- Mise-en-scene is ‘what’ we see
- Mise-en-shot is ‘how’ we see it
- Many critics and academics now use mise-en-scene as the standard when referring to both concepts and subsequently are dropping the term mise-en-shot.
- HOWEVER, understanding these two concepts profoundly improves film understandings.
- Mise-en-scene components • Set design, costumes, lighting and props
Mise-en-shot components • Camera position/angle and camera movement, blocking (where things are in the shot and where/how they move)
Mise en scene - the fields, tree, forest, daylight, and the children in white clothing
Mise en shot - the choice of a wide/long shot, the blocking of the characters (Ray in the shadow, Norman in the light, the others running away from the shot), the way the tree separates the frame and is at the forefront
Mise en scene - the grubby apartment, the retro fridge and chairs, the bag on the counter, the dim light as if coming from the window, the blue shirt, the dark suits, the hairstyles, the bag and cup (on the table we can't currently see
Mise en shot - the choice of a wide/long shot: which includes one character moving in the background, a medium close up of another and an eventual close up of a hand of the dominant character. The choice of the director to put the dominant character out of the shot. How light and movement are used to lead us to the cup in the forefront. how the character in the blue shirt is in focus rather than the cup. How he is positioned (blocked) in the middle of the frame and how he is slouched
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