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Mizoguchi Kenji ‘One scene in one shot’ His visual style

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Mizoguchi Kenji. ‘One scene in one shot’ His visual style. Mizoguchi’s Visual Style (Montage). LONG-TAKE * Take = a single continuous recording Shot - Scene - Sequence - PowerPoint PPT Presentation

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Page 1: Mizoguchi Kenji

Mizoguchi Kenji

‘One scene in one shot’His visual style

Page 2: Mizoguchi Kenji

Mizoguchi’s Visual Style (Montage)

• LONG-TAKE * Take = a single continuous recording

• Shot - Scene - Sequence*shot = the shortest unit of film which is continuously shown without interruption, that is, editing; *scene = a shot or a series of shots that comprise a single, complete event or action; *sequence = a series of scenes which show related events, settings or stories

• ‘One-scene-in-one-shot’; An entire action in a scene is shown in one shot

Page 3: Mizoguchi Kenji

Mizoguchi’s Visual Style (Montage)

• Why does Mizoguchi rely on long-take or insist one scene in one shot?

*Average Shot Length (ASL) = a cinemetrical measures; 5.9 second per shot in D.W. Griffith’s Intolerance and 2.5 seconds in American films made in 2007)

• 22 seconds in Osaka Elegy, 33 seconds in Sisters of Gion, 57 seconds in Chrysanthemum, 92 seconds in The 47 Ronin, 29 seconds in Ugetsu

Page 4: Mizoguchi Kenji

Mizoguchi’s Visual Style (Montage)

‘… the most precise and specific expression for intense psychological moments.’

Mizoguchi Kenji• Long-take is an effective way to create

psychological tension• Though demanding for performers and cameramen

Page 5: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Expansive screen space• Continuous space created by

fluid pan and traveling shots(Oharu)

• Skillful uses of on- and off-screen space

• Off-screen space further indicated by repeated sound effects (e.g. Chrysanthemums)

Page 6: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• One of the great mise-en-scene directors along with Murnau, Ophüls, and Wells

• Mise-en-scène = ‘staging’ (‘to put it in the scene’)• It includes all the elements placed before the

camera or within a frame - actors, their performance, sets, props, make-ups, costumes, etc.

• It also includes the way in which those elements are shown - visual arrangement and composition - lighting, camera angle, camera movement, shot size, lens choice, etc.

Page 7: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Chiaro-scuro lighting - strong contrast between light and shade(Rembrandt lighting - Mizoguchi learned western paintings when young.)

• Atmospheric, moody and powerful images

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Mizoguchi’s Visual Style (mise-en-scène)

• Rembrandt Lighting

Page 12: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Mizoguchi’s chiaro-scuro cinematography(e.g. Sansho the Bailiff)

Page 13: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Long-shot (a camera view of a character or object from a distance)(or no close-ups)

• Related to long-take; the longer a take is, the more information needs to fill the screen, so that the viewer can spend more time seeing and contemplating on it. Long shot provides more information.

Page 14: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)• The scene in Ugetsu

where the heroine is dying in agony while the soldiers on the run squabble for pathetic rice balls for which they killed her.

• A tragedy and human waste is staged in a long shot with multiple actions.

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Mizoguchi’s Visual Style (mise-en-scène)• REALISTIC and

SYMBOLIC representation

• Visual REALISMConstruction of sets,designing costumesfinding locations

based on meticulous historical research

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Mizoguchi’s Visual Style (mise-en-scène)• Sansho the Bailiff • The opening shot shows

travelers walking across a river bed.

• Its symbolic visual meaning retroactively becomes apparent as the film progresses.

• Our life is a only journey-in-progress from eternity to another eternity.

Page 19: Mizoguchi Kenji

Realistic and Symbolic Representation

• Symbolic meaning of water• Passage from one life to another• Passage separating this world from the other

world

Page 20: Mizoguchi Kenji

Realistic and Symbolic Representation

• The lake Biwa separate a village from a large town

• The lake Biwa also separates this world from the other

Page 21: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Frequent uses of sharply angled shot

• Mizoguchi’s aesthetic choice

• Composition inspired by traditional prints and scroll paintings

Page 22: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)• POV from high in the

air and looking down on a scene

• The beginning of Legend of the Taira Clan (Shin Heike Monogatari, 1955)

Page 23: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• High-angle composition inspired by traditional Japanese scroll paintings

Page 24: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Formal characteristics of composition and movement

DIAGONAL Composition and

movement

• Mizoguchi’s aesthetic sensibility as a painter

Page 25: Mizoguchi Kenji

Mizoguchi’s Visual Style (mise-en-scène)

• Diagonal compositions constructed from the lines of floor, ceiling, beam, and tatami are frequently seen in Mizoguchi’s films.

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Mizoguchi’s Visual Style (mise-en-scène)

• Painterly cinematography - composition and subdued colour scheme reminding of the ink painting

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Mizoguchi’s Visual Style• LONG TAKE, LONG

SHOT, OFF-SCREEN SPACE, SOUND EFFECT, DIAGONAL COMPOSITION AND MOVEMENT articulate emotions, intensify drama, clarify meanings, provide aesthetic and formal pleasure.

• The Life of Oharu