Mise-En-Scene: Film Style and Interpretation by John Gibbs
Since Mise-En-Scene is now integrating into the upcoming what if metropolis project, I decided to use this essential reading source as a research opportunity for this important phrase. The recognisable French translation of 'to put on stage' is "used in film studies in the discussion of visual style". Using the characteristics of Mise-En-Scene requires a critic to analyse "the contents of the frame and the way that they are organised". Categories to comment on include lighting, costume, décor, properties and the actors themselves. However, some of these elements aren't relevant to this what if metropolis project, since it is predominantly focuses on space rather than characters. Mise-En-Scene "encompasses both what the audience can see, and the way in which we are invited to see it. It refers to many of the major elements of communication in the cinema, and the combinations through which they operate expressively".
The book uses thorough examples of how the elements of Mise-En-Scene interact and create strength or solidity within a shot. Author John Gibbs seems to insinuate that carelessness and ignorance towards Mise-En-Scene can starve filmmaking of dimension, atmosphere, meaning and expression. Without it, work becomes hollow and monotone. John teaches readers that "it is the interaction of different aspects of Mise-En-Scene which enables film makers to accomplish the most interesting effects". Therefore, understanding the method will nourish a readers filmmaking. When composing my own environment for this new project, the communication between Mise-En-Scene elements needs to be a priority.
Through examining a single scene from the 1996 lone Star using Mise-En-Scene elements, author John Gibbs is able to lift out heavy subject matter such as "international economics, father-son relationships, race relations". Understanding Mise-En-Scene will amplify a film viewing experience as you can intertwine your own judgment and inferences with the visualisations a film director provides for you.
Writing with Mise-En-Scene comes across as an extremely mature style of writing and analysis. This book emphasises that this method is an important study of elements, an endless array of poetic descriptions that requires a writer to choose what they resonate with the most, what they can comment on with confidence. "If the filmmaker needs to be aware of the potential range of effects of the individual stylistic choice, then so does the critic". As a critic of weekly symposia's, I must be imaginative and open-minded with my written language towards the films I view.
The book dedicates a generous amount of time to the idea of 'melodrama'. "Laura Mulvey has gone so far as to call melodrama the genre of Mise-En-Scene". The word simply means to "express things visually rather than verbally". This should be a phrase to comment on frequently within my own essays.
When critiquing symposia's, I must remember that "a sense of how style relates to meaning needs to be a central to your enquiry". This book is bursting with helpful advice for this upcoming what if metropolis project...
The book uses thorough examples of how the elements of Mise-En-Scene interact and create strength or solidity within a shot. Author John Gibbs seems to insinuate that carelessness and ignorance towards Mise-En-Scene can starve filmmaking of dimension, atmosphere, meaning and expression. Without it, work becomes hollow and monotone. John teaches readers that "it is the interaction of different aspects of Mise-En-Scene which enables film makers to accomplish the most interesting effects". Therefore, understanding the method will nourish a readers filmmaking. When composing my own environment for this new project, the communication between Mise-En-Scene elements needs to be a priority.
Through examining a single scene from the 1996 lone Star using Mise-En-Scene elements, author John Gibbs is able to lift out heavy subject matter such as "international economics, father-son relationships, race relations". Understanding Mise-En-Scene will amplify a film viewing experience as you can intertwine your own judgment and inferences with the visualisations a film director provides for you.
Writing with Mise-En-Scene comes across as an extremely mature style of writing and analysis. This book emphasises that this method is an important study of elements, an endless array of poetic descriptions that requires a writer to choose what they resonate with the most, what they can comment on with confidence. "If the filmmaker needs to be aware of the potential range of effects of the individual stylistic choice, then so does the critic". As a critic of weekly symposia's, I must be imaginative and open-minded with my written language towards the films I view.
The book dedicates a generous amount of time to the idea of 'melodrama'. "Laura Mulvey has gone so far as to call melodrama the genre of Mise-En-Scene". The word simply means to "express things visually rather than verbally". This should be a phrase to comment on frequently within my own essays.
When critiquing symposia's, I must remember that "a sense of how style relates to meaning needs to be a central to your enquiry". This book is bursting with helpful advice for this upcoming what if metropolis project...
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