Week 02 – Film Language and Research approaches

Mise-en-Scène

Definition:

• French term meaning “what is put into a scene or frame“
• Refers to the visual information in front of the camera
• Communicates essential information to the audience
• Composed of various elements

Elements of Mise-en-Scène:

1. Settings & Props
2. Costume, Hair & Make-Up
3. Facial Expressions & Body Language
4. Lighting and Colour
5. Positioning of Characters/Objects within the Frame

1. Settings and Props

• Crucial for film and animation, settings can be built or found
• They can manipulate audience expectations

2. Costume, Hair & Make-Up

• Instantly indicates a character’s personality, status, and job

3. Facial Expressions & Body Language

• Clear indicators of emotions and relationships between characters

4. Positioning of Characters & Objects within a Frame

• Directs attention to important characters or objects
• Indicates relationships between characters

5. Lighting & Colour

• Highlights important elements within the frame
• Can make characters look mysterious or reflect their emotional state
• Types of Lighting:
  • Low Key Lighting: Creates sharp contrasts and deep shadows
  • High Key Lighting: Natural and realistic lighting, brightly lit

Depth-of-Field:

• Deep Focus: Both close and distant planes are in sharp focus
• Shallow Focus: Background is blurry to focus on a specific object or character

Types of Shots Based on Distance:

• Extreme Close-Up (ECU)
• Big Close-Up (BCU)
• Close-Up (CU): face only
• Medium Close-Up (MCU)
• Medium Shot (MS): most of the body
• Medium Long Shot (MLS)
• Long Shot (LS): setting and characters
• Very Long Shot (VLS)
• Extreme Long Shot (ELS)

Types of Shots Based on Number of People:

• One-shot
• Two-shot
• Group shot

Types of Shots Based on Angle:

• High angle shot
• Low angle shot
• Point of View shot (POV)

Moving Shots:

• Pan Shot: Camera pivots horizontally on a fixed base
• Tilt Shot: Camera moves up or down on a fixed axis
• Traveling Shot (Dolly Shot): Camera moves forward or backward on a fixed axis
• Crane Shot: Camera moves in, out, up, and down while mounted on a crane

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Animation Staging

Purpose:

• In animation, film, and theatre, staging directs the audience’s attention to what’s important. Each medium has unique production strategies to communicate themes, narratives, scenes, or performances effectively.

Key Elements:

1. Character Placement & Composition:
   • Camera Angle and Position (Perspective): Influences focus and perception.
   • Light and Shadow (Contrast): Enhances visibility and mood.
   • Character Dynamics (Performance or Pace): Conveys emotion and action.
   • Entry to the Scene (Expectant or Sudden): Sets tone and anticipation.
   • Audio Compliment or Emphasis: Supports visual focus and mood.
2. Shot Design (Long, Medium, Close-Up):
   • Relevance of Shots: Determines emphasis, flow, and timing.
   • Establishing Shots: Set up scenes with clear visual and conceptual objectives.
   • Timing and Pacing: Controls the rhythm and impact of the narrative.
   • Production Implications: Different shots have varied production requirements.
3. Background and Setting:
   • Aesthetic Clash with Character: Avoid visual conflict.
   • Aesthetic: Maintain a cohesive visual style.
   • Complexity/Clutter: Simplify to avoid distractions.
   • Distracting Design/Action: Minimize elements that draw attention away from the main focus.
   • Scale of Key Subject: Ensure the main subject stands out appropriately.

Essence of Staging:

• Focus on relevance: Keep the audience’s attention on what matters.
• Symbolism: Any object in a frame can become a significant symbol.
• Avoid Unnecessary Elements: Edit out anything that doesn’t serve the story or scene.

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Screen Direction

Definition:

• Screen direction refers to the direction actors or objects appear to move on screen from the camera or audience’s perspective.
• It dictates camera positioning and movement to maintain visual consistency.

Importance:

• Essential for continuity in film editing and film grammar to avoid audience confusion.
• Movement consistency is indicated by “camera left” (movement left) and “camera right” (movement right).
• Determined during pre-production in storyboards and animatics, especially in professional animation production.

Screen Continuity:

• Once established, screen direction must be consistent in all subsequent shots.
• Inconsistencies can make actors appear as if they are not facing each other, looking at the wrong objects, or reversing direction suddenly, confusing the audience.

The Imaginary Line (180-Degree Rule):

• An essential tool for maintaining screen direction.
• Draw an imaginary line (axis of action) through subjects in the direction they move or face.
• All shots should be taken from one side of this line to maintain consistent screen direction.

Exceptions to the Rule:

• Actors change screen direction within a shot.
• Use of a neutral shot, where the subject moves directly toward or away from the camera, tricking the audience into a lapse of screen direction to cross the axis without jarring the audience.

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Research Activity 1

Can you describe how the elements of Mise-en-Scène are used in the following scenes?

Choose one of the following scenes from Fantastic Mr. Fox: Fantastic Mr. Fox Scene

1. Settings & Props: The characters in the laboratory and the props in the shot show the details that they are conducting an experiment.
2. Costume, Hair & Make-Up: The characters wear casual costumes rather than formal lab gowns, but all wear goggles, suggesting they are conducting potentially dangerous experiments. As they are animals, there is no makeup on their faces, but the differences between male and female characters are still distinguishable. After an explosion, the characters in the right-side lab have dust on their faces. When they remove their goggles, their faces remain covered in dust except for the areas protected by the goggles.
3. Facial Expressions & Body Language: The characters, though foxes, have clear facial expressions that convey their emotions. For instance, the female fox (presumably Agnes, based on the name tag on her goggles) is looking away from the experiment. We later find out she is watching a male fox in the next lab, indicating her interest in him. The male fox next to her appears tired and upset because his partner ruined their experiment. However, when the camera shifts and she talks to him, his relaxed facial expression suggests he is also interested in her. The partner fox observes this and says, “You’re supposed to be my lab partner.” She replies, “Yes, I am,” and he retorts, “No, you’re not. You’re disloyal.” This short clip uses facial expressions and body language effectively to develop the story.
4. Lighting and Colour: The lighting in the shot is balanced, neither too high nor too low key. Even though it’s indoors, it doesn’t seem too dark, and there aren’t sharp shadows. The overall brightness of the scene is slightly dim. The warm, orange color palette prevents the scene from feeling too rigid and adds a casual tone.
5. Positioning of Characters/Objects within the Frame: Initially, we only see one side of the laboratory, which hides the fact that the characters are in the same lab. This adds an element of surprise when the camera reveals the other side, showing that they are in the same space. Even after this reveal, the shots never show the characters from the same angle, which helps to separate and clarify their areas. This positioning supports the dialogue mentioned in the facial expressions and body language part.
6. What role does the shot choice (Cinematography) play in the scene: Almost all the scenes are filmed with mid-shots, showing the waist part of the characters. It changes to mid-close-up shots when the female and male foxes show interest in each other. In these shots, they are in clear focus while the other two characters are slightly out of focus, highlighting the developing relationship between them.