Sabas Padilla MACS 105 Spring 2016 The Perfectly Imperfect Mimicry of Wes Anderson In the film Moonrise Kingdom the director, Wes Anderson, uses mise-en-scene and cinematography to give life and meaning to the world that the characters live in. The mise-en-scene is very well thought out, using color, lighting, acting, and props to convey the theme of the story. The camera work was smooth, usually consisting of very symmetrical shots, and extensive trucking and panning movements. Anderson purposefully creates close to perfect shots of the world in order to highlight the imperfections of it. In the opening sequence, we are introduced with the dollhouse-like appearance of the Bishop House. Everything appears in an orderly fashion, the rooms are …show more content…
Almost every single scene in the film was perfectly aligned and symmetrical. The camera for the most part was mounted at eye-level, and whenever something tall or short needed to be shown on screen the camera would simply pan into the direction desired. This gives the viewer the opportunity to see things from a natural point-of-view. A POV shot that struck out to me in particular was when Sam first met Suzy Bishop. This was during the preparation for the Noah play at the church, we first see the handheld camera follow Sam down the hall at eye-level. Once Sam discovers the dressing room, that camera switches into a POV shot. The clothing opens and reveals the girls getting ready for their roles in the dressing room. What follows is a series of very personal shot reverse-shot takes. The actors are very nearly looking at the camera, perhaps 5 degrees shy from it. This creates a very personal connection between the viewers and the characters in the story. Not only that, but it continues on with Anderson’s symmetrical shots, and centered characters. A over-the-shoulder shot of the conversation would appear very peculiar in the world that Wes Anderson has created for …show more content…
Going back to the opening sequence, we notice that the camera is mounted at eye level, trucking toward the right, stopping in symmetrical areas such as bedrooms making a sharp frame with the linear perspective. The camera then pans a perfect 90 degrees showing you the space without interruption. Once that is done, the scene returns to the common room with the window. We see that almost everything in it is symmetrical, even the three younger Bishop children, except for Suzy who disrupts the balance of the image. Her imbalance resembles her seclusion from the rest of society, showing that she does not fit
And with good reason! The sheer luxury of the property is overwhelming. The mansion has 34 beautifully decorated rooms that boast 15th through 19th century art and furnishings. While blending together harmoniously, there is nothing subtle about the elaborately carved furniture, voluminous drapes, ornate carvings, and the richly colored tiles. The intent is to convey the excesses of wealth, which it does, albeit with grace and elegance.
In effect all the techniques mentioned above portray a society of individuals who are weary of the world they live in. They are rejects who lead a pitiful existence in a wasteland called earth because they are not fit enough to go the out-world colonies. Suppressing their own natural instincts for the sake of physically surviving they really the walking dead. Scientific progress conducted not for the best interests of humanity but for the best interests of business has effectively brought about the progressive degradation of society. By exploiting and destroying the natural world human can no more find solace or beauty so as to recuperate their weary minds and rekindle their dying spirits. In summary the techniques that are unique to film such as camera, lighting, costuming, colour and location works in conjunction with common literary techniques such as visual symbolism, irony and characterisation to effectively convey the relationship between humanity and nature.
Also, in the West Side Story, it uses many camera angles and distances. One example is the high-angle shot (B 49). In the very beginning the camera shows an overview of the West Side. I think that is shows this because it gives the audience a perspective on how large the West Side is. It also shows a distance shot (B 49) when the police arrive to the fight scene where the...
Mise en scene generally means everything within the shot, everything that the camera is showing. Mise-en-scene is all about the film staging, all that is visible in front of the camera and all its design included; trim, music, clothing, environment, camera movements, makeup etc. Every director in the world uses their own different kind of techniques when making movies, and it is very common that a director becomes famous and well-known just because of that; their own style of making movies. As directors worldwide are working in different ways, and using their own, special style, they also use ”mise-en-scene” in different ways.
The initial interaction between Lucy and Cheng Huan at the store creates an interesting dynamic of uneven attraction. Objects and figures within the frame emphasizes this fact, such as an unconscious Lucy in the center. The organization of objects, and set-pieces in the shot is referred to as the setting. As an integral component in mise-en-scene, setting helps locate the actors and even control how the story is. The one-sided adoration prevalent in this scene exemplifies the possible alternative motivations behind Cheng’s kindness. In these shots, Lucy’s face always points towards the camera so that the audience can see both characters clearly, and while Lucy sleeps, Cheng stares at her with considerable intensity. By acknowledging his lust, many of his actions can be interpreted in a completely different way. At (46:22) Cheng ...
Paul Strand and Charles Sheeler utilized extreme camera angles to seize Manhattan’s forceful and lively qualities. The intentionality of their work is key, their cameras aren’t free traveling. Paul Strand and Walter Benjamin’s camera position is not accidental. Where they set up the camera is not where something will happen, rather where the happenings take place, and turns the subjects of his work into narrators, where the camera acts as a listener. When they rearranged the position of the camera as opposed to the subjects, the pictures were freed in a sense, almost to a point where you could put all his pictures together and they’d transform from still life to abstraction.
The Film Yellow Earth uses its own unique style of editing within the frame to portray its aesthetic qualities, which is known as mise en scene. The scene where father is plowing the land with Gu by his side is the best example of mise en scene. This scene is important because of its possession of a unique camera angle, loose framing, and deeper hidden meaning, which contribute to the overall effect of the movie.
...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.
Charlie Chaplin created amazing films with his career as a director, screenwriter, actor, producer and musician. City Lights is a story of the tramp who falls in love. He is blown away by the unexpected love affair with the flower girl. He does everything in his power to help her and along the way befriends the millionaire. The story shows the contrasts between the two very different worlds of the rich and the poor. The tramp befriends the damsel in distress millionaire and sparks a friendship where the tramp then sees the lives of both worlds. The mise en scene is a way that shows how different each scene is by the way each character lives their life. Not only in the contrast between the rich and the poor, but also a contrast to happiness verses the unhappy. The mise en scene shows symbols of props that represent how the characters are feeling and what we are suppose to be feeling as we watch what is going on onscreen. Mise en scene is used to tell the story and there are many aspects that come together. The composition, props,
When the film was shot, the filmmakers used a sort of first person style of shooting to convey the story of the transgender people in the film, which gives the film a more personal feeling. To achieve this, the film utilizes hand-held cameras for a variety of scenes, such as when the woman Ivana is driving in the car. The film also uses medium close-up shots to interview the subjects of the film, which is a good shot for capturing the reactions of the subject. As described by the textbook, medium close-up shots also: “...tend to produce a greater sense of intimacy by allowing viewers to focus on the actors’ faces and character emotions…” (Pramaggiore, Wallis 142). In addition, the filmmakers use close up shots of a variety of everyday objects to contribute to or comment on the gender stereotypes in the film, with shots that focus on traditional feminine objects, such as makeup, or even religious objects, such as the cross in Samantha’s car. In a traditional sense, the film also uses establishing shots to show the audience a change in scenery and reorient them. In addition, the film uses voice overs at various times to allow the characters to comment on an issue, while also showing more scenes of their lives. Each of these filmmaking devices contributes differently to the overall feeling of the film and allows the filmmakers to address the issues in the community in a fluid way, where the filmmaking does not interfere with the focus on transgender
In this movie, much emphasis is placed on simplicity, spontaneity and directness, so we can focus on the true story without being distracted from the normal every day routines these characters have. A degree of realism is achieved in this movie, because the fact remains that Ben is an alcoholic, although he does drink in extremes where the normal human being would be unconscious, and Sera is a prostitute, so the intense situations and decisions in this movie are reasonably depicted. One of the first scenes is an extreme long shot of the city of Las Vegas, because this sinful city was very carefully chosen as the setting of the story to preserve realism. Full shots are often used to show the protagonists on their daily routine, such as when Ben goes shopping at the supermarket for liquor. Figgis mainly used multiple shots to emphasize the two protagonist’s interactions with each other. The two shot and the over-the-shoulder shot were used often to build a sit...
In probably using only one camera for his film, Melies had to basically film in a theater style setting. Almost every shot of the film is a long shot which is taken from the audiences’ point-of-view angle. There were no close-ups in “Trip To The Moon” no dolly shots, or handheld shots..etc. Throughout the film the same angle and longshot is used, however that does not take away from the film, knowing that he could only utilize this shot, Melies went on to first: Decorate his set like no one had ever seen. For instance in the beginning of the film we can see what looks like an abundance of individuals who seemed to be gathered in what resembles a castle of some sort. This is where the so-called “wizards” have gathered and have figured out to take their trip to the moon. The following scene shows us a large cannon type figure, an extremely large cannon to be exact, very abnormal looking. The concept of space travel at this time was unheard of and this being a silent film, allows us to realize that just by looking at this contraption that this is how they are going to get to the moon. It is by these elements that Melies utilizes mise-en-scen, and in other cases such as the rocky hills of the moon, the bullet shaped space-ship that encapsulates the wizards and sends them on their trip.
Mise-en-scéne is something that we see in movies all the time. It’s translated from French and means the staging the different aspects of a movie such as setting, lighting, subjects, or almost anything else. Any common movie, such as Inside Out, shows Mise-en-snéne in it. Three big parts of Mise-en-scéne that are shown in the movie Inside Out are cinematography, sound, and editing. Inside Out uses all of these by describing a plot in which there are feelings in our brains which connect to different memories that we can remember at any time. There were five main emotions that controlled the person on the outside whose name was Riley. The five emotions were named, Joy, Fear, Anger, Disgust and Sadness. They helped Riley as she moved away from
Mise-en-scene is used in many different parts of the movie to help the viewers feel as if they are a part of what is going on. An example of the use of mise-en-scene and also lighting used throughout the movie is when the characters are inside the matrix. The camera has a slight shade of green on everything during the scene. This could be identified as mise-en-scene. The green lighting is used to inform the viewers that the scene is taking place inside the matrix and it could also be a form of a lighting technique. The computer code is green, also which links it to the matrix. Then it changes to a blue light when they are back in the real world. Another technique of mise-en-scene is used when Neo first enters the matrix. He is in a room that is completely solid white and appears to be never-ending. This technique is used to show that
Mise-en-scene, Cinematography and Sound in the Film Leon (Luc Besson) 1994 In the opening sequence of Leon, Besson uses a travelling aerial shot of a lake followed by a huge park, which is finally dominated by huge, cosmopolitan skyscrapers. The camera rests here to show the contrast in jungle and urban life. We then enter the urban city, where several travelling shots going through the streets are used giving an apparent sense of setting and location. The added use of non-diagetic sound combined with many beautiful shots of New York's streets combine to produce a very mysterious atmosphere.