57989 Mise-en-Scene

UTS: Communication: Creative Practice
Credit points: 8 cp
Result Type: Grade, no marks

Handbook description

Students develop advanced skills in visual style. Students have the opportunity to examine mise-en-scène in a range of screen works. They study in depth the interrelationship of elements which comprise a particular 'look' in film and video and the way this contributes to film genre. Through individual research, seminar presentations and production exercises, students develop skills in planning a visual and sound style for their film, video or new media work.

Subject objectives/outcomes

On completion of this subject, students are expected to be able to:

develop a specialised background in mise-en-scène and develop their skills in planning a visual and sound style for film and video works with an emphasis on narrative drama. Most of these skills are applicable also to multimedia and formalised, pre-planned documentary
be acquainted with film theory, analysis and criticism and the study of screen works with respect to mise-en-scène
develop a planned visual style for their upcoming media productions.

Contribution to graduate profile

Students who complete this subject will:

have developed skills in film production with an emphasis on visual style
have had the opportunity to develop their conceptual skills and critical thinking in relation to the visual style area of media production
have some knowledge of screen culture, aesthetic and industry issues with relation to screen production
have had the opportunity to develop a short film or video project.

Teaching and learning strategies

Lecture and seminars will introduce students to various visual regimes and styles of mise-en-scène through the study of existing film, video and new media works. Students will develop presentations to be delivered in class analysing the styles of selected media productions. Students undertake in and out of class exercises to develop skills in understanding, choosing and planning visual styles and in analysing and researching mise-en-scène.

Content

Regimes of mise-en-scène including Naturalism, Realism, Surrealism, Minimalism, Abstraction and Animation.
Elements of visual style: directors' use of space, time, framing, camera movement, use of lenses, camera height, lighting styles, art direction including costume, props and set design, and editing styles.
Conventional and alternative coverage (or direction) of scenes.
Viewing of selected works and excepts which demonstrate particular styles of direction.
How to design storyboards and floor plans and written proposals for the mise-en-scène of a film, video or new media work.

Assessment

Assessment item 1: In-class presentation of an analysis of the visual style of a recognised film or video work, accompanied by a written 1,000 word essay

Objective(s):	a, b
Weighting:	30% (This consists of 50% by peer assessment of group presentation and 50% essay)
Task:	In groups, students choose an existing, well-recognised film, video or new media work and give a 10-15 minute presentation analysing the elements of visual/aural style particular to the work. Each student in the group is to write an analytical essay on one or more elements of the film's style after class discussion of the presentation. Each student's essay is to be on a different aspect or analysis of the film. These essays are due ONE WEEK after the presentation. Length 1,000 words. Essays must be clearly presented: typed, double-spaced with proper margins. No emails will be accepted.
Assessment criteria:	Evidence of understanding of the concepts and elements of mise-en-scène/style. Evidence of relevant research and reading on the chosen work. Ability to select and organise material, present clearly and within the time allotted for the presentation. Evidence of ability to analyse and write a well-organised, original essay. Evidence of active engagement in your own group and in feedback to other groups in class.

Assessment item 2: Directing exercise

Objective(s):	a, c
Weighting:	20%
Task:	The detailed parameters for this exercise will be given in class, and will include your drawing a storyboard and floor plan (with notes on the lighting style) for an original scene, including brief dialogue. Your preparation will involve analysing changes in characters' emotional moods and answering a list of 'who–where–why' questions which will be given in class. Students may work in pairs on this assignment, if they wish. Students will be expected to hand in their completed exercise. Some may be presented in class for discussion and feedback. In this instance, storyboards are to be photocopied so that everyone in class can follow them during your presentation.
Assessment criteria:	Evidence of understanding of the concepts and elements of mise-en-scène/style. Evidence of knowledge of how as a director to cover a scene to convey the needed information and desired emotional impact. Evidence of competence and originality in choosing an appropriate coverage style and relevant shots.

Assessment item 3: Portfolio or essay

Objective(s):	a, b, c
Weighting:	50%
Task:	Portfolio: A portfolio of work outlining the visual style for a short media project which students plan to make, preferably in preparation for an MA project or possibly for a film planned for production outside of UTS. This should be a quality submission, and a useful tool for pre-production and for presentation in obtaining finance, crew and cast. If a film or video it should include: A sample storyboard of a scene or scenes. Copies of visual sources which you have drawn upon in research and which communicate more about the style of the planned work. A well-written rationale for the style chosen, considering theme, genre, emotional intent or other relevant issues. A clear, written description of the style, encompassing issues relevant to the work such as design, interface, overall look, visual genre, lens plan, framing, camera movement, editing style, lighting and stock, sets, locations, costume, drawing style and colour. A discussion of your planned approaches to sound in production and post-production. Your own photographs and/or drawings of relevant aspects of the intended work. If visual sources are presented on video, this reel should be no more than 5 minutes in length. If the project is a new media work the required portfolio items should be discussed with the lecturer. OR Essay: An analytical essay of no less than 2,000 words and no more than 2,500 words, analysing the mise-en-scène of a film chosen by you. It should be a different film to the one you presented in class. This essay requires footnoted research, original thought, and should cover all relevant aspects of the film's style. This essay should be analytical rather than merely descriptive. It should present a clear hypothesis, argument and conclusion and show evidence by direct reference to theoretical and/or critical writing related to your film or thesis. It needs to be clearly presented: typed, double-spaced with proper margins. No emails will be accepted.
Assessment criteria:	Assessment criteria for Essay: Demonstrated knowledge of mise-en-scène in relationship to concepts discussed in seminars and in the relevant context of screen theory analysis and criticism. Evidence of a clear and well supported argument that indicates an understanding of all aspects of mise-en-scène. Demonstrated ability to present a coherently written and articulate essay which shows evidence of thorough research and original thought. The quality of the written essay, which should be grammatically and typographically correct, with consistent referencing of sources. OR Assessment criteria for Porfolio: Evidence of student's skills in planning a visual and sound style for a film and video work with reference to all aspects of mise-en-scène. Evidence of original research and analysis of mise-en-scène as it relates to their visual media production work. Evidence of the student's capacity to reference similar or contrasting screen works in developing their own approach to mise-en-scène. The development of a portfolio that in all respects is clear and well presented.

Minimum requirements

Students are expected to read the subject outline to ensure they are familiar with the subject requirements. Since class discussion and participation in activities form an integral part of this subject, you are expected to attend, arrive punctually and actively participate in classes. If you experience difficulties meeting this requirement, please contact your lecturer. Students who have a reason for extended absence (e.g., illness) may be required to complete additional work to ensure they achieve the subject objectives.

Attendance is particularly important in this subject because it is based on a collaborative approach which involves essential workshopping and interchange of ideas. Students who attend fewer than ten classes are advised that their final work will not be assessed and that they are likely to fail the subject.

Indicative references

Albrecht, Donald. Designing Dreams. Modern Architecture in The Movies Harper & Rowe 1989
Anobile, Richard J (ed) The Maltese Falcon - A frame reconstruction. Flare Books/Published by Avon 1974
Bachelard, Gaston, The Poetics Of Space -. Beacon Press 1964
Barsacq, Leon Caligari's Cabinet and Other Grand Illusions - The History of Film Design. A Plume Book 1970
Bordwell, D &Thompson, K, Film Art - An introduction (7th Edition) David Bordwell/Kristen Thompson. Alfred A Knopf. 2004
Bordwell, David, On The History of Film Style. Harvard University Press. 1997
Bresson, Robert, Notes on Cinematography Copenhagen, 1997 edn
Chion, Michael Audio Vision Sound on Screen, Colombia, 1994
Geduld, Harry M, Film Makers on Film Making ed. Indiana University Press. 1969
Kawin, Bruce F, How Movies Work University of California Press, 1992
Katz, Stephen, Cinematic Motion - Film Directing. A workshop for staging scenes.. A Michael Wiese Production Book 1992
Katz, Stephen, Film Directing Shot By Shot - Visualising from Concept to Screen. Michael Wiese Productions. 1991
Lo Brutto, Vincent, By Design: Iterviews with Production Designers, Praeger, 1992
Lumet, Sidney Making Movies, London 1995
Martin, Adrian (ed) Film: Matters Of Style (NB Mise En Scene Is Dead. Adrian Martin,
'The Mystique Of Mise En Scene Revisited.' Barrett Hodsdon, 'Thanks for your Heart, Bart', John Flaus) Continuum Vol 5 No 2
Monaco, James, How to Read a Movie Oxford University Press, New York, 2000

Contact