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Mise-en-scène (French: [mi.z‿ɑ̃.sɛn]; English: "placing on stage" or "what is put into the scene") is the stage design and arrangement of actors in scenes for a theatre or film production,^[1] both in the visual arts through storyboarding, visual theme, and cinematography and in narrative storytelling through direction. The term is also commonly used to refer to single scenes that are representative of a film.

Mise-en-scène has been called film criticism's "grand undefined term."^[2] It has been criticized for its focus on the dramatic design aspects rather than the plot itself, as those who utilize mise-en-scène tend to look at what is "put before the camera" rather than the story.^[3] The use of mise-en-scène is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the content of the scene. Mise-en-scène allows the director to not only convey their message but also to implement their aesthetic, as such, each director has their own unique mise-en-scène. Mise-en-scène refers to everything in front of the camera, including the set design, lighting, and actors, and the ultimate way that this influences how the scene comes together for the audience.

Definition in film studies

When applied to the cinema, mise-en-scène refers to everything that appears before the camera—the sets, props, costumes, actors, and even the lighting.^[4] These elements help to express a film's vision by generating a sense of time and space, as well as setting a mood. Mise-en-scène can be used to suggest a character's state of mind, whether that be happy with bright colors, or sad with darker colors. ^[5]

Mise-en-scène also includes the composition, which consists of the positioning and movement of actors, as well as objects, in the shot, as overseen by the director and production designer.^[5] The director, cast, and crew (who control props, costumes, lighting and sound) all have input on the mise-en-scène; they work together to make sure it fits the film well before production begins.^[6] The production designer is generally responsible for the look of the movie, and thus leads the various departments in charge of individual sets, locations, props, and costumes, among other things.^[5] André Bazin, a French film critic and film theorist, describes the mise-en-scène aesthetic as emphasizing choreographed movement within the scene rather than through editing.^[6]

Mise-en-scène, as a term, is also sometimes used by screenwriters to refer to the descriptive paragraphs between the dialog used in shot blocking.^[7]

Key aspects

Set design

An important element of mise-en-scène is set design—the setting of a scene and the objects (props) visible in a scene.^[8] Set design can be used to amplify character emotion or to set the mood, which effects the physical, social, psychological, emotional, economic, and cultural significance in the film. Set design often influences many themes or parts of a film. ^[5]

Mise-en-scène can also affect the decision whether to shoot on location or set. Shooting on a set is more commonly done than shooting on location for reasons of cost efficiency and simplicity, on a set, you can create the entire background and arrange the props within it. On the other hand, if shooting on location the natural background must be considered—if there is a boulder, barn, or field in the background it must either be worked around or integrated.^[5]

Lighting

The intensity, direction, and quality of lighting can influence an audience's understanding of characters, actions, themes, and mood.^[9]^[6] Light (and shade) can emphasize texture, shape, distance, mood, time of day, season, and glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition. Highlights, for example, call attention to shapes and textures, while shadows often conceal things, creating a sense of mystery or fear.^[5] For this reason, lighting must be thoroughly planned to ensure its desired effect on an audience. Cinematographers are a large part of this process, as they coordinate the camera and lighting crews.^[5] Lighting is the last factor of mise-en-scène that ties together texture, setting, and characters; it directs each scene, directing the viewers' gaze and attention.^{[citation needed]}

Space

The use of space also affects the mise-en-scène of a film.^[10] The depth, proximity, size, and proportions of places and objects can be manipulated through lighting, set design, and camera placement and lenses—effectively determining the mood and relationships between elements. Space is the most overlooked component of mise-en-scène, yet the use of space determines whether the screen is too compact or too empty for the themes, characters' emotions, or major events. For example, an empty space may represent peace and an empty mind.^{[citation needed]}

Composition

Composition is the organization of objects, actors and space within the frame, often by use of balance and symmetry^[6] for the distribution of light, color, objects and figures in a shot. Composition also includes the intentional use of misalignment, often to emphasize certain portions of the screen and distract the viewers from the background. This works because audiences are more inclined to pay attention to something off balance, out of place, or abnormal. Through these mise-en-scène, directors carefully compose the frame to control the narrative and induce viewers to pay attention to certain characters or points of interest in a scene.^{[citation needed]}

Costume

Costume design refers to all the clothes that characters wear. By using particular colors or designs, narrative cinema uses costumes to make clear distinctions between characters or to signify a particular character.^[11] While costume design is a subtle component of mise-en-scène, it is an important one, with an Oscar awarded annually for the best costume design. Designers often use specific colors to enhance emotions, whether that be red to draw attention or using light versus dark colors. Often, costume designs are used to attract the attention of the audience, communicate details of a character's personality to the audience, and help actors transform into believable characters.^{[citation needed]}

Makeup and hairstyles

While makeup and hairstyles can be included in costumes and design, they are often viewed separately as they can take hours to apply daily. Actors may wake up hours before shooting begins to get makeup applied, sometimes including prosthetics or even full-body makeup. Makeup and hairstyles establish periods, reveal character traits, and signal changes within a character.^[6]

Acting

There is enormous historical and cultural variation in performance styles in the cinema. In the early years of cinema, stage acting was difficult to differentiate from film acting, as most film actors had previously been stage actors and therefore knew no other method of acting.^[6] Eventually, the melodramatic styles of 19th-century theatre gave way, in Western cinema, to a relatively naturalistic style. This more naturalistic style of acting is largely influenced by Konstantin Stanislavski's theory of method acting, which involves the actor fully immersing themselves in their character.^[6]^[12] The art of acting uses movement, gesture, and intonation to realize a character for the stage, motion picture, or television. The acting, setting, themes, and other factors must align to fit the mise-en-scène.^{[citation needed]}

Film

The film medium itself affects the mise-en-scène. The film stock may be black-and-white or color, fine-grain or grainy.^[13] Likewise, different aspect ratios yield different ways of looking at the world and the expressive meaning of the film.^[14]^: 42–44

Actor blocking

The terms 'blocking' and 'blocks' were both used as early as 1961. In theatre, blocking is the precise staging of actors to facilitate the performance of a play, ballet, film or opera; it is a set of instructions incorporated by the director to ensure the appropiate mise-en-scène of the film. In contemporary theatre, the director usually determines blocking during the rehearsal, telling actors where they should stand for the proper dramatic effect, ensure sight lines for the audience and work with the lighting design of the scene.^{[citation needed]}

References

^ "mise-en-scène". merriam-webster.com. Merriam-Webster. Retrieved April 20, 2020.
^ Henderson, Brian (1976). "The Long Take". In Nichols, Bill (ed.). Movies and Methods: An Anthology. Berkeley: University of California Press. p. 315.
^ Corrigan, Timothy (2015). A short guide to writing about film (Ninth ed.). Boston: Pearson Education. ISBN 9781292078113. OCLC 1137242678.
^ Bordwell, David; Thompson, Kristin (2003). Film Art: An Introduction, 7th ed. New York: McGraw–Hill. ISBN 0-07-248455-1.
^ ^a ^b ^c ^d ^e ^f ^g Barsam, Richard Meran; Monahan, Dave. Looking at movies: an introduction to film (4 ed.). New York: Norton. ISBN 978-0-393-91302-6.
^ ^a ^b ^c ^d ^e ^f ^g Pramaggiore, Maria; Wallis, Tom (2005). Film: A Critical Introduction. London: Laurence King Publishing. ISBN 0205433480.
^ Edgar-Hunt, Robert; Marland, John; Richards, James O. (2009). Basics Film-Making: Screenwriting (1 ed.). Lausanne: AVA Publishing. p. 71. ISBN 978-2-940373-89-5.
^ "Set Design and Locations". film110. PBworks. Archived from the original on 2 November 2013. Retrieved 25 August 2012.
^ "Lighting". film101. PBworks. Archived from the original on 2 November 2013. Retrieved 25 August 2012.
^ "Part 2: Mise-en-scene". Film Studies Program. Yale University. Archived from the original on 2002-12-24. Retrieved 25 August 2012.
^ Fourie, Pieter J. (2004). Media Studies Volume 2: Content, Audiences and Production. Lansdowne, SA: Juta and Company. pp. 462–463. ISBN 0-7021-5656-6.
^ "Acting". film101. PBworks. Archived from the original on 29 October 2013. Retrieved 25 August 2012.
^ Kawin, Bruce (1992). How Movies Work. Berkeley and Los Angeles: University of California Press. pp. 88. ISBN 0-520-07696-6. mise en scene blocking.
^ Sikov, Ed (2010). Film Studies: An Introduction. New York: Columbia University Press. ISBN 978-0-231-51989-2.

External links

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"Mise-en-scène". encyclopedia.com. Retrieved 2023-09-27.
"What do artsy film critics mean by mise-en-scene?". The Straight Dope.
Michael, Hall. "Mise-en-scène Explained".
"mise-en-scene". Yale University Film Analysis Site.
"Mise en Scene". Indy Mogul 4 Minute Film School. Archived from the original on 2008-03-25.
"Costume design: designing character" (PDF).
"What Is Mise En Scène in Film: Definition and Examples". StudioBinder. 13 April 2018.
Dang, Tammy (10 June 2020). "Film Techniques: Lighting". Matrix Education.

[1] "mise-en-scène". merriam-webster.com. Merriam-Webster. Retrieved April 20, 2020.

[2] Henderson, Brian (1976). "The Long Take". In Nichols, Bill (ed.). Movies and Methods: An Anthology. Berkeley: University of California Press. p. 315.

[3] Corrigan, Timothy (2015). A short guide to writing about film (Ninth ed.). Boston: Pearson Education. ISBN 9781292078113. OCLC 1137242678.

[4] Bordwell, David; Thompson, Kristin (2003). Film Art: An Introduction, 7th ed. New York: McGraw–Hill. ISBN 0-07-248455-1.

[ReferenceA-5] ^ ^a ^b ^c ^d ^e ^f ^g Barsam, Richard Meran; Monahan, Dave. Looking at movies: an introduction to film (4 ed.). New York: Norton. ISBN 978-0-393-91302-6.

[Pramaggiore-6] ^ ^a ^b ^c ^d ^e ^f ^g Pramaggiore, Maria; Wallis, Tom (2005). Film: A Critical Introduction. London: Laurence King Publishing. ISBN 0205433480.

[7] Edgar-Hunt, Robert; Marland, John; Richards, James O. (2009). Basics Film-Making: Screenwriting (1 ed.). Lausanne: AVA Publishing. p. 71. ISBN 978-2-940373-89-5.

[8] "Set Design and Locations". film110. PBworks. Archived from the original on 2 November 2013. Retrieved 25 August 2012.

[9] "Lighting". film101. PBworks. Archived from the original on 2 November 2013. Retrieved 25 August 2012.

[10] "Part 2: Mise-en-scene". Film Studies Program. Yale University. Archived from the original on 2002-12-24. Retrieved 25 August 2012.

[11] Fourie, Pieter J. (2004). Media Studies Volume 2: Content, Audiences and Production. Lansdowne, SA: Juta and Company. pp. 462–463. ISBN 0-7021-5656-6.

[12] "Acting". film101. PBworks. Archived from the original on 29 October 2013. Retrieved 25 August 2012.

[kawin-13] Kawin, Bruce (1992). How Movies Work. Berkeley and Los Angeles: University of California Press. pp. 88. ISBN 0-520-07696-6. mise en scene blocking.

[Sikov-14] Sikov, Ed (2010). Film Studies: An Introduction. New York: Columbia University Press. ISBN 978-0-231-51989-2.

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@@ Line 1: / Line 1: @@
 {{Short description|Visual and design aspects of a theatre production}}
+{{Italic title}}
-{{Copy edit|date=June 2023}}
-{{Italic title|reason=.}}
 '''''Mise-en-scène''''' ({{IPA-fr|mi.z‿ɑ̃.sɛn|lang}}; {{lang-en|"placing on stage"}} or "what is put into the scene") is the [[stage design]] and arrangement of actors in scenes for a [[theatre]] or [[film]] production,<ref>{{cite web |title=mise-en-scène |url=https://www.merriam-webster.com/dictionary/mise-en-scene |website=merriam-webster.com |publisher=Merriam-Webster |access-date=April 20, 2020}}</ref> both in the [[visual arts]] through [[storyboarding]], visual theme, and [[cinematography]] and in [[narrative]] [[storytelling]] through [[film director|direction]]. The term is also commonly used to refer to single scenes that are representative of a film.
-''Mise-en-scène'' has been called [[film criticism]]'s "grand undefined term."<ref>Brian Henderson, "The Long Take," in ''Movies and Methods: An Anthology'', ed. Bill Nichols (Berkeley: University of California Press, 1976), 315.</ref> It has been criticized for its focus on the dramatic design aspects rather than the [[Plot (narrative)|plot]] itself, as those who utilize ''mise-en-scène'' tend to look at what is "put before the camera" rather than the story.<ref>{{cite book |last1=Corrigan |first1=Timothy |title=A short guide to writing about film. |date=2015 |publisher=Pearson Education |location=Boston |oclc=1137242678 |isbn=9781292078113 |edition=Ninth}}</ref> The use of ''mise-en-scène'' is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the content of the scene. Mise-en-scène allows the director to not only convey their message but also to implement their aesthetic. With that, each director has their own sort of mise-en-scène that is unique to that one person. Mise-en-scène refers to everything in front of the camera, including the set design, lighting, and actors, and the ultimate way that this influences how scene comes together for the audience.
+''Mise-en-scène'' has been called [[film criticism]]'s "grand undefined term."<ref>{{cite book|first=Brian |last=Henderson|chapter=The Long Take|title=Movies and Methods: An Anthology|editor-first=Bill |editor-last=Nichols |location=Berkeley |publisher=University of California Press |year=1976 |page=315}}</ref> It has been criticized for its focus on the dramatic design aspects rather than the [[Plot (narrative)|plot]] itself, as those who utilize ''mise-en-scène'' tend to look at what is "put before the camera" rather than the story.<ref>{{cite book |last1=Corrigan |first1=Timothy |title=A short guide to writing about film. |date=2015 |publisher=Pearson Education |location=Boston |oclc=1137242678 |isbn=9781292078113 |edition=Ninth}}</ref> The use of ''mise-en-scène'' is significant as it allows the director to convey messages to the viewer through what is placed in the scene, not just the content of the scene. ''Mise-en-scène'' allows the director to not only convey their message but also to implement their aesthetic, as such, each director has their own unique ''mise-en-scène''. ''Mise-en-scène'' refers to everything in front of the camera, including the set design, lighting, and actors, and the ultimate way that this influences how the scene comes together for the audience.
 ==Definition in film studies==
 [[File:CABINET DES DR CALIGARI 01.jpg|thumb|right|300px|The distinctive ''mise-en-scène'' of ''[[The Cabinet of Dr. Caligari]]'' (Germany, 1920) features jagged architecture.]]
-When applied to the cinema, ''mise-en-scène'' refers to everything that appears before the [[camera]] and its arrangement—[[composition (visual arts)|composition]], [[Set construction|sets]], [[Theatrical properties|props]], actors, costumes, and lighting.<ref>{{cite book |author1=Bordwell, David |url=https://archive.org/details/filmartintro00bord |title=Film Art: An Introduction, 7th ed. |author2=Thompson, Kristin |publisher=McGraw–Hill |year=2003 |isbn=0-07-248455-1 |location=New York |url-access=registration}}</ref> The various elements of design help to express a film's vision by generating a sense of time and space, as well as setting a mood, and sometimes suggesting a character's state of mind, whether that be happy with bright colors or sad with gloom and darker colors. <ref name="ReferenceA">Barsam, Richard Meran., and Dave Monahan. Looking at Movies: An Introduction to Film. New York: W.W. Norton &, 2010</ref>
+When applied to the cinema, ''mise-en-scène'' refers to everything that appears before the [[camera]]—the [[Set construction|sets]], [[Theatrical properties|props]], costumes, actors, and even the lighting.<ref>{{cite book |author1=Bordwell, David |url=https://archive.org/details/filmartintro00bord |title=Film Art: An Introduction, 7th ed. |author2=Thompson, Kristin |publisher=McGraw–Hill |year=2003 |isbn=0-07-248455-1 |location=New York |url-access=registration}}</ref> These elements help to express a film's vision by generating a sense of time and space, as well as setting a mood. ''Mise-en-scène'' can be used to suggest a character's state of mind, whether that be happy with bright colors, or sad with darker colors. <ref name="ReferenceA">{{Cite book |last=Barsam |first=Richard Meran |title=Looking at movies: an introduction to film |last2=Monahan |first2=Dave |publisher=Norton |isbn=978-0-393-91302-6 |edition=4 |location=New York}}</ref>
-Mise-en-scène also includes the composition, which consists of the positioning and movement of actors, as well as objects, in the shot.<ref name="ReferenceA" /> These are all the areas overseen by the [[Theatre director|director]]. One of the most important people that collaborate with the director is the [[production designer]].<ref name="ReferenceA" /> The directors, the cast, and the workers who control decorations and sound all have input on the Mise-en-scène and come together to make sure it fits in perfectly with the film a considerable amount of time before the actual photography even begins.<ref name="Pramaggiore, Maria 2005">Pramaggiore, Maria, and Tom Wallis. ''Film: A Critical Introduction''. Boston: Laurence King, 2005.</ref> The production designer is generally responsible for the look of the movie, leading various departments that are in charge of individual sets, locations, props, and costumes, among other things.<ref name="ReferenceA" /> [[André Bazin]], a French [[film critic]] and [[film theorist]], describes the ''mise-en-scène'' [[aesthetic]] as emphasizing choreographed movement within the scene rather than through editing.<ref name="Pramaggiore, Maria 2005" />
+''Mise-en-scène'' also includes the composition, which consists of the positioning and movement of actors, as well as objects, in the shot, as overseen by the [[Theatre director|director]] and [[production designer]].<ref name="ReferenceA" /> The director, cast, and crew (who control props, costumes, lighting and sound) all have input on the ''mise-en-scène''; they work together to make sure it fits the film well before production begins.<ref name="Pramaggiore" /> The production designer is generally responsible for the look of the movie, and thus leads the various departments in charge of individual sets, locations, props, and costumes, among other things.<ref name="ReferenceA" /> [[André Bazin]], a French [[film critic]] and [[film theorist]], describes the ''mise-en-scène'' [[aesthetic]] as emphasizing choreographed movement within the scene rather than through editing.<ref name="Pramaggiore" />
-Because of its relationship to shot [[Blocking (stage)|blocking]], ''mise-en-scène'' is also a term sometimes used among professional [[screenwriters]] to indicate descriptive (action) paragraphs between the dialog.<ref>{{cite book |last=Edgar-Hunt |first=Robert, John Marland and James Richards |url=https://books.google.com/books?id=Jv-GsqMLs2UC&pg=PT71 |title=Basics Film-Making: Screenwriting |publisher=AVA Publishing |year=2009 |isbn=978-2-940373-89-5 |location=Lausanne |pages=71}}</ref>
+''Mise-en-scène'', as a term, is also sometimes used by [[screenwriters]] to refer to the descriptive paragraphs between the dialog used in shot [[Blocking (stage)|blocking]].<ref>{{Cite book |last=Edgar-Hunt |first=Robert |url=https://books.google.com/books?id=Jv-GsqMLs2UC&pg=PT71 |title=Basics Film-Making: Screenwriting |last2=Marland |first2=John |last3=Richards |first3=James O. |publisher=AVA Publishing |year=2009 |isbn=978-2-940373-89-5 |edition=1 |location=Lausanne |pages=71}}</ref>
 ==Key aspects==
@@ Line 18: / Line 17: @@
 ===Set design===
 [[File:Constant Puyo- Mise en scène.jpg|thumb|''Mise en scène'' by [[Constant Puyo]]]]
-An important element of ''mise-en-scène'' is [[Scenic design|set design]]—the setting of a scene and the objects (props) visible in a scene.<ref>{{cite web |title=Set Design and Locations |url=https://film110.pbworks.com/w/page/12610287/Set%20Design%20and%20Locations |work=film110 |publisher=PBworks |access-date=25 August 2012 |archive-url=https://web.archive.org/web/20131102122441/https://film110.pbworks.com/w/page/12610287/Set%20Design%20and%20Locations |archive-date=2 November 2013 |url-status=dead}}</ref> Set design can be used to amplify character emotion or the dominant mood, which has physical, social, psychological, emotional, economic, and cultural significance in the film. Set design often influences many themes or parts of a film. <ref name="ReferenceA"/> One of the most important decisions made by the production designer and director is deciding whether to shoot [[Location shooting|on location]] or set. The main distinction between the two is that décor and props must be considered when shooting on set. However, shooting on set is more commonly done than shooting on location for reasons of cost efficiency. For example, in a set, you can create the entire background and arrange the props within it. On the other hand, with a setting, there is a natural background that you must film around. If there is a boulder, barn, or field in the back of the film you don't wish to be there, you must work around it and find a way for it to intertwine. The most important part of set design is the set designer. This person follows the script carefully and creates a complex theatrical show. They do this by creating space, mood, and character in just one setting.
+An important element of ''mise-en-scène'' is [[Scenic design|set design]]—the setting of a scene and the objects (props) visible in a scene.<ref>{{cite web |title=Set Design and Locations |url=https://film110.pbworks.com/w/page/12610287/Set%20Design%20and%20Locations |work=film110 |publisher=PBworks |access-date=25 August 2012 |archive-url=https://web.archive.org/web/20131102122441/https://film110.pbworks.com/w/page/12610287/Set%20Design%20and%20Locations |archive-date=2 November 2013 |url-status=dead}}</ref> Set design can be used to amplify character emotion or to set the mood, which effects the physical, social, psychological, emotional, economic, and cultural significance in the film. Set design often influences many themes or parts of a film. <ref name="ReferenceA" />
+''Mise-en-scène'' can also affect the decision whether to shoot [[Location shooting|on location]] or set. Shooting on a set is more commonly done than shooting on location for reasons of cost efficiency and simplicity, on a set, you can create the entire background and arrange the props within it. On the other hand, if shooting on location the natural background must be considered—if there is a boulder, barn, or field in the background it must either be worked around or integrated.<ref name="ReferenceA" />
-<ref name="ReferenceA"/>
 ===Lighting===
-The intensity, direction, and quality of [[Cinematography#Lighting|lighting]] can influence an audience's understanding of characters, actions, themes, and mood.<ref>{{cite web |title=Lighting |url=https://film110.pbworks.com/w/page/12610256/Lighting |work=film101 |publisher=PBworks |access-date=25 August 2012 |archive-url=https://web.archive.org/web/20131102112002/https://film110.pbworks.com/w/page/12610256/Lighting |archive-date=2 November 2013 |url-status=dead}}</ref><ref name="Pramaggiore, Maria 2005"/> Light (and shade) can emphasize texture, shape, distance, mood, time of day, season, and glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition. Highlights, for example, call attention to shapes and textures, while shadows often conceal things, creating a sense of mystery or fear.<ref name="ReferenceA"/> For this reason, lighting must be thoroughly planned to ensure its desired effect on an audience. [[Cinematographer]]s are a large part of this process, as they coordinate the camera and the lighting.<ref name="ReferenceA"/> Lighting also plays a huge role because it is the last factor of mise-en-scène that ties together texture, setting, and characters. This is so because the light directs each scene, incorporating what the viewers should be looking at and focusing their attention on.
+The intensity, direction, and quality of [[Cinematography#Lighting|lighting]] can influence an audience's understanding of characters, actions, themes, and mood.<ref>{{cite web |title=Lighting |url=https://film110.pbworks.com/w/page/12610256/Lighting |work=film101 |publisher=PBworks |access-date=25 August 2012 |archive-url=https://web.archive.org/web/20131102112002/https://film110.pbworks.com/w/page/12610256/Lighting |archive-date=2 November 2013 |url-status=dead}}</ref><ref name="Pramaggiore"/> Light (and shade) can emphasize texture, shape, distance, mood, time of day, season, and glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition. Highlights, for example, call attention to shapes and textures, while shadows often conceal things, creating a sense of mystery or fear.<ref name="ReferenceA" /> For this reason, lighting must be thoroughly planned to ensure its desired effect on an audience. [[Cinematographer]]s are a large part of this process, as they coordinate the camera and lighting crews.<ref name="ReferenceA" /> Lighting is the last factor of ''mise-en-scène'' that ties together texture, setting, and characters; it directs each scene, directing the viewers' gaze and attention.{{Citation needed|date=September 2023}}
 ===Space===
-The representation of [[space]] affects the reading of a film.<ref>{{cite web|title=Part 2: Mise-en-scene|url=http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm |archive-url=https://web.archive.org/web/20021224164504/http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm |archive-date=2002-12-24  |work=Film Studies Program|publisher=Yale University|access-date=25 August 2012}}</ref> Depth, proximity, size, and proportions of the places and objects in a film can be manipulated through camera placement and lenses, lighting, set design, effectively determining mood or relationships between elements in the story world. Space is the component of mise-en-scène that is often most overlooked and doesn't get the attention it deserves. This is so because space adjusts whether the screen is too compact or on the contrary, if it is empty. And all these factors often correlate to themes, characters' emotions, or major events. For example, a bland and empty scene may represent peace and an empty mind.
+The use of [[space]] also affects the ''mise-en-scène'' of a film.<ref>{{cite web|title=Part 2: Mise-en-scene|url=http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm |archive-url=https://web.archive.org/web/20021224164504/http://classes.yale.edu/film-analysis/htmfiles/mise-en-scene.htm |archive-date=2002-12-24  |work=Film Studies Program|publisher=Yale University|access-date=25 August 2012}}</ref> The depth, proximity, size, and proportions of places and objects can be manipulated through lighting, set design, and camera placement and lenses—effectively determining the mood and relationships between elements. Space is the most overlooked component of ''mise-en-scène'', yet the use of space determines whether the screen is too compact or too empty for the themes, characters' emotions, or major events. For example, an empty space may represent peace and an empty mind.{{Citation needed|date=September 2023}}
 ===Composition===
-[[Composition (visual arts)|Composition]] is the organization of objects, actors and space within the frame. One of the most important concepts with regard to the [[Digital compositing|composition]] of a film is maintaining a balance of symmetry.<ref name="Pramaggiore, Maria 2005" /> This refers to having an equal distribution of light, colour, and objects and/or figures in a shot. This is an idea implemented into many films because of how it pleases the eye. When things are aligned perfectly it creates an aesthetic like no other. Symmetry isn't just objects aligned but can also be an equal distribution of light, color, and figures in a shot. On the contrary, misalignment is used very often too in cinema. This shooting can emphasize certain portions of the screen and distract the viewers from the background. This works because audiences are more inclined to pay attention to something off balance, which may seem abnormal. Directors deliberately compose the frame to control the narrative and induce viewers to pay attention to certain characters or points of interest in a scene.
+[[Composition (visual arts)|Composition]] is the organization of objects, actors and space within the frame, often by use of balance and symmetry<ref name="Pramaggiore" /> for the distribution of light, color, objects and figures in a shot. Composition also includes the intentional use of misalignment, often to emphasize certain portions of the screen and distract the viewers from the background. This works because audiences are more inclined to pay attention to something off balance, out of place, or abnormal. Through these ''mise-en-scène'', directors carefully compose the frame to control the narrative and induce viewers to pay attention to certain characters or points of interest in a scene.{{Citation needed|date=September 2023}}
 ===Costume===
-[[Costume design|The costume]] simply refers to the clothes that characters wear. Using certain colors or designs, costumes in narrative cinema are used to signify characters or to make clear distinctions between characters.<ref>{{cite book |last=Fourie |first=Pieter J. |url=https://books.google.com/books?id=OLiS7_vqB2EC&pg=PA462 |title=Media Studies Volume 2: Content, Audiences and Production |publisher=Juta and Company |year=2004 |isbn=0-7021-5656-6 |location=Lansdowne, SA |pages=462–463}}</ref> Although some people view costumes as a subtle component of Mise-en-scène, it is one of the primary reasons a film looks so good, there are even Oscars awards for best costume designs. Designers often use specific colors to enable emotions from the actors or the viewers, whether that be red to draw attention or light vs dark colors. Often, designs are used to attract the attention of the audience. The same goes with makeup when an actor or actress is seen as unrecognizable because the makeup job leaves a note in the viewer's mind. Costumes communicate the details of a character's personality to the audience and help actors transform into new and believable people on screen.
+[[Costume design]] refers to all the clothes that characters wear. By using particular colors or designs, narrative cinema uses costumes to make clear distinctions between characters or to signify a particular character.<ref>{{cite book |last=Fourie |first=Pieter J. |url=https://books.google.com/books?id=OLiS7_vqB2EC&pg=PA462 |title=Media Studies Volume 2: Content, Audiences and Production |publisher=Juta and Company |year=2004 |isbn=0-7021-5656-6 |location=Lansdowne, SA |pages=462–463}}</ref> While costume design is a subtle component of ''mise-en-scène'', it is an important one, with an Oscar awarded annually for the best costume design. Designers often use specific colors to enhance emotions, whether that be red to draw attention or using light versus dark colors. Often, costume designs are used to attract the attention of the audience, communicate details of a character's personality to the audience, and help actors transform into believable characters.{{Citation needed|date=September 2023}}
 ===Makeup and hairstyles===
-While makeup and hairstyles often find themselves included in costumes and design, they, indeed are their own thing. This is so because one can create an outfit for characters, yet the makeup can take hours to apply daily. Actors are known to wake up 3 hours before shooting just to get the makeup applied, often even full-body makeup. [[Make-up artist|Makeup and hairstyles]] establish periods, reveal character traits, and signal changes in character.<ref name="Pramaggiore">{{cite book|last=Pramaggiore|first=Maria and Tom Wallis|title=Film: A Critical Introduction|year=2005|publisher=Laurence King Publishing|location=London|isbn=0205433480|url=https://archive.org/details/filmcriticalintr0000pram|url-access=registration}}</ref>
+While makeup and hairstyles can be included in costumes and design, they are often viewed separately as they can take hours to apply daily. Actors may wake up hours before shooting begins to get makeup applied, sometimes including prosthetics or even full-body makeup. Makeup and hairstyles establish periods, reveal character traits, and signal changes within a character.<ref name="Pramaggiore">{{cite book|last=Pramaggiore|first=Maria |first2= Tom |last2=Wallis|title=Film: A Critical Introduction|year=2005|publisher=Laurence King Publishing|location=London|isbn=0205433480|url=https://archive.org/details/filmcriticalintr0000pram|url-access=registration}}</ref>
 ===Acting===
-There is enormous historical and cultural variation in performance styles in the cinema. In the early years of cinema, stage acting was difficult to differentiate from film acting, as most film actors had previously been stage actors and therefore knew no other method of acting.<ref name="Pramaggiore, Maria 2005" />  Eventually, early melodramatic styles, clearly indebted to 19th-century theater, gave way in Western cinema to a relatively naturalistic style. This more naturalistic style of acting is largely influenced by [[Konstantin Stanislavski]]'s theory of [[method acting]], which involves the actor fully immersing themselves in their character.<ref name="Pramaggiore, Maria 2005" /><ref>{{cite web |title=Acting |url=https://film110.pbworks.com/w/page/12610144/Acting |work=film101 |publisher=PBworks |access-date=25 August 2012 |archive-url=https://web.archive.org/web/20131029204819/https://film110.pbworks.com/w/page/12610144/Acting |archive-date=29 October 2013 |url-status=dead}}</ref> Acting is the performing art in which movement, gesture, and intonation are used to realize a fictional character for the stage, for motion pictures, or on television. This ties to Mise en scène because the acting must align with the setting, themes, and all factors so that the film is perfect.
+There is enormous historical and cultural variation in performance styles in the cinema. In the early years of cinema, stage acting was difficult to differentiate from film acting, as most film actors had previously been stage actors and therefore knew no other method of acting.<ref name="Pramaggiore" />  Eventually, the melodramatic styles of 19th-century theatre gave way, in Western cinema, to a relatively naturalistic style. This more naturalistic style of acting is largely influenced by [[Konstantin Stanislavski]]'s theory of [[method acting]], which involves the actor fully immersing themselves in their character.<ref name="Pramaggiore" /><ref>{{cite web |title=Acting |url=https://film110.pbworks.com/w/page/12610144/Acting |work=film101 |publisher=PBworks |access-date=25 August 2012 |archive-url=https://web.archive.org/web/20131029204819/https://film110.pbworks.com/w/page/12610144/Acting |archive-date=29 October 2013 |url-status=dead}}</ref> The art of acting uses movement, gesture, and intonation to realize a character for the stage, motion picture, or television. The acting, setting, themes, and other factors must align to fit the ''mise-en-scène''.{{Citation needed|date=September 2023}}
-===Filmstock===
-Film is a physical analog medium for recording images made from celluloid and coated with gelatin emulsion. Light captures an image onto the film. Which is then later developed under a specific chemical process and produces the images.
-[[Film stock]] is the choice of [[black-and-white]] or color, fine-grain or grainy.<ref name="kawin">{{cite book|last=Kawin|first=Bruce|title=How Movies Work|year=1992|publisher=University of California Press|location=Berkeley and Los Angeles|isbn=0-520-07696-6|pages=[https://archive.org/details/howmovieswork00kawi/page/88 88]|url=https://archive.org/details/howmovieswork00kawi|url-access=registration|quote=mise en scene blocking.}}</ref>
-===Aspect ratio===
+===Film===
+The film medium itself affects the ''mise-en-scène''. The [[film stock]] may be [[black-and-white]] or color, fine-grain or grainy.<ref name="kawin">{{cite book|last=Kawin|first=Bruce|title=How Movies Work|year=1992|publisher=University of California Press|location=Berkeley and Los Angeles|isbn=0-520-07696-6|pages=[https://archive.org/details/howmovieswork00kawi/page/88 88]|url=https://archive.org/details/howmovieswork00kawi|url-access=registration|quote=mise en scene blocking.}}</ref> Likewise, different [[Aspect ratio (image)|aspect ratios]] yield different ways of looking at the world and the expressive meaning of the film.<ref name="Sikov">{{cite book|last=Sikov|first=Ed|title=Film Studies: An Introduction|year=2010|publisher=Columbia University Press|location=New York|isbn=978-0-231-51989-2|url=https://books.google.com/books?id=zbCK8ETCWzwC&q=aspect+ratio+mise+en+scene&pg=PA43}}</ref>{{rp|42–44}}
-[[Aspect ratio (image)|Aspect ratio]] is the relation of the width of the rectangular image to its height. Each aspect ratio yields a different way of looking at the world and is basic to the expressive meaning of the film. Essentially, it describes an image's shape.
-<ref name="Sikov">{{cite book|last=Sikov|first=Ed|title=Film Studies: An Introduction|year=2010|publisher=Columbia University Press|location=New York|isbn=978-0-231-51989-2|url=https://books.google.com/books?id=zbCK8ETCWzwC&q=aspect+ratio+mise+en+scene&pg=PA43}}</ref>{{rp|pp.42–44}}
 ===Actor blocking===
 {{Main|Blocking (stage)}}
-In theatre, blocking is the precise staging of actors to facilitate the performance of a play, ballet, film or opera. Both 'blocking' and 'blocks' were applied to stage and theatre as early as 1961. It is a set of instructions incorporated by the director to ensure the acting follows all other aspects of the film. In contemporary theatre, the director usually determines blocking during the rehearsal, telling actors where they should stand for the proper dramatic effect, ensure sight lines for the audience and work with the lighting design of the scene.
+The terms 'blocking' and 'blocks' were both used as early as 1961. In theatre, blocking is the precise staging of actors to facilitate the performance of a play, ballet, film or opera; it is a set of instructions incorporated by the director to ensure the appropiate ''mise-en-scène'' of the film. In contemporary theatre, the director usually determines blocking during the rehearsal, telling actors where they should stand for the proper dramatic effect, ensure sight lines for the audience and work with the lighting design of the scene.{{Citation needed|date=September 2023}}
 ==See also==
@@ Line 57: / Line 52: @@
 {{Reflist|30em}}
-===Further reading===
+==Further reading==
+* {{Cite book |last=Bordwell |first=David |last2=Thompson |first2=Kristin |date=2010 |publisher=McGraw-Hill |edition=9 |location=New York |author-mask1=David Bordwell |author-mask2=Kristin Thompson |chapter=The Shot: Mise-en-Scène|title=Film Art: An Introduction
-* [[David Bordwell|Bordwell, David]] and [[Kristin Thompson]]. "Chapter 6 – The Shot: Mise-en-Scène." In: ''[[iarchive:filmartintroduct00bord_0/page/175|Film Art: An Introduction]]''. New York: McGraw–Hill, 2010, 9th. ed, pp.&nbsp;175–228. {{isbn|978-0-07-122057-6}}, {{oclc|456179577}} and {{OCLC|690437186}}.
+|pages=175–228|isbn=978-0-07-122057-6}}
-* [[Adrian Martin|Martin, Adrian]]. ''Mise en Scène and Film Style. From Classical Hollywood to New Media Art.'' Palgrave Macmillan UK, 2014. {{isbn|978-1-349-44417-5}}.
+* {{Citation |last=Martin |first=Adrian |title=Mise en scène and film style: from classical Hollywood to new media art |date=2014 |series=Palgrave close readings in film and television |edition=1 |place=Houndmills New York, New York |publisher=Palgrave Macmillan |isbn=978-1-137-26994-2 |author-mask=Adrian Martin}}
 ==External links==
 {{Spoken Wikipedia|Mise-en-scène.ogg|date=2019-7-26}}
 {{Wiktionary}}
-* [https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/mise-en-scene Mise-en-scène] — [[encyclopedia.com]]
+* {{Cite encyclopedia |title=Mise-en-scène |encyclopedia=encyclopedia.com |url=https://www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/mise-en-scene |access-date=2023-09-27}}
+* {{cite web|website=[[The Straight Dope]]|url=http://www.straightdope.com/columns/read/343/what-do-artsy-film-critics-mean-by-mise-en-scene |title=What do artsy film critics mean by mise-en-scene?}}
-* kjera [https://www.slideshare.net/kjera/mise-en-scene-analysis-presentation Mise En Scene Analysis] – 15 Essential Points [[slideshare.net]]
+* {{cite web|last=Michael |first=Hall| url=http://shohawk.com/mise-en-scene/ |title=Mise-en-scène Explained }}
-* [[The Straight Dope]]: [http://www.straightdope.com/columns/read/343/what-do-artsy-film-critics-mean-by-mise-en-scene What do artsy film critics mean by mise-en-scene?]
+* {{cite web|website=[[Yale University]] Film Analysis Site |url=http://filmanalysis.yale.edu| title=mise-en-scene}}
-* Michael Hall, [http://shohawk.com/mise-en-scene/ Mise-en-scène Explained]
+* {{cite web|website=[[Indy Mogul]] 4 Minute Film School |archive-url=https://web.archive.org/web/20080325175406/http://www.indymogul.com/episode/FS_20080321 |url=http://www.indymogul.com/episode/FS_20080321|archive-date=2008-03-25|title=Mise en Scene}}
-* [[Yale University]] Film Analysis Site: [http://filmanalysis.yale.edu "mise-en-scene"]
+* {{Cite web |title=Costume design: designing character |url=https://www.oscars.org/sites/oscars/files/teachersguide-costumedesign-2015.pdf}}
-* [[Indy Mogul]] 4 Minute Film School: [https://web.archive.org/web/20080325175406/http://www.indymogul.com/episode/FS_20080321 Mise en Scene]
-* “The Different Types of Film Stock (& Which You Should Choose).” StudioBinder, 11 July 2021, www.studiobinder.com/blog/what-is-film-stock-
+* {{cite web|title=What Is Mise En Scène in Film: Definition and Examples|website=StudioBinder |date=13 April 2018 |url=http://www.studiobinder.com/blog/mise-en-scene/}}
+* {{cite web|last=Dang| first=Tammy|title=Film Techniques: Lighting|website=Matrix Education |date=10 June 2020 |url=https://www.matrix.edu.au/film-techniques-lighting/}}
-* Murray Close/ Pigsear UK LTD. COSTUME DESIGN DEFINING CHARACTER. 2014.
-* “Mise-En-Scène | Encyclopedia.com.” Www.encyclopedia.com, www.encyclopedia.com/arts/encyclopedias-almanacs-transcripts-and-maps/mise-en-scene#:~:text=Mise%2Den%2Dsc. Accessed 3 May 2023.
-* STUDIOBINDER. “What Is Mise En Scène in Film: Definition and Examples.” StudioBinder, 13 Apr. 2018, www.studiobinder.com/blog/mise-en-scene/.
-* Dang, Tammy. “Film Techniques: Lighting.” Matrix Education, 10 June 2020, www.matrix.edu.au/film-techniques-lighting/#:~:text=by%2Dstep%20analysis-.
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