mise en scène


Wes Anderson has become a film genre. The great folks at Way Too Indie explore his visual themes from his work in ‘Rushmore,’ ‘Bottle Rocket,’ ‘Royal Tenenbaums,’ ‘Moonrise Kingdom,’ ‘Darjeeling Limited,’ to his latest work in ‘The Grand Budapest Hotel.’

“The tracking camera, moving from room to room, examining the bourgeoisie and upper class in the films of Luis Buñuel (e.g. ‘El Angel Exterminador’) laid the groundwork for the dolly and tracking shots in Anderson’s ‘Rushmore,’ ‘The Royal Tenenbaums’ and early sections of ‘The Life Aquatic with Steve Zissou.’ The frenetic energy and overall zeal found in François Truffaut’s ‘Jules et Jim’ serves also as the celluloid backbone of most of Anderson’s works, specifically ‘Bottle Rocket,’ ‘The Royal Tenenbaums,’ and ‘Fantastic Mr. Fox.’ The melancholic swoons of the silver screen’s longing romantics permeate ‘Moonrise Kingdom,’ ‘Hotel Chevalier’/‘The Darjeeling Limited’ and in the romance subplot of ‘Bottle Rocket.’ These films share the same sort of beautiful yet honest moments found in Jean-Luc Godard’s ‘Pierrot Le Fou.’” –Nelson Carvajal, Way Too Indie

Speaking of ‘Bottle Rocket,’ even Wes Anderson’s thank-you notes look like they belong in Wes Anderson movies. Cinephilia & Beyond in Vanity Fair. Yeah, baby!

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Continues through October 30th:

 Hooper Turner
“mise en scène”

frosch&portmann gallery 53 Stanton St, NYC

Hooper Turner’s new work references still lifes in various catalogs; we recognize recurring elements such as candles, skulls and memento mori-like arrangements. The single object paintings are much more materially present than the original print ads; the painted doorknob, bone china or animal appears in life size, which adds to the almost touchable realness of the two-dimensional work. The image of the object becomes the object. The transformation of living things and objects into their representation in another material is an important theme in Turner’s oeuvre.

New to the artist’s vocabulary are the scenes of women positioned in front of a
mirror. Seemingly absorbed in themselves, they touch up their makeup, arrange
their hair or simply admire their beauty — they are getting ready to go on stage. Are these beauties from the past or present? As to their times, the images are vague, amalgamations of different periods.  In these rather unrealistic settings, objects and people from varied places and slightly different times are put in the scene to create a representation of an ideal world — a staged world as shown in glossy magazines.

Wednesday - Sunday, 12 - 6


Alfred Hitchcock is a master of mise en scène. His films are so much fun to analyze because there are no accidentals in terms of the visual; everything is planned and has a purpose. Pay particular attention to the differences between Jimmy Stewart’s apartment and the world outside of his windows. While you’re there, be sure to check out the other mise en scène videos on Matthew Parillo’s Vimeo channel.

The making of Rear Window  by Scott Curtis. In Alfred Hitchcock’s Rear Window, edited by John Belton. Cambridge University Press, 2000. 21-56.

Independent film director Jeffrey Michael Bays, a life-long fan of Alfred Hitchcock, has compiled these articles to further spread the brilliant simplicity of Hitchcock’s creative genius.

Dear every screenwriter, read this: John Michael Hayes’ screenplay for Rear Window  [pdf1, pdf2]. (NOTE: For educational purposes only). The DVD/Blu-ray of the film is available at Amazon and other online retailers.

Here’s the original trailer for Rear Window.

For more film related items throughout the day, follow Cinephilia & Beyond on Twitter. Get Cinephilia & Beyond in your inbox by signing in. You can also follow our RSS feed. Please use our Google Custom Search for better results. If you enjoy Cinephilia & Beyond, please consider making a small donation to keep it going:

McDonald’s: Powerful Mise en Scène - 

Creating a powerful visual theme in each scene requires the director to reach beyond the scene’s purpose as highlighted in the script.

Clichés don’t qualify in powerful scene-building. The thunder and lighting that accompanies distress or insanity only works in campy horror flicks, just like a professional wrestler’s sudden rush of adrenaline only works in scripted fighting. The storyteller winks at a participating audience, who have been expecting this all along. 

Effective mise en scène feels authentic and real while managing to subtly surprise us. McDonald’s is an excellent place to observe powerful mise en scène. The corporate offices do everything they can to standardize the experience, but they can’t snuff out all the personalities that work there. Those quirks, juxtaposed by your expectations of what McDonald’s should be, offer an interesting and sometimes entertaining statement on contemporary living.

Powerful miss en scène is about the interplay of objects and individuals in their entirety, not the direct expression of an internal feeling.

There’s little to do these days but sit in a lawn chair and measure how your shadow eats itself slowly and spits it back out. Everywhere the morning tearing up into daybreak through bald roots, the scribble of cross wires beneath the fertile arras. For every inch of dirt here, there is a country accounted for over those green-ruffled peaks, unconjugated and tenseless.

Andrew Zawacki, from section iv “Diacritics” of “Mise en Scène,” Reasons of Breakings: Poems (The University of Georgia Press, 2002)

Stanley Kubrick & Vụ phối cảnh 1 điểm

Có một số đạo diễn chỉ nhìn phim là nhận ra ngay lập tức nhận, và Stanley Kubrick là dễ dàng trở thành một trong số đó. Điều đó có được một phần là do cách áp đặt khuôn hình kỳ lạ, nặng nề theo phong cách phối cảnh một điểm (mặt chính của vật thể song song với mặt phẳng chiếu), tức là người quan sát nhìn thẳng vào một mặt của vật thể, để tập trung vào một nhân vật hoặc đối tượng.

Thế nhưng, trong các phim của Stanley Kubrick, ông thường dùng thủ pháp này để tạo ra một cảm giác rằng chúng ta đang bị mắc kẹt trong khung cảnh chứ không chỉ là đơn thuần xem nó. Từ Full Metal Jacket cho tới Path of Glory, từ The Shining cho tới A Clockwork Orange, lối dàn cảnh này đã dần trở nên quen thuộc với ai là fan ruột của ông. Hãy xem những hình ảnh minh hoạ bên dưới để nhìn rõ phong cách của đạo diễn vĩ đại này.

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