Use of Mise en Scene in Secrets and Lies by Mike Leigh Essay

This is Sparta!!!!

May 22, 2013

300 mise-en-scene analysis

Filed under: —— Christopher Hayes @ 3:18 pm

300_08

 

The Dominant 

The dominant in this photo is the character Xerxes

  1. Size. Xerxes stands far taller than Leonidas and is overshadowing him.
  2. Focus. Xerxes is one of the only two objects in focus in the photo.
  3. Lighting. Xerxes is more brightly lit than Leonidas.
  4. Color. Xerxes gold jewelry gives him a god like luster, which is eye catching.

Lighting Key

This is an example of a high key lighting. The sky behind Xerxes and Leonidas exhibit large amounts of light to coincide with Xerxes luster from all the gold he is wearing.

Shot and Camera Proxemics 

This is a close up shot. The characters are shown from shoulder level up.

Camera Angle

This is an eye level shot. This is a normal shot of Leonidas and Xerxes.

Color Values

This scene, and much of this movie in fact, isn’t big on color. There seems to be a golden aura surrounding Xerxes due to his “divine power.”

Lens/Filter/Stock

Most likely there is a telephoto lens being used here. Because this shot doesn’t carry much depth and Leonidas and Xerxes are in focus.

Subsidiary Contrasts 

King Leonidas is the subsidiary contrast in this shot. Due to the fact that he is standing so close to Xerxes,the dormant, he’s easily the second thing to be noticed. Also Leonidas is relatively the only other object in the shot.

Density

This shot isn’t very dense because the shot is too close up to Leonidas and Xerxes to see much of anything else.

Composition

This shot has a binary composition. Leonidas and Xerxes seem parallel to one another.

Form

This shot is open form. This is a simple shot in open space and all the information isn’t given in the shot because of Xerxes throne being partially cut off up top.

Framing

The framing in this shot is tight. Xerxes contact of Leonidas by placing his hands on Leonidas’s shoulder doesn’t give the feel that these characters are able to move about freely.

Depth of Field 

This shot is shallow. Only one plane is in focus which is Leonidas and Xerxes, the rest of the scene isn’t noticeable.

Character Placement

Leonidas is centered and Xerxes is more towards the edge. This could perhaps demonstrate the brave demeanor of Leonidas and the fear of Xerxes.

Staging Positions

Both characters are shown in full-front. Leonidas and Xerxes are both facing the camera.

Character Proxemics 

The distance in this shot is intimate. There is contact in the shot as Xerxes places his hands on Leonidas’s shoulders as an act of intimidation.
The key factors in this shot is the lighting and the close up shot. The lighting is key because Xerxes claims himself to be a God king rival to no other. Xerxes is heavily illuminated with gold n shine to give him an God like luster. Spartan culture is almost purely militaristic, therefore, Leonidas and his men do not fear the God king thus why his back is turned confidently. The lack of color indicates the continued theme of war. As everyone should know there’s nothing bright about war, war is very dark and mischievous and the best way to illuminate the concept of war is to have a lot of substance besides the war itself. The concentration needs to be on the actual soldiers compact instead of background scenery. In the case of Xerxes he’s not a soldier King like Leonidas, Xerxes is a “God” King, therefore he is displayed in a gold aurora as if Xerxes is above human war.

The close up at this moment represents the two powers presented in the war. At this moment the war is at its midway point and Leonidas is confident that his Spartans can actually win. Thus when you look at Leonidas and Xerxes facial expressions, there’s two men who posses overwhelming egos in different ways alluding to both loving what they do. The two men are about a foot away from each other in distance this is important because a “God” King like Xerxes would never come that close to an opponent in war, he would watch from a distance. Therefore, 300 does an excellent job of showing how much concern the Spartans gave Xerxes due to the fact that he was willing to meet with Leonidas and show “mercy” by asking for his surrender. In this close up shot Xerxes is touching Leonidas which opposes the thought he is an untouchable “God” king. Thus giving Leonidas the dominance between the two men.

Print Friendly, PDF & Email
Comments (0)

Leave a Reply

  • Pages

    • Home
    • Review Essay, Kick Ass
    • The one about the boy annotated paragraph
    • 300 segmentation
    • 300 mise-en-scene analysis
    • 300 proposal
    • 300 presentation
    • 300 Essay
    • Annotated Bib
  • Recent Comments

    • Anonymous on Hello world!
  • Archives

    • May 2013
    • January 2013
  • Categories

    • Uncategorized
  • Blogroll

    • *Class Homepage
    • Angela Cerbone
    • Brian Chun
    • Chris Wong
    • Christopher Hayes
    • Darren
    • Elizabeth Ferraro
    • Gigi Castano
    • Henna Warman
    • Jamie Rohr
    • Jonathan Adler
    • Karen Greenberg
    • Kayla Kirshenbaum
    • Matt Power
    • Shabana Ramnarine
    • Steve Mendoza
    • Steven Pataky
    • Tiffany DePeaza
    • Xiomara Capera
    • •Prof. Ferguson

Powered by WordPress WPMU-DEV .

Spam prevention powered by Akismet

Skip to toolbar

  • About WordPress
    • About WordPress
    • WordPress.org
    • Documentation
    • Support Forums
    • Feedback
  • Log In
  • Register

JavaScript seem to be disabled in your browser.

You must have JavaScript enabled in your browser to utilize the functionality of this website.

Marked by Teachers

Part of The Student Room Group

  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month
  1. Home
  2. University Degree
  3. Media Studies
  4. Film Studies

Page 1
Zoom in
Marked by a teacher

Page

  1. Previous

  2. 1

    1

  3. 2

    2

  4. 3

    3

  5. Next

  • Level:
    University Degree
  • Subject:
    Media Studies
  • Word count:
    1602
  • View my saved documents

    Share this

    Facebook
    Twitter
    Google

    &#10006

    Example of Film Analysis using Mise-en-scene

    Extracts from this document…

    Introduction

    Example of Film Analysis using Mise-en-scene The opening scenes of The Godfather Part Three, (Coppola, 1991), we see the family compound in ruins on a grey wintry day. The lighting is dark and depressing and depicts the nature of what has passed and what might be to come. Something sad has occurred. You need not have seen the previous two films to have some idea of the weight and brevity of the narrative. If the film makers had chosen to shoot that opening scene of the flooded and derelict family home on a bright sunny day how would the audience have known that some form of change has occurred? A family home bathed in sunlight implies happiness and family togetherness. The darkness and brooding cold of the shot tells us that the extension of the narrative that will make up this new film comes from a time of depression and of obscurity for the Corleone family. The opening scenes of The Godfather Part Three also highlight the importance of setting as a way to drive and develop the narrative. The family home is in ruins. It is a grand and once luxurious compound that has fallen into decay and abandonment. …read more.

    Middle

    Had these characters been quick to move, happy and joyful, would the audience have had any sense of the respect they hold for the institutions of the church and family? Would there have been any sign that the story might be one of guilt and repentance? How could have Michael felt the pain of his own evil in front of God if he was happy and flippant? Would the audience have believed the premise of the film’s set up? Add all these elements together: lighting, setting, character expression and movement; the set up of a deeply passionate and complex family saga is laid out before us. The film continues to use soft and shadowy lighting as a motif for the battle between light and darkness that Michael fights up to his death; the setting of home and church continue to contrast with the violence and brutality of their lifestyles and the characters move and express themselves throughout the film in a way that tells the audience that they are serious, deep, brooding people with a weight and burden of guilt upon their shoulders. There are other elements of mise-en-scene that contribute to the development of the film. …read more.

    Conclusion

    emphasises his hardship and suffering, and tells the audience more of the morality and nature of that society. The film is shot is an expansive and breathtaking manner. The action contained within the frame captures the epic nature and significance of the story. There is a sense of a huge wide world that exists out there to be discovered. Its colours and people, its magic and brutality are all out there, but often are not in the shot. What is in the shot is the implication of such potential. When Columbus sits on the shore with his son and explains to him his theory of a spherical planet, we do not see the adventure to come, we see only a disappearing ship and the flat ocean. Everything else in our mind’s eye is left out. The fall of Castile was the result of a bloody battle, and while the rest of the city was being looted and overrun the film only shows us symbolic gestures of the riots and capture of the city, for example the destruction of the Mosque. We see the congested nature of the streets, but what has been contained within the frame is merely enough to show us what is happening, without showing us everything that is happening. …read more.

    The above preview is unformatted text

    This student written piece of work is one of many that can be found in our University Degree Film Studies section.

    Found what you’re looking for?

    • Start learning 29% faster today
    • 150,000+ documents available
    • Just £6.99 a month

    or


    Here’s what a teacher thought of this essay


    3 star(s)


    While this essay contains many insightful observations, and on the whole is quite well written, it is poorly structured and it has no conclusion of any kind. These are formal requirements so important that their omission severely limits the grade that can be ascribed to the essay, even though I think it’s evident that this author has a quite sophisticated grasp of what mise en scene is and how it functions in the context of cinematic storytelling.

    3 stars

    Marked by teacher
    Govinda Dickman
    10/10/2013

    • Join over 1.2 million students every month
    • Accelerate your learning by 29%
    • Unlimited access from just £6.99 per month

    See related essaysSee related essays

    Related University Degree Film Studies essays


    1. Marked by a teacher

      Unpicking the monstrous: A Psychoanalytic and Marxist analysis of Alien.

      5 star(s)

      representation during the film’s opening shots and when Kane fatally gives birth to the alien. The first instance of the primal scene is where the mother’s inner body is symbolically indicated by the cinematography during the film’s opening sequence. The camera slowly pans across the insides of the ‘Mother’ ship, creating a sensual atmosphere.

    2. An analysis of mise en scene, cinematography, editing and sound in the opening sequence …

      La Motta half crouches in a closed-in position and "continues to bore in." Scorsese even enters the ears of the boxers, where their single-mindedness transforms the aural circus around them into a world strangely muffled, as if wrapped in cotton wool.

    1. Critical analysis of Bob Dylan’s 1975 song, "The Hurricane".

      This particular idea is demonstrated clearly in the line, "The D.A. said he was the one who did the deed And the all-white jury agreed." Another aspect of an effective narrative is resonance, which is an attribute that "strikes a responsive chord with listeners, allowing them to identify with the story and to relate it to their own experience.

    2. How does the director of ‘Stand by Me’ create tension during the bridge scene?

      far more effective than if the weather was ‘dull’ with clouds everywhere. As the train enters the scene all the colours have changed from bright colours to the dark, dull colours from the train. The train is all black, this makes the scene seem far more dramatic because the cameras

    1. Cinematographic techniques used in the film ‘Taxi Driver’.

      needs to rid the city of all the dirtiness that is in the building. Other unconventional angles that are used are the overhead (high angle framing) shot. This is used during bother the robbery scene as well as the shooting rampage; both overhead shots highlight what has just occurred in the room.

    2. Representation of Women in Gangster Films

      She is married to Carlo, who beats her. There is one horrific scene where Carlo’s girlfriend calls the house and tells Connie to give Carlo a message that she will not be able to meet him until later on. Connie is obviously outraged and has just prepared dinner for Carlo,

    1. Action Adventure Genre.

      However, there was one that I read that I actually sat and thought about for quite some time. What follows is an extract from this review: "If you can identify your (and their) expectations, it is much more likely that you will enable them to obtain greater satisfaction from their

    2. The Matrix – Opening scenes analysis

      All the agents wear earpieces and receive messages through these. Are they being told what to do by someone else? Or are they being told what to do by the Matrix? Agent Smith – the name of the main Agent in the movie.

    • Over 160,000 pieces
      of student written work
    • Annotated by
      experienced teachers
    • Ideas and feedback to
      improve your own work

    Quantcast

    Document image preview

    This essay has been marked by a teacher!
    Sign up to view the whole essay and download a PDF with full teacher’s notes.

    Read more

    (The above preview is unformatted text)

    Found what you’re looking for?

    • Start learning 29% faster today
    • 150,000+ documents available
    • Just £6.99 a month

    or

    Looking for expert help with your Media Studies work?

    Check out our FREE Study Guides:

    Created by teachers, our study guides highlight the really important stuff you need to know.

    Or get inspiration from these FREE essays:


    Free essay

    Still Frame Analysis : American Gangster. The dominant in this frame is …

    5 star(s)


    Free essay

    How do Hollywood ancient world epics use spectacle and for what purposes? …

    Don’t have an account yet? Create one now!

    Already have an account?
    Log in now!

    We use cookies to give you the best experience possible. By continuing we’ll assume you’re on board with our cookie policy

    HOME
    Free Essays
    Mise en scene

    Mise en scene Essay

    A

    Pages:6
    Words:1490

    This is just a sample.
    To get a unique essay

    Hire Writer

    Download:
    .pdf,
    .docx,
    .epub,
    .txt
    Subject:
    Film director , Film editing
    University/College:
    University of Arkansas System
    Type of paper:
    Essay

    A limited time offer!

    Get custom essay sample written according to your requirements

    urgent 3h delivery guaranteed

    Order now

    This current semester, I am taking Introduction to Film. I decided to take the class only because it was in a convenient time slot, and not because I had any interest in taking the class. I am, however, enjoying it; for instance, we watched Quentin Tarantino’s, Reservoir Dogs — it was the first time I had ever seen the film, it was weird, but cool. Anyway…

    The first major paper in the class is a scene analysis. We could pick any movie, any scene. I choose the movie, Saving Private Ryan; hopefully you are able to figure which scene via my essay…

    The world as we experience it through our own senses is limited in its scope to the singular perspective. In film, however, using the same setting with the use of many different camera angles and positions, producing shots that are choreographed with crisp sound into a sequence, can take even an otherwise boring event and present it as epic. Filmmaking has the ability to broaden perspective — exponentially. In an essential scene in Saving Private Ryan, the film maker manages the elements of cinematography, sound, setting and editing to grab the audience’s attention and put them on edge for what will be coming next.

    We will write a custom essay sample on Mise en scene specifically for you
    for only $16.38 $13.9/page

    Order now

    We will write a custom essay sample on Mise en scene specifically for you
    FOR ONLY $16.38 $13.9/page

    Hire Writer

    We will write a custom essay sample on Mise en scene specifically for you
    FOR ONLY $16.38 $13.9/page

    Hire Writer

    Released to theaters on July 24, 1998, and the winner of five Academy Awards including a Best Director Oscar for Steven Spielberg, Saving Private Ryan quickly became the benchmark for what a movie depicting war should aspire. Written by Robert Rodat, the story begins with an elderly James Francis Ryan (Harrison Young) recalling a time during World War II when a squad of United States Army Rangers, led by Captain John Miller (Tom Hanks) and Sergeant Horvath (Tom Sizemore), is ordered to locate him to ultimately send him home because he was now the only remaining son of four — his three brothers were all killed in battle. His memory starts with the Rangers landing on Omaha Beach during the D-Day invasion of World War II, and follows them as they seek to locate him, the soldier, Private James Francis Ryan (Matt Damon).

    From the first scene of the film that presents the story, the audience is thrust into the horrors of war. This scene is the delicious appetizer that prepares your palate for the main course; without it, the meal would be ordinary. The scene presents the United States’ invasion force making its way via landing craft to the guarded shore of the Normandy coast during World War II. The scene begins with an introduction to the time and place that the event occurs, and then depicts the journey the soldiers must endure to step foot on solid ground while plans to repel them are in full swing by the Germans.

    Mise En Scene
    The setting begins with a view of a beach’s shoreline looking out to the ocean with an overcast sky. The beach is strewn with a multitude of ominous manmade obstacles designed to make any attempt to reach land via the sea an unpromising endeavor. During this shot, the words, “June 6, 1944” and “Dog Green Sector, Omaha Beach” provide the audience with the time and place the film’s story begins: D-Day, World War II.

    A majority of the scene is shot in the hold of a period-correct, infantry landing craft as it moves toward the beach. As the craft makes it to the shoreline, the audience views the destination, Omaha Beach. The beach consists of a wide plain of sand that extends from the shoreline to the cliff that has embedded a large menacing concrete bunker that towers over everything in view. The setting’s design and layout gives the audience the impression that any successful landing by the troops is impossible.

    Cinematography
    During the scene, the chaotic movements and skillful positioning of the camera give the audience a feeling of actually being on the landing craft and a part of the strike force. Whereas the scene focuses mainly on the members of a single landing craft, you are made aware that the attack force is much larger because of a brilliant high angle shot. The camera is positioned in such a way that a multitude of similar craft is in clear view, and all are moving in a parallel formation making their way at high speed for the shore; moreover, each craft is full of soldiers facing toward the bow ramp with salt spray breaking over the bows as their vessel charges through the moderate seas.

    While focusing on the main craft, holding members of Captain Miller’s squad, the camera is positioned at eye-level as it records individual, medium close-up shots of the various soldiers onboard. The camera moves with the boat as it makes its way through the water and provides a visual sensation for the audience of personally being there and gazing into the soldier’s eyes – an emotional connection with the subject is formed.

    As the craft prepares to lower the bow ramp to allow the soldiers to storm the beach, the camera is positioned for a level, over-the-shoulder view from coxswain’s perspective at the wheelhouse at the craft’s aft end. The shot includes a rear view of the soldiers anxiously awaiting the bow ramp to fall, and in the background high on the cliff, the concrete bunker waits.

    Just as the bow ramp falls, the bunker unleashes hell upon the soldiers in the craft. Bullets rip the flesh apart of those unfortunate souls that were positioned most forward. The next camera shot is an over-the-shoulder, high-angle shot from the operator of the one of the MG-42 machine guns in the bunker looking at the landing craft centered on the shoreline below. The camera tracks behind the silhouetted gun placements as they fire with ease upon the helpless landing craft below. The camera’s positioning in this series of shots gives the perspective of complete dominance by those in the bunker over those on the landing craft.

    Editing
    The scene is a combination of fifty separate straight cuts expertly spliced into just over four minutes of film. It is in that just over four minutes that the foundation of the entire film takes hold.

    One instance of the editor’s impact is the timing of the straight cuts to and from the gun placements firing upon the occupants of the landing craft, and the series of cuts made to shots of the carnage within the craft. This micro section of the scene speaks volumes as to the condition on the battlefield and leaves the audience with a bleak prognosis for the attack force’s success.

    Sound
    The scene begins with a transition from the film’s opening scene with the peaceful sounds of the surf lapping the shore line. As the scene moves forward, the ambient sounds increase with their intensity and frequency. The sound of the diesel engines that propel the craft becomes less noticeable as the sounds of battle start to increase in both volume and occurrence as the craft nears the shore.

    After the bow ramp is lowered, accompanied by a loud ratcheting sound of gears mashing together, the soldiers are soon forced into the water because of the heavy machine gun fire emanating from the bunker. The sound of bullets hissing with the simultaneous sounds of human flesh being literally torn apart is unnerving, and makes the audience wince with despair – how can these men be saved? It is then that the soldiers are forced to escape over the side of the craft, and the ambient sound abruptly turns from the din of battle to the muffled, strangely peaceful sound one would hear while completely immersed in water. The sound presents a short respite for the audience, just long enough for a short breath before the battle continues under the water.

    As the soldiers attempt to make their way to shore, bullets break the underwater peace with unpredictable zipping sounds; the bullets occasionally find their mark.

    The scene ends as Captain Miller finally reaches the shore, and as he looks and tries to comprehend all of the bloodshed occurring around him. His mind seemingly blocks out the sound, diminishing it to a dull resemblance of its previous clamor.

    Throughout the history of film making, be it stories of the conquests of ancient times or more recent conflicts, filmmakers have attempted to capture the essence of war. Not until the movie Saving Private Ryan has the dreadfulness of combat been delivered with such intensity and believability. The editor’s timing and placement of the magnificent camera shots and recorded sounds masterfully allows the audience to feel we are a part of the action; we become immersed in the story. It is because of this single four minute scene, the audience becomes vested in the narrative. It is no wonder that Saving Private Ryan won Oscars that included one each for cinematography, sound, sound effects editing, and film editing — no wonder at all.

    How to cite this page

    Choose cite format: