The Hobbit: An Unexpected Journey

Ah! Words cannot describe how excited I am about The Hobbit! Check out the trailer and let the countdown begin!

Mise-en-Scène

The term mise-en-scène first developed in the theater, where it literally meant "put into the scene" or “place on the stage” and referred to the design and direction of the entire production. Once the term was adopted for the cinema, it was used to describe visual style including areas such as composition, props, actors, sets, costumes, and lighting. It can also encompass the way actors move on the set which of course is overseen by the director. In agreement, David Bordwell and Kristin Thompson define mise-en-scène as, “All of the elements placed in front of the camera to be photographed: the settings and props, lighting, costumes and make-up, and figure behavior” (733). This term, used to describe visual ascetics,  can be found in a slew of films including Bauer’s The Dying Swan and Sjostrom’s The Outlaw and His Wife. 

Yevgeni Bauer, a Russian filmmaker, was considered to be quite progressive in his silent filmmaking because his style was so sophisticated. In 1917 Bauer made The Dying Swan, which tells the story of a mute ballerina who becomes acquainted with her fate all too soon. Bauer’s use of pictorial effects proved to heighten the drama of the narrative. His incorporation of theater, dance, and this hovering death theme epitomized mise-en-scène because it was visually beautiful. Bauer also used psychological drama to convey the artist’s obsession with death and the dying swan. Bauer also made great use of his theatrical experience when making his films which is apparent in the acting style of the mute ballerina, Gizella. In The Dying Swan, Bauer considered the placing of lights on the film-set, used unusual filming angles, made frequent use of wide spaces, and filmed through this gaseous-like material to produce the effect of fog. He placed great emphasis on the composition of each shot, constructing decor and natural shots with artistic expressions of classical landscapes, made use of camera movement to widen the space of the shot, and add a dramatic effect. Mise-en-scène is definitely apparent in The Dying Swan because of Bauer’s emphasis on composition and decor. 

Similarly, Victor Sjöström, a Swedish filmmaker, used mise-en-scène in his 1918 film The Outlaw and His Wife. Sjöström’s use of mise-en-scène showed the relationship between nature and society. Sjöström used wide camera shots and an emphasis on lighting to tell the story of a couple who runaway to the hills because of the husband’s criminal past. Sjöström camera placement and emphasis on landscape and nature in juxtaposition to the actors created this relationship full of tension. The landscape often mirrored the mood of the characters within the story. For example, the blizzard at the end of movie symbolized their cold relationship and possibly their barren stomachs. Also the camera shot at the end, which showed the flames of the fire going out, symbolized the end of their love and their lives. 

In conclusion, Jacques Lacan once said “The narration, in fact, doubles the drama with a commentary without which no mise-en-scène would be possible.” In agreement with Lacan, mise-en-scène plays an important role in films. It helps the narration flow more smoothly and provides visuals that are both pleasing and entertaining to the eye. By using various lighting techniques, costumes, landscapes, camera angles, and everything else that makes up mise-en-scène, silent filmmakers were able to convey narratives on the screen that proved to be sophisticated and timeless pieces of art.