Film Form

Class Announcements

  • Group sign-up will occur at the end of class, requiring clarification on the process.

  • No class will be held next Monday due to the College of Performance Visualization and Fine Arts' annual research and creative work day.

    • Initial approval for an evening screening was revoked.

    • Syllabus is updated to reflect no class or screening on Monday.

  • The next class on Wednesday will cover the assigned reading and film together to ensure continuity.

  • Please watch "In the Mood for Love" prior to Wednesday; it is accessible for free on Canopy.

  • Seating Arrangement: The last four rows should remain empty to accommodate late arrivals and facilitate teaching dynamics. This promotes a more compact learning environment. Noncompliance will lead to a reminder at the end of class.

Cell Phone Policy

  • All students should set their phones to silent at the beginning of class to minimize distractions. If phones are visible, class will pause until they are put away.

Today's Class Focus

  • The class will cover extensive material, possibly leading to the postponement of discussion questions about the film "Big Fish". However, discussions can be addressed later, such as during the exam review.

  • Light will be turned off frequently during the session to present visual examples supporting the learning material.

Course Structure

  • The course is in its second unit, focusing on tools for film analysis. Students will learn to understand terminology related to film elements, which may appear overwhelming due to the amount of new vocabulary involved.

  • The goals for students include:

    • Developing critical thinking skills applicable beyond the classroom.

    • Learning to analyze and interpret the formal elements of film.

Introduction to Mise en Scene

  • Definition: "Mise en Scene" refers to everything visible in front of the camera during filming, including the arrangement of actors, decor, sets, and props.

  • Pronunciation: "Mise en scene" is pronounced as follows: "mise (meez)" "en (on)" "scene (sen)". It is a French term that loosely translates to the arrangement or setting of the stage.

  • Interchangeability: Can also be referred to as "production design"; both terms may be used interchangeably though "mise en scene" is preferred in scholarly contexts.

  • Functions: The elements of mise en scene move, convey information about characters, and express themes. They may serve one or multiple functions simultaneously.

Elements of Mise en Scene

  • Discussed through various components, each with specific roles and applications in film analysis.

Production Design Crew

  • The primary individual responsible for production design is the production designer, who collaborates with the director to realize the overall visual style of a film. Potential crew members include:

    • Construction workers (for building sets)

    • Costume designers

    • Hair and makeup artists

    • Prop master (who manages props)

    • Set dresser (who arranges items on set)

    • Set decorator (who selects visual elements)

    • Art director (who ensures designs align with the vision)

    • Location scouts (who identify filming locations)

Theater Origins

  • Mise en Scene: Originally from theater, everything visible on stage contributes to the concept, which translates to film.

  • Important Note: Discussions of mise en scene exclude camera operation, based solely on visual elements in front of the camera.

Components of Mise en Scene

1. Light

  • Lighting is a key factor informing where attention is directed within a scene and setting the mood.

    • Quality: Refers to soft vs. hard lighting.

      • Soft Lighting: Diffuse, flattering, without sharp details; often creates a positive mood.

      • Hard Lighting: Sharp, detailed, revealing imperfections; often creates tension.

    • Placement: Directions of lighting affect the scene:

      • Frontal Lighting: Clarity and focus on the character.

      • Backlighting: Creates silhouettes.

      • Underlighting: Distorted features, often used for horror.

      • Side Lighting: Creates dualities in characters.

      • Top Lighting: Creates a halo effect, often signifying importance or divinity.

    • Contrast: Refers to lighting dynamics:

      • High Key Lighting: Bright, cheerful scenes, even illumination.

      • Low Key Lighting: High contrast, shadowed areas evoke tension.

      • Natural Key Lighting: Mimics natural light, creates a neutral atmosphere.

2. Composition

  • How all elements are arranged visually in the frame:

    • Rule of Thirds: Character placement in the left and right thirds create engagement and prevent visual stagnancy.

    • Balance: Ensures visual appeal and may signify power dynamics and character relationships.

    • Deep Space: Use of foreground, mid-ground, and background creates layers in storytelling.

    • Tight vs. Loose Framing:

      • Tight Framing: Limited space around the character, implying confinement or tension.

      • Loose Framing: Ample space allowing freedom of movement, suggesting liberation.

    • Symmetry: Equal visual weight; often used to denote harmony or equilibrium in character relationship.

3. Kinesis

  • Refers to the movement of actors and objects in relation to one another on set; often analyzed for blocking, depicting power dynamics and relationships among characters.

Analysis of "Big Fish"

  • Film Movements: Small groups of films with shared stylistic elements produced within brief periods. "Big Fish" is influenced heavily by German expressionism—a contrast with conventional narrative styles seen in films.

    • Mise en Scene: In reality scenes, the style is subdued (naturalistic lighting, dull colors), whereas in fantasy scenes, it is vibrant (loose framing and expressive colors).

Themes in "Big Fish"

  • Storytelling’s nature; embellishments in storytelling might be preferable to stark realism.

  • The importance of narratives to define one’s legacy: Only the stories we tell remain after we vanish.