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Mise-En-Scene Subject Matter And Style
What is Mise-en-scène? Mise-en-scène is more than just a film’s formal visual and aural elements such as setting, performance, cinematography, lighting, colour, editing and sound. ‘Its domain’ as the French film analyst André S. Labarthe wrote is, ‘is what is “beyond the subject” of a film -- i.e. how that subject is rendered or treated by way of the film's form or style. (Martin, 2004)
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Mise-En-Scene Subject Matter And Style

MISE-EN-SCENE SUBJECT MATTER AND STYLEMise-en-scène is  more than just a film’s formal visual and aural elements such as setting, business performance, cinematography, lighting, colour, editing and sound. ‘Its domain’ as the French film analyst And ré S. Labar the wrote is,  ‘is what is “beyond the subject” of a film — i.e. how that subject is rendered or treated by way of the film’s form or style. (Martin, 2004)

It’s the inter-relationship between subject matter and film style.

It’s about aesthetic choices and how the aesthetic relates to the narrative or theme.

It’s about the activity of the filming, not the script.

It’s about the strategies of style and design which can inform, transform, support or subvert the subject or theme.

A Range of Approaches to Mise-en-scène

Sergei Eisenstein thought the term’ ‘mise-en-shot’ to be more appropriate for cinema. Some have seen it as synonymous with direction (i.e.  what the director/auteur stages, or places,  in front of the camera) and others use it as ‘the catch-all for every notable aesthetic aspect of cinema.’ (Martin 2004)  Others see it as simply ‘the organization of time and space’. (Gibbs, 2002:56-7). This last interpretation may be so general as to suggest the term is redundant. And there are those who have declared it an outmoded – even dead – concept. So does it still have its value for filmmakers? With some qualifications concerning how the term and concept is used and understood today, Martin thinks it does. But he asks us to think more deeply about it:

…does it indicate a quite specific phase in the film making process — which would be the shooting or ‘principal photography’ phase, in which the scenes are blocked and shot within the décor — or is it a looser term, a metaphor almost, for film ‘style’ taken more broadly and holistically? If it’s the former, then the definition of ‘mise en scène’ must be meaningfully limited and not allowed to ‘bleed’ over other phases of the film making process; and if it’s the latter, then is the displacement of the word ‘style’ by ‘mise en scène’ blocking our full appreciation of the complex levels of aesthetic form in cinema? (Martin, 2004)  See more about : Business Decision Making Assignment

There are various ways in of thinking about mise-en-scène which can help filmmakers inform their decisions about how to approach matters of style in their films. A director (or critic) may focus on the following when planning her or his approach to mise-en-scène:

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