I have further investigated these terms in order to gain a thorough understanding of their interaction within films. I have a very base knowledge of these terms. Mise en scene refers to every independent element within a scene. This can be from hair, costume and make up to the colour of the wall paper. Everything that the set designers place in front of the camera has a purpose – to aid in the story telling process. When the audience is watching the introduction of a character in their home, the audience doesn’t have to wait for the character to speak to establish what type of person they are. The set dressings within the home reveal to the audience who this person is. It is like cutting the corners. Photos on the wall reveal whether this person has a family, what their values are. The clothes and make up that they wear indicate in what field they might work and what socio economic status they stand in. Film consumer enthusiasts are more knowledgable than what we give them credit for. They have greater recognition for character stereotypes and the connections that are commonly seen in films. Of course there are variances with culture and other artefacts. Generally there is an overall understanding amongst the audience of the traditional archetype characters, locations and settings. Colour plays a huge role in mise en scene, as it eludes to the mood of a scene. Cooler and darker hues relate to isolation, eeriness or danger. Warmer hues within a home may relate to a feeling of comfort. Subconsciously audiences are absorbing all of the cues that the filmmaker place in order to evoke a desired response. These stereotypes and cues have been present since the beginning of cinema and although, colour, historical values and other variables have changed, the semiotics of mise en scene haven’t.

Through my research I have been established a deeper understanding of mise en scene [Corrigan T, White, P: The Film Experience 2012]. I have learnt that not only does mise on scene relate to the external surroundings of the story but also to the internal thoughts and feelings of the character. With the omission of dialogue and through not only the acting by also the mise en scene, the audience can identify with a character. For example, in ‘Marie Antoinette’, the film makers place Kirsten Dunst within a ‘Medium Close Up’ in front of a floral, scenic asymmetrical wall paper. This image reflects the characters inner turmoil and discontent. The Mise en scene also relates to the blocking of characters and their position within the frame. This is relevant within the film ‘Metropolis’ (1927) where the men line up in linear formation all wearing grey jackets. This is eluding to the progression of society and how the future of man will lose their true individuality and identity. Use of space within the frame is also very important. Within the film ‘Brokeback Mountain’ the location and environment are a reflection of the characters exploration of sexuality and intimacy. The mountains are visually depicted as over baring, which may mirror how their wives or society view them. The wide-open spaces imitate the characters journey and the expansion of their individual discoveries.

Decoupage – “…the definitive form of the scenario,…” [Abel, R. French Film Theory and Critism 1988]. This can also refer to the arrangement of shots and the design of the film. It can also be redefined as “…the overarching organisation of montage” [Bordwell, D. On the History of Film Style 1997]. Through my research I have gathered information on Decoupage. Decoupage refers to the final form of the script after the Director has annotated his notes referring to every detail that needs to be identified. It is the narrative breakdown of shots and sequences that is formed before production. This document is handed to the crew for their use on set. [Manchel, F. An Analytical Bibliography 1990]. Researching this topic has led me to a few dead ends. Decoupage basically refers to the ‘shot breakdown’ of a scene.

Montage refers to a series or sequence of images. The purpose of montage is to condense time in order for the story to progress through space or time more effectively. It is characterised through editing techniques. Montage is used frequently in feature films as it helps to push the narrative forward. The use of montage can also heighten the emotion and elicit an emotional response from the audience. There are cliches associated with the term ‘Montage’. Filmmakers need to avoid typical montage cliches.

The use of montage can also help identify the relationship between two characters. The camera moves through space from one character in their home to another character in another location. The audience associates these two images to create a third meaning. The images are connected. This technique of montage is called juxtaposition. It is used in multiple ways within all cinema and television broadcast. This technique aids in evoking a desired response from the filmmaker.

My research has been very beneficial. I have a deeper understanding of these terms. Mise en scene is one that resonated with me, hens the overload of research on that topic over the others.