WEEK 6 – Film Language and Research Approaches
During this session, Nigel introduced the concept of mise en scene, composition and staging as techniques to help develop the narration of the film which are part of Screen Direction.
Screen direction, in the context of filmmaking, refers to the perceived direction in which actors or objects are moving on the screen from the viewpoint of the camera or audience. It is a fundamental aspect of visual storytelling that contributes to the coherence and understanding of the narrative. The rules of screen direction are crucial not only for the actors’ movements but also for guiding camera positioning and movement.
Consistency in screen direction is essential for maintaining spatial relationships between characters and objects. When the rules of screen direction are followed, the audience can more easily comprehend the spatial geography of a scene. This consistency aids in establishing a visual grammar that viewers subconsciously understand, enhancing the overall clarity of the storytelling.
Mise-en-scène: is a French term translating to “what is put into a scene or frame,” encompasses the visual elements in front of the camera that communicate vital information to the audience. This includes settings and props, costumes, hair and makeup, facial expressions, body language, lighting, and colour. The deliberate arrangement of these elements within the frame serves as a powerful storytelling tool, influencing the atmosphere, mood, and narrative conveyed in a film. Mise en scène is a holistic approach to filmmaking that goes beyond individual shots, aiming to create a visually cohesive and impactful cinematic experience through the thoughtful coordination of various visual components.
Composition: Composition entails intentionally organizing visual elements within the frame, encompassing framing, aspect ratios, camera angles, and shot sizes. It determines the audience’s perception of the scene, guiding focus and imparting significance. Pioneers like Alfred Hitchcock perfected the art of composition to elicit suspense and construct visual metaphors. In “Vertigo,” Hitchcock’s employment of high angles not only underscores vulnerability but also serves as a symbolic representation of the protagonist’s psychological descent.
Staging: in animation, film, and theatre share common ground in their shared objective of directing the audience’s attention. However, the production implications diverge, leading to distinct approaches and strategies within each medium to prioritise elements deemed most significant for conveying themes, narratives, scenes, or performances.
“Moonrise Kingdom” (2012), directed by Wes Anderson, is a cinematic masterpiece celebrated for its distinctive mise en scène, a hallmark of Anderson’s unique visual style. The film’s visual elements work in harmony to create a whimsical and nostalgic atmosphere.
Anderson’s renowned colour palette is evident throughout the film, characterized by vibrant and carefully coordinated pastel hues. Symmetrical framing, a trademark of Anderson’s directing style, lends a sense of order and balance to each shot, reinforcing the meticulous world within the narrative. The film’s sets are not merely backdrops but intricately designed, quirky environments. From the Khaki Scout camp to Suzy’s idyllic home, each location is imbued with details that reflect the characters’ personalities and contribute to the film’s overall charm.
Costume design plays a significant role, with carefully chosen outfits establishing character identities and adding to the visual coherence. Anderson’s use of tracking shots allows the audience to navigate the detailed sets and engage with the characters’ journeys.
The cinematography captures the picturesque New England island setting, enhancing the film’s fairy-tale-like quality. Character placement is deliberate, extending the symmetry to reinforce visual harmony. Quaint props and details, such as Suzy’s books and Sam’s camping gear, contribute to the film’s overall aesthetic.
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