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CHAPTER 4 THE SHOT: MISE-EN-SCENE
IM – 4 | 1
CHAPTER 4
THE SHOT: MISE-EN-SCENE
Chapter Outline
What Is Mise-en-Scene?
The Power of Mise-en-Scene
Components of Mise-en-Scene
Setting
Costume and Makeup
Lighting
Staging: Movement and Performance
A Closer Look: The Film Actor’s Toolkit
Putting It All Together: Mise-en-Scene in Space and Time
Space
Time
Narrative Functions of Mise-en-Scene in Our Hospitality
Summary
Teaching “The Shot: Mise-en-Scene”
The Purpose of the Chapter
Lecturing On and Discussing Mise-en-scene
Chapter 4 is a particularly important one for broadening students’ range of experience
in films. We have mentioned that students often come into introductory courses
unaccustomed to watching older films and foreign films. Usually their resistance is
based on filmic elements that fall into the category of mise-en-scene. Older styles of
acting are particularly hard for them to adjust to, and they may dismiss some films as
not appearing realistic. Thus the short but important section on realism could be
CHAPTER 4 THE SHOT: MISE-EN-SCENE
IM – 4 | 2
stressed. In lecture you could give additional examples, both of films that deliberately
avoid realism and of those that have been considered realistic in the past. Similarly, in
discussion you might elicit examples of the same kinds of films from the students
themselves. Similar tactics can help them get used to watching a greater variety of
acting styles than they are used to.
Assigning a Paper on Mise-en-Scene
A simple assignment for a short paper would be to have the student watch a film
(preferably twice), choosing one or more motifs of mise-en-scene, and listing them,
noting how each functions in the context of the film’s form. Motifs like props and
costumes are relatively easy to notice and hence the students will probably choose
those categories. If you wish to challenge them more, specify that they look for motifs
of lighting as well.
