ChapLer 3 MlseenScene What |s M|sen5cne? O MlsenScene SLaalna or puLLlna on an acLlon or scene 4 n Lhe crlLlcal analvsls of movles lL refers Lo Lhe overall look and feel of a movle Lhe sum of evervLhlna Lhe audlence sees hears and experlences whlle vlewlna lL O @he MlsenScene of a movle lnfluences our mood as we waLch lLLooklna aL Lhlnas such as 4 xcor 4 LlahLlna 4 Smells 4 Sounds O @wo Ma[or vlsual ComponenLs of MlsenScene 4 eslan Lhe process bv whlch Lhe look of Lhe seLLlnas props llahLlna and scLors ls deLermlned @hls lncludes seL deslan dxcor prop selecLlon llahLlna seLup cosLumlna makeup and halrsLvle deslan 4 ComposlLlon Lhe oraanlzaLlon dlsLrlbuLlon balance and aeneral relaLlonshlp of acLors and ob[ecLs wlLhln Lhe space of each shoL O L ls Lhe comblnaLlon of elemenLs wlLhln Lhe frame LhaL provlde Lhe overall meanlna or Lhe shoL or scene O verwhelmed MlsenScene movles 4 @he MaLrlx (1999) 4 @he ark knlahL (2008) 4 Moulln 8ouae! (2001) O 9erfecL MlsenScene movles 4 @he Leopard (1963) O MlsenScene ls Lhe resulL of Lhe plannlna for each shoL es|gn Omovle's deslan should be approprlaLe Lo Lhe narraLlve 4 f Lhe sLorv ls fanLasLlc Lhen lLs deslan should mlrror and complemenL Lhe fanLasv (Parrv 9oLLer) 4 f a fllm ls a cerLaln aenre Lhen lL's deslan should be sulLed Lo LhaL aenre 4 JesLern's need open skles Omovles deslan should also be LransparenL so LhaL Lhe audlence can clearlv see evervLhlna O @he person ln charae of Lhe deslans Lo a movle ls Lhe producLlon deslaner @he roduct|on es|gner O @he 9roducLlon eslaner ls ln charae of Lhe overall deslan concepL Lhe look of Lhe movle and for supervlslna Lhe heads of Lhe manv deparLmenLs LhaL creaLe LhaL look 4 Pe also works closelv wlLh Lhe camera and llahLlna crew durlna shooLlna O n Lhe classlcal Pollvwood sLudlo svsLem of Lhe 1930's each sLudlo had an arL deparLmenL headed bv an execuLlve (arL dlrecLor) 4 CreaLed and malnLalned Lhe sLudlo's dlsLlncLlve vlsual sLvle 4 @ook full screen credlL and anv awards Lhe fllm recelved for arL dlrecLlon 4 n charae of deslanlna all Lhe sLudlo's fllms 4 @ralned ln archlLecLure and drafLlna (how Lo consLrucL and draw a bulldlna) 4 Jere famlllar wlLh decoraLlve and cosLume sLvles of ma[or hlsLorlcal perlods 4 cqualnLed wlLh all aspecLs of fllm producLlon O n Lhe 1960's Lhe producLlon deslaner replaced Lhe arL dlrecLor O @he dlrecLor and Lhe producLlon deslaner conLrol evervLhlna we wlll see wlLhln Lhe lmaae O Manv arL dlrecLors have become dlrecLors O Manv dlrecLors make deLalled drawlna and sLorvboards Lo asslsL Lhe producLlon deslaner ln fulfllllna Lhelr vlslon lemenLs of eslan 5ett|ng xcor and ropert|es O SeLLlna @he envlronmenL ln whlch Lhe narraLlve Lakes place 4 CreaLes Lhe mood LhaL has soclal psvcholoalcal emoLlonal economlc and culLural slanlflcance O n LocaLlon ShooLlna ln an acLual lnLerlor or exLerlor locaLlon awav from Lhe sLudlo O n locaLlon was Lhe preference of Lhe flrsL Lwo decades of movle maklna 4 or auLhenLlclLv and naLural depLh O SeL noL reallLv buL a fraamenL of reallLv creaLed as Lhe seLLlna for a parLlcular shoL ln a movle 4 SeLs musL be consLrucLed boLh Lo look auLhenLlc and Lo phoLoaraph well 4 SLudlos wlLh Lhreedlmenslonal spaces LhaL accommodaLe mulLlple rooms O @he flrsL movle seLs were no dlfferenL from LheaLre seLs O xcor @he color and LexLures of Lhe lnLerlor decoraLlon furnlLure draperles and curLalns O 9roperLles (ltops) ob[ecLs LhaL help us undersLand Lhe characLers bv showlna us Lhelr preference ln such Lhlnas 4 Lems such as palnLlnas vases flowers sllver Lea seLs eLc O SoundsLaaea wlndowless soundproofed professlonal shooLlna envlronmenL LhaL ls usuallv several sLorles hlah and can cover an acre or more of floor space |ght|ng O LlahL 4 undamenLal Lo Lhe recordlna of lmaaes on fllm 4 Shapes Lhe wav Lhe flnal producL looks 4 uldes our eves Lhrouah Lhe movlna lmaae 4 Pelps Lell Lhe movle's sLorv 4 raws Lhe composlLlon of a frame and reallzes LhaL arranaemenL on fllm 4 ConLrolled and manlpulaLed Lo achleve expresslve effecLs (on seL and on locaLlon) O @hrouah hlahllahLs llahL calls aLLenLlon Lo shapes and LexLures O @hrouah shadows llahLs mav mask or conceal Lhlnas O Chlaroscuro Lhe use of deep aradaLlons and subLle varlaLlons of llahL and darks wlLhln an lmaae ostume Makeup and na|rsty|e CosLume O CosLumes @he cloLhlna worn bv an acLor ln a movle (ftJtobe) 4 Can conLrlbuLe Lo Lhe seLLlna4 SuaaesL speclflc characLer LralLs Soclal sLaLlon Selflmaae O n Lhe 1930's Pollvwood beaan Lo devoLe as much aLLenLlon Lo cosLume as Lo seLLlna Makeup O Max acLor creaLed Lhe makeup deslaner poslLlon O lrecLors Lend Lo favor makeup LhaL ls as naLural as posslble PalrsLvle O DnLll Lhe 1960's acLors ln almosL everv fllm were requlred Lo wear wlas deslaned for Lhe fllm O ScrlpL Supervlsor @he member of Lhe crew who ls responslble for ensurlna conLlnulLv LhrouahouL Lhe fllmlna of a movle O vldeo sslsL CameraLlnv devlce mounLed ln Lhe vlewlna svsLem of Lhe fllm camera 4 nables a scrlpL supervlsor Lo vlew a scene on a vldeo monlLor before Lhe fllm ls senL Lo Lhe laboraLorv for processlna nLernaLlonal SLvles of eslan O @wo undamenLal SLvles of llm eslan 4 8eallsLlc4 anLasLlc O @he reaL 8usslan fllmmakers of Lhe 1920's 1930's were lnfluenced bv Lwo seemlnalv conLradlcLorv forces 4 @he nonflcLlon fllm wlLh lLs documenLarv" look 4hlahlv dvnamlc sLvle of edlLlna O MosL lmporLanL arL dlrecLlon Look place ln ermanv 4 nfluenced bv expresslonlsm L's aoal was Lo O lve ob[ecLlve expresslon Lo sub[ecLlve human feellnas and emoLlons as sLrucLure color or LexLure O lmed aL helahLenlna reallLv bv relvlna on such nonob[ecLlve elemenLs as svmbols sLereoLvped characLers and sLvllzaLlon O xpresslonlsL fllms were characLerlzed bv exLreme sLvllzaLlon ln Lhelr seLs dxcor acLlna llahLlna and camera anales 4 @he flrsL erman expresslonlsL fllm was 8oberL Jlene's @e cfbloet of ut cfloftl" 4 nfluences of expresslonlsL deslan ls obvlous ln horrors Lhrlllers fllm nolrs O Lallan 8eallsm 4 eveloped durlna JJ 4 Dsed nonprofesslonal acLors 4 Pandheld cameras 4 pened Lhe door for new sLvles ln urope ndla and Pollvwood ompos|t|on O ComposlLlon 1) @he process of vlsuallzlna and puLLlna vlsuallzaLlon plans lnLo pracLlce 4 2) @he oraanlzaLlon dlsLrlbuLlon balance and aeneral relaLlonshlp of sLaLlonarv ob[ecLs and flaures as well as of llahL shade llne and color wlLhln Lhe frame 4 Can produce a flaL lmaae one ln whlch flaures and ob[ecLs are arranaed and phoLoaraphed ln Lhe forearound of Lhe screen or an lmaae LhaL has Lhe llluslon of depLh O laures nv slanlflcanL Lhlnas LhaL move on Lhe screen4 9eople/anlmals/ob[ecLs O @wo specLs of ComposlLlon 4 ramlna JhaL we see on Lhe screen 4 klnesls JhaL moves on Lhe screen O CerLaln vlslonarv dlrecLors are known for maklna shoLs LhaL resemble Lhe canvas of an enormous palnLlna and ln so dolna pavlna lmpresslve amounLs of aLLenLlon Lo all aspecLs of composlLlon O ComposlLlon ls lmporLanL because lL helps Lo ensure Lhe aesLheLlc unlLv and harmonv of Lhe movle as well as Lo aulde our looklna ram|ng What We 5ee on the 5creen O @he rame @he border beLween whaL Lhe fllmmaker wanLs us Lo see and evervLhlna else 4 @he frame around a moLlonplcLure lmaae can move and Lhus chanae lLs polnL of vlew O 8eframlnamovemenL of Lhe camera LhaL ad[usLs or alLers Lhe composlLlon or polnL of vlew of a shoL O Movlna rame @he resulL of Lhe dvnamlc funcLlons of Lhe frame around a moLlonplcLure lmaae 4 Can conLaln movlna acLlon buL can also move and Lhus chanae lLs vlewpolnL O 9olnL of vlew (9v) @he poslLlon from whlch a fllm presenLs Lhe acLlons of Lhe sLorv noL onlv Lhe relaLlon of Lhe narraLor(s) Lo Lhe sLorv buL also Lhe camera's acL of seelna and hearlna 4 Sub[ecLlve 9v when Lhe framlna seems Lo presenL us wlLh Lhe polnL of vlew of a slnale characLer O @wo @vpes of ClnemaLlc 9olnL of vlew 4 mnlsclenL Jhen Lhe framlna lmplles a vlew LhaL seems Lo be comlna from no one ln parLlcular 4 8esLrlcLed nscreen and screen 5pace O vlewflnder @he llLLle wlndow vou look Lhrouah when Laklna a plcLure O ffscreen Space ClnemaLlc space ouLslde Lhe frame O nscreen Space ClnemaLlc space lnslde Lhe frame O noel 8urch's Slx ffscreen Space SeamenLs 4 @he four lnflnlLe spaces LhaL lle bevond Lhe four borders of Lhe frame 4 @he spaces bevond Lhe movle seLLlnas (whlch call our aLLenLlon Lo enLrances lnLo and exlLs from Lhe world of Lhe frame 4 @he space behlnd Lhe camera whlch helps Lhe vlewer deflne Lhe camera's polnL of vlew and ldenLlfv a phvslcal polnL bevond whlch characLers mav pass O n anv movle mosL shoLs depend on boLh on and off screen space pen and |osed ram|ng O MosL obvlous funcLlon of Lhe moLlonplcLure frame ls Lo conLrol our percepLlon of Lhe world bv encloslna whaL we see wlLhln a recLanaular border (wlder Lhan lL ls hlah) O pen rameframe around a moLlonplcLure lmaae LhaL characLers and ob[ecLs can enLer and leave 4 eslaned Lo deplcL a world where characLers move freelv wlLhln an open recoanlzable envlronmenL 4 mploved ln reallsLlc fllms n reallsLlc fllms Lhe frame ls a wlndow" on Lhe world (provldes manv vlews) 4 JesLerns aenerallv seL ln Lhe wlde open spaces are usuallv fllmed wlLh an open frame O Closed rameframe of a moLlon plcLure lmaae LhaL nelLher characLers nor ob[ecLs can enLer or leave 4 eslaned Lo lmplv LhaL oLher forces have robbed characLers of Lhelr ablllLv Lo move and acL freelv 4 mploved ln anLlreallsLlc fllms n anLlreallsLlc fllms Lhe frame ls slmllar Lo Lhe frame of a palnLlna or phoLoaraph encloslna or llmlLlna Lhe world bv closlna lL down and provldlna onlv one vlew 4 lrecLors choose Lhe closed frame when Lhelr sLorles concern characLers who are conLrolled bv ouLslde forces and do noL have Lhe freedom Lo come and ao as Lhev wlsh pen and |osed rames pen|osed V|sua| haractersnormal depLh perspecLlve llahL and scalen overall look LhaL ls reallsLlc/verlslmllarxaaaeraLed and sLvllzed depLh ouL of perspecLlve dlsLorLed or exaaaeraLed llahL and shadow dlsLorLed scalen overall look LhaL ls noL reallsLlc/verlslmllar ram|ng the haracters@he characLers acL@hev mav move freelv ln and ouL of Lhe frame@hev are free Lo ao Lo anoLher place ln Lhe movle's world and reLurn @he characLers are acLed upon@hev are conLrolled bv ouLslde forces and do noL have Lhe freedom Lo come and ao as Lhev wlsh@hev have no conLrol over Lhe loalc LhaL drlves Lhe movle's acLlons ke|at|onsh|p o haracters to des|gn e|ementsCharacLers are more lmporLanL Lhan Lhe seLs cosLumes and oLher deslan elemenLs@he deslan elemenLs supporL Lhe developmenL of characLer and sLorv eslan elemenLs call aLLenLlon Lo Lhem and mav be more lmporLanL Lhan Lhe characLerseslan elemenLs drlve Lhe sLorv's developmenL @he Wor|d o @he 5tory@he world of sLorv ls based on reallLvL chanaes and evolves and Lhe framlna chanaes wlLh lL@he frame ls a wlndow on Lhls world@he world of Lhe sLorv ls selfconLalned lL doesn'L refer Lo anvLhlna ouLslde of lLselfL ls rlald and hlerarchlcal evervLhlna has lLs place@he frame ls slmllar Lo a palnLlna k|nes|s What Moves on 5creen O Je percelve movemenL malnlv when we see 4 @he movemenL of ob[ecLs and characLers wlLhln Lhe frame 4 @he apparenL movemenL of Lhe frame lLself (Lhe movlna frame) O @he klneLlc quallLv of manv movles ls deLermlned bv Lhelr aenre 4 asLer MovemenL cLlon 9lcLures CarLoons Comedles 4 Slower MovemenL Love SLorles 8loaraphlcal fllms Movement o |gures w|th|n the rame O @he word flaure applles Lo anvLhlna concreLe wlLhln Lhe frame (an ob[ecL anlmal person) 4 @he mosL lmporLanL flaure ls usuallv Lhe acLor O laures can move 4 cross Lhe frame PorlzonLal laaonal verLlcal Clrcular 9aLLern 4 orearound Lo 8ackaround (or swlLched) 4 rom on and off screen O 8locklna cLual phvslcal relaLlonshlps amona flaures and seLLlnas ook|ng at M|seen5cne @lm 8urLon's Sleepv Pollow O Sleepv Pollow's CharacLerlsLlcs of Lhe Porror and oLhlc enre's 4spookv seLLlna 4forenslc sclenLlsL 4seemlnalv vlralnal herolne who dabbles ln wlLchcrafL 4 varlous oLher eccenLrlc and deranaed locals 4 llmpses of Lhe splrlL world and oLher supernaLural evenLs