENTATIVE OF TIME AND PLACE
Costume, when done effectively and accurately, allow a film to determine where
or when a film is set in an efficient and implied manner. Whilst being specific
about the actual date or the place that the film, or scene, is set can be difficult
through clothes along, they can certainly establish some general ideas. Other
aspects of mise-en-scene will contribute towards establishing the setting, but clothing is a useful
and immediate one as an audience will generally have an appreciation of costume through
association of style. Some films are clearly very much of a specific period and the costume can
be almost seen to be a form of fancy-dress if the costume is too cliched and generic. You could
consider examples of pirates and cowboys-generic costumes which an audience is likely to
appreciate and understand the iconography of but can be overly-broad and not reflect a
specific time of place. Costume then, needs a considered approach if being used to reflect the
setting for the film.
JOKERCLOWNARTHUR
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TASK:
Choose one of the remaining images and explore how costume helps to suggest a specific setting for the
film. Begin by identifying the costume and refer to it using words which you might ordinarily use to
describe clothing. Then consider what the clothing could be reflecting in terms of possible setting,
referring to examples from the images.
COSTUME AS INDICATION OF GENRE
Costume can help indicate or suggest genre. Costume can use generic conventions or
tropes to ensure that the genre is easily identifiable and recognisable. However, costume
which is too obvious or cliched can almost look like ‘fancy-dress’. In this respect costume
needs to suggest genre but be specific to that particular film so that it can help to indicate
or suggest other ideas that we have looked at, such as character, or time and place. If a costume in a
film for a specific genre is too esoteric or idiosyncratic, this may mean that an audience may not believe
that this is a genre film or at worst, is not worth watching because it doesn’t adhere to the conventions
that an audience would anticipate watching. Therefore, using costume to indicate or suggest genre can
be a difficult thing to do.
The shot on the left, from LES MISERABLES (DATE) has been lightened
slightly to allow us to see some of the more precise details in the
costuming. The low light and the props clearly contribute meaning, but
it’s in the costume that date and a broad sense of place is suggested.
Overall, we can see that the clothing is ‘old fashioned’ and very
functional, except for the man in the right foreground. The bonnets on the
head of the women indicate that they are ‘different’ in some way to
differentiate them from the men in the room. This suggests that the time
period is likely before the turn of the 19th
Century or that this is a very
traditional place which may not see women have equal rights.
1 2
3 4
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TASK:
Choose at least two of the images above. For each, explicitly explain what you can see. Then, analyse
what the potential narrative might be, based on the costume. If this difficult, refer to props as well. You
must NOT refer to aspects of the narrative which the costume does not imply.
TASK:
Describe what you’d expect to see for a generic, cliched costume in each of these genres.
GENRE HEAD BODY HANDS/FEET ACCESSORIES
Western
Action adventure
Western
Period drama
Superhero
COSTUME AND NARRATIVE
A key aspect of genre is the developing a sense of what the audience is expecting to see and therefore,
the possible narratives of the film. As we have seen, costume can be used to mostly inform about
character in a variety of ways, but it can be used to also show what is currently happening in the
narrative or, through foreshadowing, could happen later.
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COSTUME AS REPRESENTATION OF CULTURE
This is perhaps costume as its most ambiguous-an audience is only likely to take meaning from specific
aspects of the costume if it’s related to ideas which the audience is familiar with. Of course, not
recognising or appreciating the cultural value of something does not negate its importance, rather this
use of costume can be very specific and linked with deep-seated cultural norms and expectations that
often border on the religious in their importance. Some costumes can reflect a culture which might be
unknown to an audience but reflect the wearer of the costume in a way. In doing so it can add layers of
meaning and a depth of character that a generic costume may not do.
Culture can refer to a wide-range of possibilities, whether helping to reflect the
camaraderie that comes from the shared experience, such as skating in a specific place
and time as seen in the bottom left image from MID 90s (2019) or reflect the overall
fashion of the time, place and people. In the shot in the middle from CLUELESS (1995) we can see that
the quality and condition of the clothing is helping to not only reflect character, but build upon the
culture of the film, especially in the wide variety of scenes which involve shopping or the discussion
around clothes and clothing. Costume, therefore, helps to emphasise the hobbies, interests, beliefs, laws
and the overall style of a film. Even costume which appears to be austere and without an obvious frame
of reference of time can prove to be illustrative and worth examining. The shot on the right from FIRST
REFORMED (2017), the muted colours, the details of the collar on the priest and the use of the hood on
the coat as a metaphor that represents the clothing of a nun, works to imply key ideas about the culture
of this film. An audience then, can see costume and understand it clearly, or may simply be able to infer
key ideas if they have no specific knowledge or frame of reference.
In this shot from SPIDER-MAN: INTO THE SPIDERVERSE (2018) we could analyse the costume as a whole and there could be plenty to
say about the hooded top for example. However, we’re going to focus on his trainers. At first, these could simply be trainers, of no
importance. However, these trainers are very significant in developing a sense of character and culture as they’re a pair of Air Jordan
1s in the ‘Chicago’ colourway. Without going into specifics about trainer culture, these shoes with this colouring indicate that this
character has a deep love of trainers and an appreciation of trainer and basketball culture. The shoe, the signature model for
legendary basketball player Michael Jordan, was instrumental in helping to develop ‘sneaker culture’ and sneaker collecting. By
deciding to have the protagonist wear this shoe in particular, it helps to suggest the culture of Miles is one that reflects not only his
interests, but also that he is a young, black man living in America. Of course, not all of the audience may recognise and understand
this small, but deeply significant detail and therefore this is not an aspect of the film that must be studied or is of vital importance, but
it does help to add an extra dimension to the character and develop a sense of personality and culture.
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Costuming can also be used to emphasise a culture even if it technically doesn’t exist. This
can help to develop and build upon the world of the film by, for example, using details of
culture in the ‘real’ world and then use this to inform the audience of the culture in the
world of the film. In BLACK PANTHER, aspects of some African cultures are used and
referenced to provide an acknowledgement of the importance of and to also provide a style that is
reflective of real cultures. For example, in the details applied to some of the costumes the world we see
on screen feels authentic as each tribe in Wakanda has their own style which is also influenced by a real-
world style. Whilst some of the audience may not recognise these, this idea helps to cement the idea that
these tribes are different and unique, but also that, just like the real world, the culture of Wakanda is
diverse and unique and should be represented and celebrated.
[LEFT] The lip plate of the Surma tribe. They are a
form of ceremonial modification of the body.
Many cultures use these but are perhaps best
known in their use in the Surma tribes of Ethiopia.
[BELOW] These colourful, decorative blankets,
which in the film double as a shield, are based
on Basotho blankets, a ceremonial blanket from
the country of Lesotho.
[RIGHT] General Okoye wears a gold
neckpiece, to indicate her rank, whereas
others wear silver the elite unit. [ABOVE] We
can see Maasai tribes of Kenya where the
beading on their garments as well as the
striking colours serve as inspiration.
The morally ambiguous villain of the film, Erik
Killmonger [LEFT], seeks to repatriate a mask
which he feels has been stolen from Wakanda.
Masks, known as mgbedike, are often large and
have masculine traits or aggressive imagery
associated with the rituals that they are involved
in.
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COSTUME AS METAPHOR OF CHARACTER
A final consideration for costume is how it can suggest a difference or a change in people. If we consider
costume as a metaphor, we need to also consider what it tells us about someone who is not in a particular
costume, especially in relation to others. The first two images below offer examples of how costume can
suggest that some characters may be an outsider or don’t belong to a part of a group. Yet. This is because
a small group, or a number of people in a similar costume can imply a togetherness, camaraderie or
connection, but one person not in the ‘shared’ costume can suggest the opposite; individualism, perhaps
rebellion or even naivety and innocence.
COSTUME CONCLUSION:
Costuming is a vital aspect of film form and how mise-en-scene can work together to suggest and imply
ideas without the need to explicitly state them. Costume is especially useful in helping to quickly establish
genre and time and place and can help to reinforce genre through use of conventions. However,
costume is perhaps most interesting when approached a metaphor which seeks to develop a character in
further depth. As with most aspects of film form, consider what you can see and then consider why that
specific costume has been designed.
1
2
3
4
5
TASK:
The two images above, from MEAN GIRLS (DATE) and EDGE OF TOMORROW (2016) feature
protagonists who aren’t wearing the exact same costume as the others, even if the colours are very
similar. To analyse follow the steps:
1. Identify who the protagonist is;
2. List key aspects of the costumes NOT worn by the main character, such as colours, types of
clothing or specific styles;
3. Explain what this suggests about those characters;
4. Identify key aspects of the costume that the protagonist is wearing and finally
5. Explain what ALL of the above suggests about the protagonists.
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HAIR AND MAKE-UP
Hair and make-up can work in the same way as costume; in developing setting, genre,
narrative or developing a character further. However, both hair and make-up also offer the
opportunity to do more than this in helping to create a character in that they can
significantly alter and develop the way that a character looks or even behaves. Given the
almost limitless possibilities of make-up and hair, it’s impossible to explore every possible examples or
aspects of them and so instead, the principles applied to costume work well here. This then, means that
we shall begin by firstly exploring how and why make-up has, and continues to be used in movies. Then
we’ll identify the explicit details of hair and make-up (such as colour, shape, size and distinguishing
features) and then explore the implied ideas behind these choices. After this, we’ll focus on make-up in
more detail, given that this aspect of film form is also a key aspect of special effects in a practical sense.
MAKE-UP INFORMATION
It’s easy to dismiss make-up as something which has always sought to make beautiful
people more beautiful or simply as way of ensuring that a character stands out in some
form. While it’s true that make-up has always been a key aspect in creating character, it’s
also true that from the earliest days of cinema, make-up has been something which was used to enhance
and conceal and create fantastical characters. However, the process of using make-up in conjunction
with film technology which has been consistently evolving has, at times, produced results that were
broadly ‘inaccurate’. Black and white film was especially difficult for make-up artists and movie stars to
work with, making dark colours darker and light colours lighter. This created problems and issues which
were not easily rectified, given that cosmetic make-up techniques were clearly not compatible with film
stock of the time, and techniques borrowed from theatre were also problematic: for example, face paint
used to create wrinkles effectively in a theatre looked more like tattoos on chromatic film. Cinematic
makeup, then, was not necessarily derived from vanity and instead it was a solution to problems that
came from shooting on film.
Film itself was problematic, but so too were hot, bright studio lights, long working hours with retakes and
the increasingly physical demands of feature films. Actors soon developed new tips and techniques to
combat issues like lights causing intense shine on their complexion, by adding brick-dust or paprika to
lessen the shine caused by traditional cosmetic powders which now almost glowed under the intense
studio lights. This method of constantly seeking new and often unconventional techniques lead to an
entirely new industry and in-turn created a series of brand-new products which have since become
common-place make-up items.
The colour wheel below demonstrates how colours were generally displayed on when
filmed using a chromatic film stock. As a result, actors and make-up artists had to find
new ways to help ensure that specific colours and
shading appeared on screen in a manner that suited
their overall intention. This led to some unconventional
and divisive techniques as seen on the right, with
complex shading and colouring being deployed to
Make-up generally helps to
establish character and style.
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match the complex and unique challenges of filming in black and white.
One person in particular came to define make-up in the film industry:
Max Factor. Max, a Jewish Polish immigrant whose surname was
Faktorowicz but had been misspelled upon his arrival in America, was a make-up
artist of repute after working for years in Russia as a wig-maker and cosmetician. It
was his ingenuity and skill that lead to him inventing products such as lip gloss,
foundation and the eyebrow pencil which were all developed as bespoke products to
serve the very specific needs of film stars in the 1920s and onwards. So skilled was
Max, that he was hired by producers to work with specific actors and produced
solutions to problems that suited on their needs, whether that be applying specific
make-up to Douglas Fairbanks 4 times a day, sprinkling gold dust in Marlene Dietrich’s hair or drawing
on a specific shape to create a unique look for Joan Crawford’s iconic lips. Max also worked with actors
on more discreet terms, helping those who were concerned with issues of vanity, fitting the likes of Fred
Astaire, John Wayne, James Stewart, and Frank Sinatra for toupees. He used his skill in wig making to
go further though, and developed prosthetic for the scalp so that actors switch between hair styles,
including bald, with relative ease.
As camera lenses improved and as film stock evolved from chromatic to
panchromatic and then technicolour, so too the make-up needed to improve
and evolve. It was one such development which became, in time, perhaps the
most important of all, his Pan-Cake Make-Up. At first, it took the form of a very
fine and blendable powder, Pan-Cake was the precursor to foundation or
concealer. Actors, Directors, Cinematographers, Producers and audiences alike
loved the product and it was so successful and popular that it became a
commercial product that anyone who could afford could buy-make-up was no
longer the exclusive preserve of the Hollywood elite.
What then, is the significance of this?
Make-up, like almost everything in the film industry has seen an enormous change and rapid
evolution, bought about by necessity, vanity and a rampant desire from producers and
audiences. The innovations in make-up in the 20th
century arguably lead to the rise of the
commercial cosmetics industry as we know it now but also helped to usher in a new-era of
visual fidelity in film-making, but one based on a lie-what we watch, isn’t what the truth. The techniques,
the products and the skill involved meant that ever-increasing quality and adaptability of make-up could
then inform, and in-turn lead to the evolution of the stories that could be told in film. In 1939 Max Factor
helped create the make-up for THE WIZARD OF OZ, the spectacular Technicolour masterpiece. With
films now able to portray other worlds, dream-like situations and dazzling set-pieces, it was only a
matter-of-time before make-up meant that the appearance of actors could be changed entirely and lead
to dramatic changes in appearances.
MAKE-UP, PROSTHETICS AND TRANSFORMATIONS
Whilst Max Factor won an Academy Award for his work in developing make-up, make-up technicians,
cosmeticians and those in the medical industry had been using a range of techniques and innovations for
years in order to create fantastical looks and appearances, with the use of prosthetics having been seen
in film since 1902, when Melies employed prosthetics to create his
‘moon’ in A TRIP TO THE MOON. It was Jack Pierce who is best
known for early work with prosthetics, especially in his
collaborations with Boris Karloff when making FRANKENSTEIN
(1931) and THE MUMMY in 1932 to create looks that matched the
ambitious storytelling.
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The film industry has not looked back. The use of make-up and
prosthetics allowed for a significant and welcome development,
typified by Karloff-that filmmakers could hire the best person for
the role and then use make-up and prosthetics to ensure that they looked like
the character, rather than hiring someone who carried some form of
resemblance to the character. Over time this way of dramatically ‘transforming’
an actor has become the norm, especially for films that seek to be successful in
winning prestigious awards. One of the earlier notable examples was the use
of prosthetic implants for Marlon Brandon in The Godfather (1972) to help create his iconic appearance
that created his unique vocal style. Since then, Hollywood has produced hundreds of examples of actors
using hair, make-up and prosthetics to dramatically alter their appearance for a wide variety of reasons.
Below we can see actors, Brad Pitt, Charlize Theron and Danny DeVito who have all undergone
especially dramatic transformations with their appearances in order to play specific roles. Each actor
was chosen for their specific talent talents rather than their appearance but given the nature of their
characters, the actors required specific uses of make-up in order to meet the requirements of their roles.
Whilst Marlon Brando may have worn temporary cheek implants, the techniques available in modern
filmmaking means that a recognisable face can be buried under fake skin, fillers, implants, contact lenses
and a whole host of other make-up techniques, not to mention manipulation of hair and bespoke
clothing.
These hugely impressive feats of transformation are the product of hundreds of hours worth of research,
development, application, modification and improvement, but are often under-looked in helping to
develop character. Whilst not all aspects of make-up are as dramatic, consider analysing make-up in its
various forms when looking at mise-en-scene as a way of analysing how characters have been
developed and created to emphasise the film.
TASK 1:
Below is a screen shot from BEETLEJUICE (1988. Begin by describe the overall appearance of
Beetlejuice in terms of make-up: explore and make an educated guess at what has been done to the
actor. You can annotate and doodle as much as needed, but be specific.
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TASK 2:
Now analyse why these changes have taken place and what they suggest about this character overall.
There are then a series of sections which have been zoomed in on to focus your attention and allow you
to see in close detail. Finish by creating a summary of what the make-up suggests about the character,
giving evidence from your notes.
Overall, the make-up of Beetlejuice suggests…
because…
SUMMARY TASK
Usually, this is the place where I would summarise and conclude the section into a few sentences as
key points to recall.
Instead, this is now your task. Using the space below, summarise what you have learned about make-
up, including the history, use of, examples of and the importance of make-up in the film industry.
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COSTUME, HAIR AND MAKE-UP MINI-ASSESMENT
Watch all of the following clips.
Firstly: for each clip, make notes on the explicit nature of costume, hair and make-up of one character.
Then: choose ONE clip to focus on. Watch that clip again and evaluate what we learn or how we’re
supposed to feel about the character of your choice.
Finally: How does the costume, hair and make-up help to further our understanding of the character of
your choice? Look back at your notes and the work for this section and ensure that you’re familiar with
why or how costume, hair and make-up is used, and use this to inform your own ideas.
EXTENSION: Choose a genre. Now decide on a typical character for that genre. Now use the space
below to describe what they are like as a character and on the right, what their costume, hair and make-
up would be to reflect them as a person.
CHARACTER DESCRIPTION COSTUME, HAIR & MAKE-UP
GLOSSARY
Costume
Practical effect
Generic
Convention
Trope
Foreshadow
Ambiguous
Chromatic
Panchromatic
PLAYLIST:
https://www.youtube.com/playlist?list=PLeNerb9lxe3nLbZCUmpjUVseE6fY_w70h
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INFORMATION:
As with many aspects of film studies, the analysis and study of performance is one which is a detailed
and important discipline of its own. Indeed, the study of drama can be undertaken as an academic
subject all by itself and therefore, this section will focus on some of the fundamental areas of
performance in relation to film studies.
We can summarise these in to the 4 following sub-sections:
• Facial expression, body language and vocal delivery
• Performance styles or methods
• Interaction between actors and spaces
• How performance conveys ideas
For each of these sections, we’ll look at some definitions, examples and then work towards
analysing each of these areas by looking at clips and shots from films. Before looking at
specific areas, however, let’s consider what we mean by performance. Essentially, the
word performance means acting, the activity in which tells a story by, generally speaking, adopting a
character and enacting a story by use of mimesis. Mimesis, which derives from Ancient Greek, was
initially seen as a form of imitation, of someone or something’s true nature. Diegesis, by contrast,
referred to narrative. Whilst the notion of mimesis has changed and developed over time and has been
analysed and been used to refer to a vast array of ideas, the basics of the word, mimic, are important:
an actor seeks to resemble the characteristics of someone or something else. Therefore, when
considering performance, pay attention to how the actor is seeking to represent someone or something
else, even if they’re not real. We can examine this in 4 ways, starting with Facial Expression, Body
Language and Vocal Delivery.
FACIAL EXPRESSION, BODY LANGUAGE AND VOCAL DELIVERY
The title of this subsection neglects to explicitly refer to a vital aspect of performance and one indelibly
linked with facial expression and body language-the process of Non-Verbal Communication (or NVC).
An actor doesn’t need to say a thing in order to convey specific reactions, feelings and in some cases,
even thoughts. This can be a complex process, but in fact if we describe what the (possible) emotion is,
and then refer to the specifics of their face that have helped to do this, then we can begin to analyse
performance as we’re simply aiming to explore how the actor is mimicking their character at that point.
TASK:
On the next page are a range of screenshots. For each, note underneath what emotion you think they
are trying to convey.
TASK 2:
Choose a few of shots, perhaps 3, maybe 5, and explain, in detail how that emotion has been conveyed
in terms of the facial expression and body language. Aim to be as specific as you can-refer to individual
parts of faces and bodies, refer to their positions and changes in positions from the ‘norm’ and create
comparisons where relevant. Two examples have been provided for you.
SECTION 4: PERFORMANCE
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NVC can be seen in screenshots of close-ups, it can also be conveyed through the use of body language
in longer shots, (and of course when an actor is moving, which we’ll come on to soon) such as seen
below. When considering body language, apply exactly the same ideas as before: identify an overall
mood, emotion or reaction from the performance and then describe how that has been created by
exploring and describing specific things that the actor is doing with their body. It’s also important to note
how a difference between people, an interaction or lack of, can also communicate ideas non-verbally.
We can see that the actor here is conveying a mix of emotions,
namely being inquisitive and also quite confident with a reserved
anger and focus. Note how her eyes are fixed into the distance,
suggesting that she is looking intently at someone or something.
He slightly upturned eyebrows suggest a concentration or slight
anger; certainly something interesting to this character which the
slightly furrowed brow emphasised.
Despite a mask and a costume, it’s clear that the character here is
shocked. The actor is having to exaggerate their performance and
there is some possible CGI enhancement on the eyes, as they are
wide and shaped in a manner that suggests shock, with wide-eyes
being a key aspect of someone who looks shocked and surprised.
Of course, the hands on the side of the head scream “I can’t
believe it”, emphasising the performance further.
EMOTION/S: EMOTION/S: EMOTION/S:
EMOTION/S:EMOTION/S:EMOTION/S:
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BODY LANGUAGE
Body language is an important aspect of performance but is often misunderstood. This is
because while body language is an important part of communication, most of it generally
happens without conscious awareness. Of course, for an actor this will not be the case and body
language, as a form of nonverbal communication, is key. This is because as a form of nonverbal
communication, the physical behaviours that an actor uses can express or convey information such as
feelings or attitudes, as well as instructions and reactions. Body language includes facial expressions but
also body posture, gestures, eye movement, touch and even the use of space, called proxemics.
Proxemics emphasise the signals that we send or receive to others through use of personal space, or lack
thereof, and these are often referred to as the distances between people, categorised as intimate,
personal, social and public distances. Body language exists in both animals and humans and is an area
of intense study that can be done via examination of specific body parts, analysis of vocal tone,
exploration of how an attitude is conveyed or even through a precise examination of oculesics, the study
of eye movement.
For the purposes of this however, we’re going to keep our exploration of body language to some
fundamental principles involving core shapes and directions. It’s important however to remember that
reading body language is not an exact science but the below are general guidelines that require your
appreciation of the context of the film and scene in order to reach a suitable conclusion.
POSITIVE BODY LANGUAGE
Positive body language shows the person is engaged, approachable, and open to the others they are
speaking too. This can be mostly clearly seen through open body language-palms open, eye contact
being made, a nodding head or even leaning in. Overall, the person appears to be happy and willing to
pay attention to others.
TASK: Below are 3 examples of positive body language. For each, begin by describing the explicit
detail here, namely, the specific of the body language.
NEGATIVE BODY LANGUAGE
Negative body language is very defensive. Movements and gestures show insecurity, hostility or being
generally disinterested. This can be seen through body language is closed-off and unapproachable, such
as crossed arms, a lack of direct eye contact, crossed ankles or even something as obvious as fidgeting
with hands or the face.
TASK: Below are 3 examples of positive body language. For each, begin by describing the explicit
detail here, namely, the specific of the body language.
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In the book Bodily Communication, Michael Argyle identified five primary functions of nonverbal bodily
behaviour in human communication:
• To express interpersonal attitudes
• To express emotions
• To accompany speech in managing the cues of interaction between speakers and listeners
• To self-present one’s personality
• To induce rituals such as greeting
TASK: Watch the scene linked below. As you do so, identify examples of the primary functions these in
and for each, explain why you think the performer has used them in the scene. https://youtu.be/Ayp72KBYk5o
These primary functions can be developed further, as Argyle also explained how these five primary
reasons can be implemented in 10 different examples of body language. These are known as body
codes and are as follows:
1. Direct bodily contact
2. Proxemics
3. Orientation (facing each other or not)
4. General physical appearance
5. Head movements
6. Facial expressions
7. Gestures
8. Posture
9. Eye movement and or contact
10.Speech
TASK 1: Next to each of the ten body codes, create your own definition or explanation of what each means.
TASK 2: Watch the scene linked below. As you do so, identify examples of the body codes and for
each, explain why you think the performer has used them in the scene. https://youtu.be/ZE1Jjx4Ra-U
TASK: Watch the clip below and explain how the body language and facial expressions are used by the
actors here to communicate key ideas. https://youtu.be/ZNFdGfouBh0?t=206 to 4:50
Example analysis of a
scene from NO
COUNTRY FOR OLD
MEN:
https://youtu.be/BqM
dQBox15s
In this scene the characters remain in the same places-blocking isn’t our concern here. The performances are dominated by
facial expressions which for the garage owner are initially warm and welcoming and then his with his wavering eye contact and
occasionally bowed head, suggest a more defensive mood. In contrast, Anton’s focused eye contact and generally tall and wide
physical appearance suggest an understated dominance. He is then passive aggressive when he quickly and purposefully shakes
his head in disagreement and rarely changes his proximity or his orientation, focusing his energy towards the owner, only
turning away when he decides that their interaction is over. Overall, Anton is very intimidating through his NVC.
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TASK:
On the screenshots underneath, begin by identifying what you think is going on in the narrative and then
what emotion/s you think are being conveyed by the performance/s in the shot.
TASK 2:
Then, choose a few of shots, perhaps 3, maybe 5, and explain, in detail how the emotions have been
conveyed in terms of the body language. Aim to be as specific as you can-refer to individual parts of
bodies, refer to the positions of body parts and people in relation to each other and create comparisons
where relevant.
TASK 3:
Having looked at a range of shots, it’s time to watch and analyse a scene where NVC is used in a highly
effective manner. Watch the clip, perhaps more than once, and work through in a similar manner to
before, using the spaces below to help you do so. https://www.youtube.com/watch?v=RuiIae59dwo
Narrative
Emotion/s
Description of body language
EMOTION/S AND NARRATIVE: EMOTION/S AND NARRATIVE: EMOTION/S AND NARRATIVE:
EMOTION/S AND NARRATIVE: EMOTION/S AND NARRATIVE: EMOTION/S AND NARRATIVE:
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Finally, for this section, vocal delivery. As with all aspects of performance, the most useful
technique to begin with is to consider what stands out or is memorable. If there is nothing that
is especially memorable or unique about the voice of the actor, or the character, consider
why that might be. Just like facial expression and body language, aim to simply describe
what you can hear, perhaps using terms from music such as the volume of the vocal delivery being loud
or quiet, high or low pitched and delivered at a slow fast speed. Other things to consider include the use
of an accent-consider why an actor may be seeking to mimic an accent rather than having an actor who
already has that accent, does a character stand out in their vocal delivery or do they have any vocal
ticks? Finally, consider pauses, whether purposeful or accidental and stress that may be used in certain
places or moments emphasise words, means or to generate response.
There are other things to consider, but any aspect of vocal delivery needs to ultimately consider: how
does the voice suggest or create a character type?
TASK:
Watch the clip below. Identify who is speaking (there are a few people) and then for each, explain how
you think they speak or talk, using plenty of adjectives and adverbs to do so.
Then, for the 2 or 3 most dominant characters, explain why they speak like this and how their vocal
delivery reflects their personality. You may want to include ideas here from Argyle’s Body Codes too.
https://www.youtube.com/watch?v=czOpDN8Knr4 [GLENGARRY GLEN ROSS – ABC]
TASK:
Think of films which you know well. Consider the performance of a memorable actor or the
representation of a specific character. For each of those characters, describe their vocal
delivery and then what it suggests about the character.
Film and character
name
Vocal delivery
description
What this suggests
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INTERACTION BETWEEN ACTORS AND SPACES
In a previous section we explored the role of positioning and how to describe the position of people and
objects within a frame. As part of performance we also need to consider this, though be aware of how
and why an actor may have informed part of this in terms of representing their character. This means
that an actor may well has been told to start or end a scene in a particular place, or perhaps even been
told where to move to in the scene, but the method of how an actor does that will be key in helping to
represent their character. We’ll cover this in more detail later on, but before we do this, let’s recap
positioning by looking at the shot below from AMERICAN ANIMALS (2018).
TASK:
Use the space around the outside of this shot to identify and analyse the positioning of the protagonist
and then explore what it suggests about him and the possible nature of his character.
A still image is useful if analysing a relatively static scene, but generally actors will be moving and
inhabiting a variety of spaces in the film and also interreacting with the scenery and others in that scene.
This means that we need to consider clips as a much more useful example in the role of performance.
TASK:
Watch the clip below. After the initial few seconds, begin to note where the characters move to, using
specific directions. It is up to you to decide how many directions you decide to identify, but for each,
give a brief evaluation as to why the character moves to that position.
https://www.youtube.com/watch?v=Mr9Olsd2KHk (AMERICAN ANIMALS (2018) Fantasy Heist)
It’s important to consider that this clip have been chosen for the express reason that there are specific
movements from characters in this clip and not all films and scenes will be as clear!
However, the clip does provide a sense of what a Director is essentially doing; planning a series of
movements within a scene for a specific reason-it is up to use as film students to ‘decode’ the movements
that stand out as being especially important or relevant and to explain why they have been used in the
film, namely, what does the movement suggest?
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Mise en scene booklet GCSE Film Studies

Mise en scene booklet GCSE Film Studies

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Mise en scene booklet GCSE Film Studies