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Mise-En-Scene

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Without this scene we would not know the importance of the sled at the end. Although the audience is unaware at the time of the scene, but the concentration of the movie is really the focal point of this scene.

The camera is moving many times as the three people who seem to be the focus of the scene are moving. However, the real point of the shot lies with the boy in the background which is never not in the shot.

Another movie that had a great impact on me was Persona. There were many important scenes in this film, but there was one example of mise-en-scene that sticks out in my mind. This is the scene when the nurse is chasing the actress along the seashore. The actress is walking swiftly away from her along rocks, while the nurse is trying her hardest to catch up to her.

This scene comes directly after the nurse yells at the mute actress and slaps her across the face. It seems the whole movie she is trying to be nice to this woman and the one time that she stands up to her, she runs away. The nurse is begging for forgiveness. This scene really proves how weak the nurse is emotionally and mentally. She is sobbing and in a state of hysteria and the actress still will not forgive her. This reveals a lot of the actress's persona too. It shows that she does not really care much for the nurse, even though she is just trying to help her.

The scene ends with the actress walking off and the nurse running in the opposite direction towards the water. She stumbles and cries and then the scene is over. This scene tells us, the audience a lot about the personality of both women not just in this scene but in their lives. The nurse is a caring woman who will do almost anything for her patient or probably anyone at all. The actress seems to be a heartless unforgiving bitch. These points are proved throughout the movie, but I believe that this mise-en-scene is the most powerful of them all.

The time and place that the movie is made are usually affected but this. A great example of this would be the film Breathless, directed by Godard.

This is a story of the love between a small-time crook who is wanted for killing a cop, and an American woman who works for a French newspaper. Their relationship develops as the man hides out from the police. Breathless uses the famous techniques of the French New Wave: The world as we experience it through our own senses is limited in its scope to the singular perspective. In film, however, using the same setting with the use of many different camera angles and positions, producing shots that are choreographed with crisp sound into a sequence, can take even an otherwise boring event and present it as epic.

Filmmaking has the ability to broaden perspective — exponentially. Released to theaters on July 24, , and the winner of five Academy Awards including a Best Director Oscar for Steven Spielberg, Saving Private Ryan quickly became the benchmark for what a movie depicting war should aspire. From the first scene of the film that presents the story, the audience is thrust into the horrors of war. The scene begins with an introduction to the time and place that the event occurs, and then depicts the journey the soldiers must endure to step foot on solid ground while plans to repel them are in full swing by the Germans.

The beach is strewn with a multitude of ominous manmade obstacles designed to make any attempt to reach land via the sea an unpromising endeavor. A majority of the scene is shot in the hold of a period-correct, infantry landing craft as it moves toward the beach. As the craft makes it to the shoreline, the audience views the destination, Omaha Beach. The beach consists of a wide plain of sand that extends from the shoreline to the cliff that has embedded a large menacing concrete bunker that towers over everything in view.

Cinematography During the scene, the chaotic movements and skillful positioning of the camera give the audience a feeling of actually being on the landing craft and a part of the strike force. Whereas the scene focuses mainly on the members of a single landing craft, you are made aware that the attack force is much larger because of a brilliant high angle shot.

The camera is positioned in such a way that a multitude of similar craft is in clear view, and all are moving in a parallel formation making their way at high speed for the shore; moreover, each craft is full of soldiers facing toward the bow ramp with salt spray breaking over the bows as their vessel charges through the moderate seas.

The shot includes a rear view of the soldiers anxiously awaiting the bow ramp to fall, and in the background high on the cliff, the concrete bunker waits. Just as the bow ramp falls, the bunker unleashes hell upon the soldiers in the craft. Bullets rip the flesh apart of those unfortunate souls that were positioned most forward. The next camera shot is an over-the-shoulder, high-angle shot from the operator of the one of the MG machine guns in the bunker looking at the landing craft centered on the shoreline below.

The camera tracks behind the silhouetted gun placements as they fire with ease upon the helpless landing craft below. Editing The scene is a combination of fifty separate straight cuts expertly spliced into just over four minutes of film. It is in that just over four minutes that the foundation of the entire film takes hold.

As the scene moves forward, the ambient sounds increase with their intensity and frequency. The sound of the diesel engines that propel the craft becomes less noticeable as the sounds of battle start to increase in both volume and occurrence as the craft nears the shore. After the bow ramp is lowered, accompanied by a loud ratcheting sound of gears mashing together, the soldiers are soon forced into the water because of the heavy machine gun fire emanating from the bunker.

The sound of bullets hissing with the simultaneous sounds of human flesh being literally torn apart is unnerving, and makes the audience wince with despair — how can these men be saved? It is then that the soldiers are forced to escape over the side of the craft, and the ambient sound abruptly turns from the din of battle to the muffled, strangely peaceful sound one would hear while completely immersed in water. The sound presents a short respite for the audience, just long enough for a short breath before the battle continues under the water.


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One huge mise-en-scene element of the film is its use of color, or more specified its lack of color. The entire film is filmed in black and white. One would think that this film is an older film, for most modern films are filmed in color, but this film chose to film in black and white on purpose/5(10).

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In this chapter, content analysis will be used to analyze the film 'Titanic' in qualitative perspectives from the five mise-en-scene elements (Acting style, setting, space, costume and lighting) and also the focus group to find out ideological elements that portrayed in this film. Mise En Scene The setting begins with a view of a beach’s shoreline looking out to the ocean with an overcast sky. The beach is strewn with a multitude of ominous manmade obstacles designed to make any attempt to reach land via the sea an unpromising endeavor.

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Essay #1 – Final Draft Mise-en-scene in The Mummy The horror genre of the ’s, although stylized in comparison to today’s present films are effective in their use of cinematic technique to portray emotions, ideologies, and personify characters. During this time period a wave of anti-immigration sentiments became mainstream ideals, a. Mise En Scene Essays: Over , Mise En Scene Essays, Mise En Scene Term Papers, Mise En Scene Research Paper, Book Reports. ESSAYS, term and research papers available for UNLIMITED access.