Mise-en-Scène is a French term that means “what is put into a scene” or “frame.” I learned that mise-en-scène refers to all the visual elements within a frame that contribute to storytelling in animation and film. These elements work together to communicate essential information to the audience without needing words. The key elements of mise-en-scène are:
Settings & Props
- I learned that the setting of a scene plays a significant role in shaping the story’s mood and guiding the audience’s expectations. Settings can either be built from scratch or carefully selected to add depth to the narrative. For example, in An American Tail, the location of Manhattan is not just a backdrop, but it also adds to the character’s emotional journey. The setting helps set the tone for the events that unfold. Props, on the other hand, provide additional meaning and context to the characters and the plot, as seen in Toy Story and The Godfather, where the props play key roles in understanding the characters’ personalities and the storyline.
- My takeaway: The setting and props in a scene are not just there to fill space but are integral to conveying meaning and expectations to the audience.
Costume, Hair & Make-Up
- I learned that costume, hair, and makeup are used to instantly convey a character’s personality, social status, and occupation. For example, in 101 Dalmatians, the costumes and makeup choices for Cruella de Vil immediately tell us she is extravagant and villainous. In Barry Lyndon, the makeup and costumes highlight the social standing of the characters, supporting the film’s thematic depth.
- My takeaway: These elements act as immediate visual cues, helping the audience quickly understand who a character is, even before they speak or take action.
Facial Expressions & Body Language
- I realised that facial expressions are a direct way to show a character’s emotions, while body language can indicate how characters relate to each other. For example, in The Breadwinner, the protagonist’s facial expressions and body language reflect her resilience and determination in the face of adversity. The way characters position themselves or move can subtly express power dynamics or emotional states.
- My takeaway: Animation and film often rely on non-verbal cues like facial expressions and body language to establish relationships and convey emotions effectively.
Positioning of Characters & Objects within the Frame
- I learned that where a character or object is placed in the frame directs the audience’s attention. For instance, in Isle of Dogs, the positioning of the characters in relation to one another often signifies their emotional connection or tension. The way characters are placed within the frame can also highlight their importance or vulnerability.
- My takeaway: Positioning within the frame is a powerful tool for visual storytelling, guiding the viewer’s focus and adding layers to the narrative.
Lighting & Colour
- I discovered how lighting and colour can shape the mood of a scene. For example, low key lighting, which creates sharp contrasts and deep shadows, is used in films like Citizen Kane to add a sense of mystery or drama. High key lighting, as seen in The Barber of Seville, is bright and natural, making the scene feel more realistic. Colour also plays a critical role, as seen in Amelie, where warm tones create a nostalgic and whimsical atmosphere, or in The Revenant, where the cold, muted colours enhance the harshness of the environment.
- My takeaway: Lighting and colour are not just technical aspects of filmmaking; they are essential tools for creating mood, character emotion, and thematic depth.
Depth-of-Field
- I learned that depth-of-field refers to the distance between the nearest and farthest objects in focus. This technique can be used to emphasise certain elements in a scene. For instance, deep focus allows both close and distant objects to remain sharp, making it possible to highlight the character’s isolation or the vastness of their environment. Shallow focus, on the other hand, keeps only a specific area or object in focus, often highlighting a character’s inner thoughts or feelings.
- My takeaway: The use of focus adds depth to the scene and directs the audience’s attention to what is important in the narrative at that moment.
Types of Shots
- I learned that different types of shots are used to convey varying perspectives and emotions. For example, extreme close-ups, like in The Incredibles, focus intensely on a small detail, which can amplify tension or importance. A medium shot or long shot, like in Wall-E, helps establish the relationship between the character and their environment.
- My takeaway: The choice of shot type has a profound impact on how the audience perceives the story, emphasising details or broadening the narrative’s scope.
Special Shot Types
- I explored shot types that focus on specific relationships, such as a one-shot, which shows a single character (as in Anomalisa), or a two-shot, which features two characters (as in My Life as a Courgette). Group shots, like in Meek’s Cutoff, show multiple characters interacting and can emphasise unity or conflict.
- My takeaway: Special shot types like the one-shot or two-shot are used to highlight the relationship between characters, influencing how the audience perceives their interactions.
Angle Shots
- I learned that the angle of a shot can change the power dynamics within a scene. A high-angle shot, like in The Lion King, can make the character seem small or vulnerable, while a low-angle shot, like in There Will Be Blood, can make the character seem powerful or intimidating.
- My takeaway: Camera angles can visually communicate a character’s emotional state or role within the story, affecting how the audience perceives them.
Point of View (POV) Shots
- I discovered that point-of-view shots let the audience see the world through a character’s eyes, creating a deeper emotional connection. This technique is effective for immersing the audience in the character’s perspective, as seen in various films and animations.
- My takeaway: POV shots strengthen the connection between the character and the audience, making the story more personal and immersive.
Moving Shots
- I learned about the different types of moving shots, such as pan shots (which pivot along the horizon), tilt shots (which move up or down), and dolly shots (which move the camera forward or backward). These shots are often used to follow the action or explore the environment. In The Breadwinner, moving shots help create a sense of urgency and emotional intensity.
- My takeaway: Moving shots are dynamic tools in animation and film, adding energy and emotional depth to the narrative.
Reading the Mise-en-Scène: The Breadwinner & Isle of Dogs
- I analysed the mise-en-scène in The Breadwinner, where the combination of settings, lighting, and character positioning reinforces the protagonist’s sense of isolation and her emotional journey. Similarly, Isle of Dogs uses colour, lighting, and character placement within the frame to communicate the characters’ relationships and the thematic elements of loyalty and survival.
- My takeaway: The way mise-en-scène is crafted in animated films is crucial for conveying the emotional and thematic depth of the story. It’s not just about what is seen, but how it’s presented to shape the viewer’s experience.
Screen Direction
We moved on to screen direction which refers to the movement of characters or objects on the screen from the audience’s perspective, and how it’s essential for maintaining visual continuity. If the movement isn’t consistent, it can confuse the audience. Screen direction is governed by camera positioning and movement, and this continuity is crucial for smooth editing and storytelling.
What I understood is that consistent screen direction is necessary to maintain a fluid and believable flow between shots. Terms like “camera left” and “camera right” help filmmakers define the movement within a frame. This needs to be established early in production, especially in the storyboard and animatic stages, so that the timing and flow of the scenes remain intact.
My takeaway is that screen direction helps us guide the audience’s attention and ensures that the characters’ actions and relationships are clearly understood. Without it, even simple interactions could feel disjointed or confusing. I also learned that pre-determined screen direction is especially crucial in animation, where movements must be precise and planned in advance.
Screen Continuity and the 180-Degree Rule
I learned that once screen direction is established, it must be maintained throughout the scene to avoid visual disorientation. This consistency ensures that the actors are positioned and moving in ways that make sense in relation to each other. The Imaginary Line or 180-degree rule helps keep track of the screen direction.
What I understood from the 180-degree rule is that if we shoot from one side of the axis, the movement and eye lines of the characters will remain consistent. This keeps the audience from getting lost or confused about the characters’ relationships or the direction they’re moving in.
My takeaway is that crossing the axis can disrupt continuity, but certain techniques, like using a neutral shot, can help reset the direction and allow smooth transitions. This flexibility in screen direction is essential when managing the complexity of film and animation production.
Animation Layout and Screen Direction
I learned that animation layout is the process of designing the environments for animated films. This stage is crucial for adapting the story to the film’s style, and it’s closely linked to screen direction, as the layout needs to be planned to maintain consistent movement and positioning of characters and objects.
What I understood is that layout artists need to ensure that the rules of screen direction are considered, especially in camera movements like pans and tracks. This organisation helps avoid confusion and ensures that the audience can follow the animation seamlessly.
My takeaway is that screen direction is just as important in animation as in live-action filmmaking. The movement of the camera and characters must be carefully thought out to keep the audience engaged and the story clear.
Animation Staging
I also learned that staging in animation shares many purposes with film and theatre in directing the audience’s attention but has unique implications in its execution. This principle focuses on making an idea completely clear, whether it’s an action, expression, mood, or personality.
What I understood is that character placement and composition play a critical role in achieving this clarity. Elements such as camera angles, light and shadow, the dynamics of character movements, and how a character enters a scene all work together to focus the audience’s attention. For example, a sudden entry can create surprise, while an expectant one builds anticipation.
My takeaway is that designing the use of long, medium, and close-up shots helps emphasise and pace the narrative. Each shot type serves specific purposes: long shots establish context, while close-ups highlight emotion or detail. The timing and pacing of these shots have significant production implications, requiring careful planning to maintain the flow and meaning of the scene. If the background clashes with the character or is overly complex, it can distract from the main focus. It’s essential to keep the design clean and scale the key subject properly to avoid unnecessary distractions. Every object or detail in a frame has the potential to be a symbol, so unnecessary elements should be edited out to maintain clarity and impact.
My overall conclusion is that these cinematic principles underscore how storytelling in animation and film is an intricate balance of visual and thematic elements. From the arrangement of props and characters to shot choices and screen direction, each decision plays a role in directing the audience’s focus, building tension, and conveying emotion. Mastering these aspects is essential for creating engaging, coherent, and impactful stories.