#miseenscene

[nataliakovachevski]

#photographer : @natalia_kovachevski #models : #nataliakovachevski & @omkuba #miseenscene #duo #selfportrait #girlslovegirls #likeapainting #oneofthem #composition #corps #lesbiancouple #essential #storytellers #nudeart #lovewatts #representation #lesbianvisibility #fairytale #pictural #artisticphotography #lgbtculture #lesbianlove #lwsubmissions #naturallove #romanticcouples #tetu #nudetones #womanartist #superwrongmagazine https://www.instagram.com/p/B99oGtliyeR/?igshid=nqwkpg5gqyk2

[bibolaepicentrephotographique]

[muchadoaboutnothing13]

Dernière ligne droite pour les spectacles... Aujourd’hui on attaque la mise en scène. #miseenscene #theatre #ilovethisjob https://www.instagram.com/p/BxHvmd9H8kyYMvqu7Y2v-pP0_Ue2_gptxdCrCM0/?igshid=13frrnqzk1qnx

[wilmaryflores-blog]

Laura (1944)

Mise-en-scene is defined as the arrangement of scenery and stage properties in a play or film. Every little element of a scene come together to create the most believable stage, from the lighting to frame and close-ups.  In the film Laura (1944) by Otto Preminger, we have to take account of lighting and shadows due to it being a film noir.  One of the scenes that stood out the most to me was when the detective was begging to fall in love with Laura. In this scene, he is alone in her apartment thinking of all the things everyone has said about her and one can tell he is falling in love because of the lighting, music and close up of the faces. First, the music begins to fade into a soft and classical tune. Soft music can often make us feel romantic and relaxed. Also, the camera begins to close up on detective McPherson bringing us close to his personal space demonstrating vulnerability.  Another aspect of this scene is as we are closing in on McPherson the lighting begins to shift and becomes softer, once again showing some warmth to his character. All these aspects come together to bring a believable performance. 

[urielagramonte-blog]

The Clock

Andre Bazin refers to the idea of image vs reality in his writing “The Evolution of the Language of Cinema”. I believe he was referring to the image that we see on the screen and the reality of the image that we can connect it to. The entire production team for a film puts together every detail with a purpose and the pieces of each frame that accompany the focus are additives to the overall scene. My focus is the ending scene when Waldo shoots and breaks the clock as the image fades and he dies. There was a parallel of that clock with himself. The mise-en-scène you can obviously see the clock shattered and broken. You also saw him get shot and die. Those are the images you can clearly see. Preminger doesn’t just flat out compare Waldo to this clock but as the audience, that is our involvement. He himself caused the breaking of the clock, just as he caused his “loss” of Laura which throughout the film agonizes him. For me, this is where the ‘mise-en-scène’ was profound because the absolute last thing we see is the obliterated clock that was a focal point in the film and Waldo dying. Waldo is that broken clock

[theruthyc211-blog]

Laura (1944)

This black and white film directed by Otto Preminger uses aspects of mise-en-scene and montage to give the spectator a place and inclusion into the film, becoming not only engulfed into it but having a hand in how the filmmaker would want to set up their shots. One scene I would like to examine would be the opening scene where the camera does a slow pan of the room, capturing all the fine glassware present in Waldo’s house as the detective inspects different pieces, setting the atmosphere of a rich man, who is most likely well educated. After the slow pan of the room, it then quickly shifts toward the voice of Waldo, revealing in writing in a bathtub, speaking toward his lavish lifestyle. This also gives the audience little time to prepare to see Waldo in this state which somewhat gives a humorous effect. The difference of not only the characters but also the camera work, according to The Evolution of the Language of Cinema provides, “... the creation of a sense or meaning not proper to the images themselves but derived exclusively from their juxtaposition”. Another thing I would like to examine would the next sequence in the scene which would be when Waldo is getting ready and is basically praising himself in front of the mirror, but instead, the audience’s eyes are instead focused into the little puzzle the detective plays with; not even the audience entertains his narcissism. The close up image of the puzzle can represent the main focus of the detective, which is to solve the mystery of Laura’s supposed murder. Which touches on another one of Andre Bazin’s theses of, “... which the image is evaluated not according to what it adds to reality but what it reveals of it.” Therefore, the opening scene uses different camera techniques to juxtapose the two characters as well as capture the setting accurately of Waldo along with the close up of the puzzle which provides deeper meanings in regular images. 

[film-azurinsis-blog]

(y)Ann(e) or Laura(l)

Towards the end of the film Laura (1944), Laura enters her bedroom and sees standing in front of the mirror Ann. Unlike silent films that rely on montages to direct reality or plastics to create the reality, the film uses mis-en-scene to create the depth of focus. The setting of the scene consists of several mirrors to which Ann uses her own makeup mirror. Therein lies the symbolic meaning of reflection and vanity. The realism of their attire on both Ann and Laura reflect their status and helps define the characters. As the scene plays out, the performance of Laura demonstrates a character that looks out into the distance and concerned yet Ann demonstrates a character that cares about her appearance and knows what she wants. Since the scene has a depth of focus, the audience is left with a varied interpretation of the characters. Laura could be interpreted as the concerned woman whos worried for people accused of a crime they may or may not have committed. Meanwhile, Ann is a counter to Laura's character as the vain and egocentric woman that seeks out what she wants. Or the characters can be interpreted by the age and status. Laura could be the woman unable to look at her reflection because she is young and uncertain of her future or even the men she likes. Ann could represent the older woman who has the ability to acknowledge herself truthfully and able to control what she sees. Instead of using montage as a way to present reality with close-ups or movement, mis-en-scene is used to capture the reality.

[julia-kutsch]

Laura (1944)

Mise-en-scène is all about what’s in the frame at a particular moment and what the filmmakers want the audience to extrapolate from that image. The image of the clock in the final few scenes of Laura becomes more than just an image, but an embodiment of a theme and state of being. In classic art, clocks are a common memento mori (literally “remember you will die”), an object which is meant to remind the viewer of the unbiased coming of death. Once the clock in Laura’s apartment is revealed to be the hiding place of the murder weapon, this idea of impending death becomes much stronger as the clock is now literally connected to death. After this is revealed, Waldo returns to Laura’s apartment to wait for her to be alone and kill her. With this timing, we as viewers get a very intense idea of impending doom as we watch Waldo creep around. Even more interestingly, when Waldo is confronted by Detective McPherson in Laura’s apartment at the end, Waldo shoots the clock as he is shot by the other detective. When this happens, Laura’s impeding doom is erased. While the intact clock represents the coming of death, the destroyed clock now represents kind of a death of death itself. Laura is no longer in danger, so her life’s clock is no longer ticking, shown literally in her actual clock’s destruction.