mise en scène


Les Moires by Olivier Ramonteu
Via Flickr:


CAROL, part one

To conclude this series of Pride 2017-related posts (though certainly not the end of gay-relevant content on this blog), here’s a two-part post on Todd Haynes’s exquisite 1950s-set lesbian romance Carol (2015). Last year, Carol was voted the best LGBT film of all time in a poll that featured over 100 critics and was compiled to mark the 30th anniversary of London’s lesbian and gay film festival, BFI Flare. There are many qualities worth celebrating in this film: the sublimely modulated lead performances by Cate Blanchett and Rooney Mara, the richly atmospheric period detail and mise-en-scène, Haynes’s deft invocations of classical Hollywood genres (melodrama, film noir, women’s pictures). But most importantly, as the following quote reminds us, Carol’s uncommonly uplifting and affirmative take on same-sex love represents a quietly radical step forward for LGBT narratives in cinema.

Happy Pride!

“In the years since Brokeback Mountain, we’ve seen Best Picture nominations for The Kids Are All Right and Dallas Buyers Club – though in both of those cases, the primary audience surrogate was arguably a straight man (Mark Ruffalo in Kids, Matthew McConaughey in Dallas) – and the slightly Sapphic Black Swan. And, of course, there was Milk and The Imitation Game, both stories about gay men who met with tragedy… Spoiler alert: Carol’s protagonists fall in love, consummate their passion, and encounter some difficulties – it’s the early ‘50s, after all – but do not die for/from being gay. Such a declaration sounds stark, but an astonishing number of films about gay life have seen their characters come to some sort of a tragic end, as if comporting to the old Hays Code, where characters must be “punished” for their “sins.” Ultimately, Carol’s most transgressive quality is its refusal to engage in such shenanigans; this is a film about full-blooded gay lives, not tragic gay deaths. Maybe Oscar voters weren’t sure how to deal with that?” — Jason Bailey, Flavorwire (January 2016)

anonymous asked:

Hi,can you tell us your opinions about artistic aspects of CMBYN? Especially directing&cinematography. I haven't watched the film, but as what I saw, it seems that Luca often keeps the shot quite long for the whole scene/action instead of using more cuts. It seems he prefers wide/medium shots to show (quite distantly :-S) the characters interact to each other & with surroundings. Close-up shots are less often? What do U think about lighting, camera movements, lens 35 & film s35 he&his DOP used?

Luca, the editors, and the DOP all understand that moviegoers these days have a trained eye when it comes to films. They don’t need to be guided through the story using editing. More frequent cuts/shots tells the viewer what’s important and what’s not, but it seems that Luca is content to let the story unfold in longer takes, allowing every movement, gesture, touch, look, etc. to contribute to our understanding of the film. More frequent cuts/shots also translates into a faster-paced film; the tone of the film is languid, therefore the editing is reflective of that. The longer shots not only slow the pace but they allow the viewers’ eye to roam, to take in the character’s surroundings. It’s important to note that their surrounding is also a character. As Dave Hood has said:

In creative nonfiction, the place or location where the event or experience took place is more than just about the name of the place. It is also the physical location of the place, the physical attributes, such as the urban setting of crowds, pollution, public transit, traffic jams or the rural setting of open spaces, fewer people, fields, farms, and small communities. In writing about travel, place is much more than the physical location. It is about the culture, language, values, morals, beliefs, customs, cuisine, traditions, and way of life.

Just something to think about. Now on to framing. There are a few close up shots of Elio and Oliver, but that’s only when they’re wrapped up in their own thoughts:

Close ups can create a sense of intimacy or constraint or even alienation (depending on the context). The wider shots definitely allow the viewer to see how the characters interact with each other and their surroundings, but also show the spatial relationship between the characters within that surrounding. For example, in this scene:

Elio and Oliver stand on the same plane, undivided. There’s no visual barrier between them (plants, a bike, a table, etc.) which means there is nothing keeping them from being with one another. They are allowed to get close to one another, literally. Whereas in this shot:

Elio is in the mid-ground while Marzia is in the foreground, suggesting that the two have grown apart in a way. In addition, there’s a wall of plants between them, meaning that they’re unable to cross over and become close again; they’re physically distant, implying that they’re emotionally distant as well. In terms of the general mise en scène, it’s very naturalistic; Luca is purely trying to recreate the 80s in a realistic way without over-exaggerating costumes, sets, etc. like many other contemporary films/tv shows set in the 80s do. I’ve only seen the film once and was so excited to be watching the film that I could hardly focus, but the next time I see it, I’ll definitely be doing a more semiotic analysis of the film. Overall, the film is so visually stunning in its sheer simplicity. It’s refreshing to see a more laid-back approach filmmaking. I hope this is what you were looking for!!

anonymous asked:

Shinee as School Teachers 😊

hi bebs! i switched it up and made them college professors instead hope you don’t mind! c: also @taemkitten here’s uni profs for you sweetheart!


  • computer science professor 
  • super chill, will grant extensions no prob as long as he sees that students are trying and not trying to take advantage of his smiley face   
  • brings in those programmable robots that can be coded to go through mazes 
  • sometimes he forgoes the maze and the class does races (”just don’t bet on them bc i will get fired if i inadvertently start a underground robot gambling ring”)  
  • showed a simple smartbot chat in class and kept sending it puns that it did not understand 
  • struggles with projector and sound system


  • sociology/peace&justice professor 
  • lectures about things they don’t teach you in high school like the aftermaths of slavery, japanese internment, feminism and how it’s all rooted in people and social interactions 
  • keeps students up to date with protests happening 
  • when his laptop freezes he jokes that it’s the fbi trying to shut him down 
  • for some reason ALL of his classes are 8:30s and students can visibly see caffeine waking him up as he’s lecturing 
  • super passionate and waves his arms around while talking 
  • never gets to everything he wants to talk about bc he gets sidetracked
  • also no one can ever read his handwriting and if they ask he has to try really hard to read it too 


  • art history professor 
  • unironically wears tweed with elbow pads (”i look good in the prof look ok”) 
  • his syllabus is 17 pages long. which is daunting af but it’s really not as overwhelming as it seems 
  • lectures are interesting bc he’s just so sincere 
  • he’s not afraid to be vulnerable and encourages everyone to be open about how art influences them
  • class field trip to museums!!!! 
  • drives the uni shuttle with art history majors singing showtunes in the back
  • introduces his TAs: mr. comme des and mr. garcons 
  • his slideshows are all prezi bc it’s more aesthetic 


  • film professor 
  • teaches intro to film so it’s mostly watching movies and basic theory but suggests that students make their own shorts to show if they’re comfortable 
  • shows his own first cringeworthy film, awkward acting and all……… it’s the shinee harry potter thing and honestly he’s hiding behind his hands the whole time (onew: “SERIOUSLY WHY CAN’T WE JUST BURY OUR DARK PAST” / minho: “I WANT TO LEAD BY EXAMPLE AND SHOW THAT THINGS TAKE TIME AND PRACTICE” / tae: “YELLING ALSO”) 
  • shows the bee movie in class bc he lost a bet to jong and has to teach a class on it
  • teaches class with a completely straight face like he’s not dying inside talking about mise en scène in the fkin bee movie 


  • theology professor 
  • he knows he looks young so he wears his glasses to look older 
  • knows how to read latin like nbd 
  • when he came into the room the professor rolly chair was really high but he didn’t know how to make it go down so he sat on it with his feet dangling off the ground 
  • can recite passages from the bible from memory
  • doesn’t push his belief on anyone but encourages open conversations about how religion works in the world 
  • bursts into class everyday like “AM I LATE?????”

Permettez-nous aujourd’hui de vous présenter Baptiste Boutin, illustrateur et étudiant en cinéma d’animation. Dans son blog éponyme, il partage avec nous ses dessins et ses recherches en vrac. Il a gentiment accepté de répondre à nos questions et de nous présenter son univers artistique unique. Bonne découverte !

Tumblr – Pouvez-vous vous présenter rapidement à nos lecteurs ?

Baptiste – Je m’appelle Baptiste Boutin, j’ai 19 ans et j’étudie le cinéma d’animation à l’Atelier de Sèvres à Paris.

T – D’où vient votre passion pour l’illustration ?

B – J’ai toujours eu un goût prononcé pour l’illustration qui me vient de la lecture de bandes dessinées durant mon enfance et un attrait certain pour la narration et la composition, que j’ai côtoyées très jeune par le cinéma et l’animation. Le cinéma a d’ailleurs beaucoup d’influence sur ma manière d’appréhender le dessin, car bien que j’aime illustrer en donnant un statut indépendant au dessin par des procédés stylistiques divers, j’aime que celui-ci ne soit pas gratuit et transmette au moins une idée de récit ou plus souvent une intention de mise en scène. 

T – Parlez-nous de votre blog. Qu’est-ce qui vous inspire ?

B – Ce blog est pour moi l’occasion de montrer mes dessins aux gens en essayant (tant bien que mal) d’être régulier afin de garder un rythme constant dans mon travail et évaluer ma marge de progression au fil du temps. De nombreux artistes m’inspirent énormément. J’admire, par exemple, beaucoup le travail de Katsuhiro Ōtomo, tant dans le dessin que dans la mise en scène qui sont virtuoses et s’approchent de ma conception du parfait achèvement artistique ; le dessin à son niveau le plus poussé au service d’un message complexe et questionnant. J’ai également toujours été un lecteur passionné des bandes dessinées de Riad Sattouf, qui m’ont donné le goût du dessin quand j’étais plus jeune et qui encore aujourd’hui me surprennent par leur incroyable efficacité dans le trait, mêlée à ces histoires touchantes qu’il raconte avec un humour fin et cynique dont je ne me lasse jamais. Je pourrais citer un bon nombre de personnes que j’admire et qui m’inspirent comme par exemple : David Fincher, Manuele Fior, Michel Ocelot, Karl Kopinski, Marjane Satrapi, Park Chan-wook, Claude Ponti, ou encore Bastien Vivès.

T – Quel a été le déclic pour créer ce blog et pourquoi avoir choisi Tumblr ?

B – J’ai fait, comme bon nombre de mes amis, le choix de Tumblr pour commencer à partager mes travaux sur cette plateforme où l’on peut voir de très nombreux professionnels et étudiants qui dédient en grande majorité l’intégralité de leur blog à du contenu artistique. Cela permet de faire un peu partie de ce grand réseau.

T – Quels sont vos trois Tumblrs préférés et pourquoi ?

B – Il m’est impossible de définir mes trois Tumblrs préférés car j’en change très souvent, mais je vais donner les trois qui sont mes favoris en ce moment. Il y a tout d’abord le blog de Mattias Adolfsson parce qu’il est une merveille de microcosmes aux ambiances attachantes avec une simplicité qui rappelle l’enfance. Ensuite vient le blog de Simon Leclerc, pour sa maîtrise de la couleur, de la composition et sa patte très en matière que j’apprécie énormément. Enfin, le blog de Rémy Petit est pour moi l’un des blogs les plus intéressants sur Tumblr actuellement, car ce jeune artiste très prometteur a une audace toute particulière dans sa façon de représenter les sujets qu’il traite avec une indépendance graphique que j’admire.

T – Merci beaucoup, Baptiste, et bonne continuation !

Lucifer’s Trash Stash’s Masterlist

One Shots:



Repentance- NeganxReader Smut

Breakfast in Bed- NeganxReader Smut 

Mise-en-scène- NeganxReader Smut 

Taking Back Control- NeganxOlivia Smut

Detention- NeganxReader Smut

Tease- NeganxReader NSFWish Drabble


Hold Me Closer- NeganxReader Fluff

Making Friends- NeganxMe Fluff (Self-insert)

Valentine’s Surprise- NeganxMe Fluff Drabble (Self-insert)

Parenthood- NeganxReader Fluff Drabble

Letting off Steam- NeganxReader Fluff Drabble

Big Brother- Negan and little sister reader Fluff/Comedy Drabble

All for You- Demon!Negan Fluff Angst Drabble

Neverending Nightmare: Negan and Freddy Krueger Angst

The Saviors:

Arat in Wonderland- Arat, Dwight, Simon, and Negan Comedy Drabble

J is for Jeep- Simon the SaviorxReader Smut

Bad Things- Simon the SaviorxReader Smut Drabble

The Camp Crystal Lake Walker- Negan, Simon, Dwight, Arat, and Jason Voorhees Comedy/Horror Drabble (TWD and Friday the 13th Crossover)

Dixon Brothers:

What Makes a Dixon- Daryl and Merle Dixon Angst

Cherry- Merle DixonxMe Smut (Self Insert)

Runaways- Young Daryl and Merle Dixon Angst

Caught by Surprise- Merle and Michonne Comedy Drabble

County Fair- MerlexReader Fluff Drabble

Midnight Comfort- MerlexReader Fluff/Angst Drabble

Hero’s Reward- MerlexReader Smut Drabble

Rescued- DarylxReader Fluff Drabble

Bodyguard- MerlexReader Fluff

Bedridden- MerlexReader Fluff

Killer Cook- MerlexReader Smut

Cleanup- MerlexReader Smut

Guardians of the Galaxy:

Backup Copies- Yondu Udonta and teenage Peter Quill Fluff


Late Night Lovin’- Grant GrantxReader Smut


Ask Negan Anything Q&A Special Responses- 500 Followers Special


Into the Woods (Co-written with @ladylorelitany)- Merle Dixon x Charlotte Ballard, Daryl Dixon x Robin Ballard


In a Town Called Darling (Co-written with @superprincesspea @ladylorelitany and @vizhi0n)


Only Tomorrow Knows- (NeganxOFC)

Chapter 1

Ravished by Moonlight- (Werewolf!Negan x Reader AU)

Chapter 1     Chapter 2


Came out to have a Good Time

My AO3 Account:


So there’s a style of Hollywood cinema that’s painfully classic. It follows a strict set of rules for camerawork, lighting, mise-en-scène and music, all designed specifically to tug on your heartstrings, make you feel like a witness to something profound yet easy to digest, and, if you are American, trigger a feeling of pride, helping you unearth it from any guilt your social awareness might have piled on top if it.

And that style of cinema is really getting old. We’ve seen it all in there, it seems, we’ve heard the same string orchestra over and over again, endured every slow zoom on a character’s face, and have driven classic cars through every field of amber under spacious sky while classic rock played in the background.

Only, as I discovered at the cinema today, it’s not the style that got old.

It was the stories.

Because we’ve seen all the stories.

All the white stories, that is.

In short, Hidden Figures was fantastic and made a whole tired old style relevant again. More, please, more stories we have not heard, more stories that are genuine and interesting and actually deserve that string orchestra.

Jiang Wen: Deconstructs the Way People Understand History

More Jiang Wen reading! I just finished the “Jiang Wen and His Signature Films: Let the Bullets Fly and Gone with the Bullets” chapter in Shenshen Cai’s book Contemporary Chinese Films and Celebrity Directors. Good stuff. Useful context.

This concluding passage sums up the direction of Shenshen Cai’s positive analysis (emphases mine):

Jiang Wen is a serious film auteur whose movies reflect his critical thinking about the character of the Chinese people, the revolutionary memories of socialist China, the erotic elements in filmic expressions, and the sociopolitical situation of China. In both formal and informal interviews Jiang Wen has said that he is not interested in reflecting on politics and socio-political concerns in his movies. Perhaps due to his previous films being banned by the film bureau and himself being prohibited from making films for several years, Jiang Wen has become more cautious in choosing thematic topics and storylines…. Jiang Wen is a master of employing history in a self-consciously intriguing fashion which deconstructs the way people understand history. Moreover, in his award winning efforts at manufacturing historical fantasies, Jiang Wen engages his film narratives and discourse with contemporary Chinese society and politics in a circuitous and equivocal way.

Jiang Wen’s films are set in a remote time, and are not really historically accurate, so his plots and storylines are superficially irrelevant to any current social and political situations. However, Jiang Wen embeds in his films political and social allusions and allegories through the use of rich and inspirational visual images and expressions, convoluted and intriguing plots and comical or chivalrous characters. Through those seemingly flippant plots, curious and fantasy-like scenes and caricatured stereotypical characters, Jiang Wen’s films serve as socio-political prisms through which typical social figures are represented and a clear picture of contemporary China society emerges. The clever incorporation of social and political episodes into the film plots and mise-en-scènes exposes Jiang Wen’s understanding of government censorship and the enlightened ordinary viewers. In doing so, Jiang Wen deliberately masks the films and their political insinuations under the guise of historical/comical farce, thereby not only avoiding any hardline treatment from the official censors but also providing outlets for the audience to release their suppressed emotions and consolidate their own suspicions.

Quick Thoughts on The Unsuspected (1947)

1947 October 11 | 103 min | B&W

[Image description: lobby card for the film The Unsuspected featuring close-ups of Hurd Hatfield, Joan Caulfield, Claude Rains, and Audrey Totter. The tagline for the film is “You can’t foresee it!! You can’t forget it!”]

In the last quick thoughts post, I talked about how Darkman (1990) is the most comic-book movie, even though it’s not adapted from a comic. I did not expect to find another movie that fit that description, let alone one from the 1940s. That’s The Unsuspected (1947) for you.

The plot is a solid suspense story and it’s got a pulpiness reminiscent of contemporary detective comics. From the very first, the mise-en-scène and cinematography establish the tone. Each shot is packed with info that develops motifs or reflects what characters are thinking and feeling. Information density in visual storytelling is a feature of plenty of films, but the execution in The Unsuspected feel like comic panels sprung to life. I took a ton of screenshots to show you what I’m talking about. (Most will be after the jump because of violent imagery and potential spoilers.)

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