Sac 236-Exam 1: Mise-En-Scene

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mise-en-scene

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A frenc theatrical term meaning literally "put on stage": used in film studies to refer to all the elements of a movie scene that are organized, often by the director, to be filmed and that are later visible onscreen. They include the scenic elements of a movie, such as actors, lighting, sets, costumes, makeup, and other features of the image that exist independently of the camera and the processes of filming and editing.

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Naturalistic mise-en-scene

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appears realistically and recognizable to viewers

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Theatrical mise-en-scene

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emphasizes the artificial or constructed nature of its world

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props

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objects that function as a part of the set or as a tool used by the actors

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motif

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an element of a pattern, image or part of one, or theme. A motif may be repeated in a design or composition, often many times, or may just occur once in a work

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three-point-lighting

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a lighting technique common in Hollywood that combines key lighting, fill lighting, and backlighting to blend the distribution of light in a scene

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key lighting

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The main source of non-natural lighting in a scene. High key lighting is even )the ratio between key and fill light is high); low key light shows strong contrast (the ratio between key and fill light is low)

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Fill lighting

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A lighting technique using secondary fill lights to balance the key lighting by removing shadows or to emphasize other spaces and objects in a scene

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backlighting

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a hightlighting technique that illuminates the person or object from behind, tending to silhouette the subject; sometimes called edgelighting

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high key lighting

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the ratio between key and fill lighting is high

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low key lighting

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the ratio between key and fill lighting is low

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chiaroscuro lighting

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a term that describes dramatic, high contrast lighting that emphasizes shadows and the contrast between light and dark; frequently used in German expressionist cinema and film noir

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blocking

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the arrangement and movement of actors in relation to each other within the mise-en-scene

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naturalistic acting

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an actor's effort to embody the character that he or she is playing in order to communicate the essential self of the character

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stylized acting

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an ator employs emphatic and highly self-conscious gestures or speaks in pronounced tones with elevated diction; the actor seems fully aware that he/she is acting an addressing an audience

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compositional balance (rule of thirds)

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a "rule of thumb" or guideline which applies to the process of composing visual images such as paintings, photographs and designs.[1] The guideline proposes that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections

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depth of field

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the range or distance before and behind the main focus of a shot within which objects remain relatively sharp and clear

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deep focus

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a focus in which multiple planes in the sot are all in focus simultaeously; usually achieved with a wide angle lens

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profilmic space

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the area in front of the camera's recording field

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screen space

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what's within the screen

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depth cue

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A rendering technique that assigns color based on distance from the viewpoint.

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Movement

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one of the most expressive tools available to a filmmaker. It alters the relationship between the subject and the camera frame, shaping the viewer's perspective of space and time and controlling the delivery of narrative information. As the camera frame orients the viewer within the mise-en-scène , movement of the frame provides the illusion of the viewer journeying through the world of the narrative. The camera height and angle, the distance to a subject, and the composition of a shot may change during camera movement, as the framing travels above, below, around, into, and out of space.

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Depth cue

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is known as relative size, because we consider the size of an object's retinal image relative to other objects when estimating its distance.
Another depth cue involves the familiar size of objects. Through experience, we become familiar with the standard size of certain objects. Knowing the size of these objects helps us judge our distance from them and from objects around them.

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Look up staging of depth and lighting quality

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Look up staging of depth and lighting quality