The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored. Elements of mise-en-scene in Wendy and Lucy help to convey aspects of the story that are never explicitly expressed in the narrative of the film. Wendy and Lucy does not present a large amount of background story information, for instance, the scene where Wendy calls her brother may cause some viewers to wonder about their strained relationship and his role in Wendy’s current financial situation. Moreover, Wendy’s financial situation is never truly discussed in the film, only implied, yet the viewer is still aware of it. Facets of mise-en-scene helps to convey the information that fills the gaps left in the story. Kolker defines the concept of mise-en-scene as a way to “explain how images, through composition, camera movement, lighting, focus and colour, generate narrative event and guide our perception through a film” (Kolker 1998, p.17). An essential element of mise-en-scene is setting and sets. Wendy and Lucy is presented in an entirely naturalistic setting. The small town Wendy is passing through gives the fi... ... middle of paper ... ...elp convey this story and present themes and motifs central to the understanding of the film. Mise-en-scene, shot and editing, and sound are among these elements. The film form in Wendy and Lucy contributes strongly to the sense of realism that it leaves with the viewer. Works Cited Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008. Corrigan, Timothy and White, Patricia. The Film Experience: An Introduction. Boston: Bedford/St. Martin’s, 2004. Kolker, Robert. Film, Form and Culture. 3rd ed. New York; McGraw-Hill, 2006. Lehman, Peter and Luhr, William. Thinking About Movies: Watching, Questioning, Enjoying. 2nd ed. Oxford: Blackwell, 2003. Reichardt, Kelly (Director), Raymond, John and Reichardt, Kelly (Writers), Williams, Michelle and Robinson, John (Performances). 2008. Oscilloscope Pictures, 2009. DVD
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
Petrie, Dennis and Boggs, Joseph. The Art of Watching Films. New York: McGraw Hill, 2012.
Boggs, J. & Petrie, J. (2008). The Art of Watching Films. New York, NY: The McGraw-Hill Companies.
Statement of intent: This formal report was written with the intent of discussing the mise-en-scene element of film which is used in two of Wes Anderson’s most popular films. Both films The Grand Budapest Hotel (2014) and Moonrise Kingdom (2012) showcase the limited colour palette and costume aspects of mise-en-scene.
... the mise-en-scene are the from the beginning of the film. Throughout the film I was aware of the locations. The San Francisco setting was presented to the viewer in the beginning and that made the audience more aware of the film's environment. The monastery and other locations of Corlata's past gave me a better understanding of Madeleine’s problem. The make-up and costume play an important part in the recreation scenes, while the props assisted the audience and John Ferguson in piecing the puzzle together and figuring out Gain’s plan. The lighting enhanced many scenes in the film. The parts that impressed me were the following: the recreation of Madeleine scene, John's dream sequence, the monastery scenes, Judy's guilt trip and the scenes involving John's fear of heights.
The mise en scene of a film. ‘All material put before the camera to be
Bordwell, David. “The Art Cinema as a Mode of Film Practice.” Film Theory and Criticism. Eds. Leo Braudy and Marshall Cohen. Oxford University Press, 2009: 649-657.
All of these examples prove that this film uses strong cinematic techniques that further immerse the audience into the film. The visual experience is one that is significant to film itself; therefore it is the most important element to this medium. Without a strong idea of cinematic technique, the film would not be succesful. This film successfully suspends reality, and for about two and a half hours, the audience feels as if they are in Jackson, Mississippi in the early 1960s during the civil rights movement.
The mise en scenes in this film are unique because it gave viewers the ability to have a sense of how the characters are feeling. For example, low lighting was used throughout the film to express a sense of the unknown and/or fear. Another great example of how mise en scene was used is how human shadows for night shooting were used to increase the feeling of mystery and a threating atmosphere (Awjingyi). And one of the most important examples of mise en scene used in this film is in the last scene where mirrors were used (aka the “funhouse”) to
The technical and narrational elements help to emphasize the meaning and importance of this film in relation to one’s personal experiences and the means through which the film was created.
Cinematography and mise-en-scène play a crucial role in contrasting worlds in Pan’s Labyrinth. With regard to cinematography, colour is employed to create a powerful and meaningful contrast between the ‘worlds’ present in the film: the ‘real’ world, the life in the camp represented by Vidal; the fantasy world, where Ophelia fulfils the
Mise-en-scène in movies refers to how objects, characters and materials are placed inside the film frame. This relates to the choreography or design of individual visual elements in individual shots, including people, objects and their location. Sets, props, camera movements, make-up and costume all contribute to the mise en scene of any particular movie. Tim Burton as a director unleashes his imagination and experiences when making a film, his unique skill at creating dreamscapes of unusual, freakish characters, outsiders conflicting with the so called "norm". The clashing of two worlds that co-exist as well as his gift at incorporating childlike imagery.
Petrie, Dennis W., and Joseph M. Boggs. The Art of Watching Films. Dubuque: McGraw-Hill Companies, 2012. Print.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.