AS Film - The use of Mise en Scene in the opening sequence to 'Scream'

Today's session focused around the use of Mise en Scene in Wes Craven's classic post-modern horror film, Scream, from 1996.

The over-riding theme in the opening sequence is the gradual building of tension and dread, and this is achieved through the imaginative use of setting, location, costume, props, lighting and character placement in order to create 'meaning'. We also considered the performance of Drew Barrymore as the doomed character, Casey.

We also considered the use of various colours within the sequence, particularly red, white and blue. Although we focused mainly on the visual techniques, we also considered how Craven uses the camera to great effect with tilts, tracking shots and close up shots. There was also further discussion on some aspects of sound, mainly on the use of music and sound effects, such as the lone barking of a distant dog. These will be useful stepping stones to refer to when we move onto cinematography and sound design.

If you were unable to attend this session, you will be required to undertake an analysis of the first four and half minutes of the sequence, starting from the moment the Scream logo first appears on the screen. This should focus on the six aspects of Mise en Scene, including a comment on Barrymore's performance, and be posted as your own blog post in the usual manner and emailed to me.

AS Film - Mise en Scene: Lecture 2 – 03/10/14

In this blog post you will find MP4 files for the film sequences studied in today's session.
Hopefully you are now looking at film in a different way - you should also be thinking of particular sequences I have now shown which you may wish to do for your coursework analysis. You need only do one, but having a few possibilities might not be a bad thing at this early stage.

The Ring (2002) director: Gore Verbinski

Note how Verbinski uses everyday props within the mise en scene, such as the phone, the television, the remote control and the fridge, to create tension and suspense. The setting and location are also typical horror conventions, which allows the audience to immediately respond to the intended meaning: two girls are alone in a house at night and it is raining...this may not end well! Finally note where Verbinski places the character of Katie in the frame before she ascends the stairs - why might this be significant? W shall also cover this particular shot in Week 4's look at Cinematography.

Forrest Gump (1994) director: Robert Zemeckis
In this opening sequence consider how Zemeckis uses a simple prop of a feather to track the 'action'. It floats from one character to another before settling on Forrest, who adds it to his collection - these are also important props which are used to tell his incredible story. Note how we first see Forrest placed at the edge of the frame at 1.23, as if the feather is searching out someone, but he does not yet have any importance.

Don't Look Now (1973) director: Nicholas Roeg
Roeg's background as a painter is highlighted here with his constant use of the colour red in this disturbing and enigmatic opening sequence to his psychological horror film. Note also the significant use of water, the cross-cutting between shots of the little girl by the lake and the actions of her parents in the house (we shall consider cross-cutting in more detail when we look at Editing in Week 8), and the use of the red coat as costume.

Seven (1995) director: David Fincher
Fincher contrasts the two detectives, played by Morgan Freeman and Brad Pitt, by placing them at different heights, angles and positions within the frame, as both to try gain initial dominance over the other. The contrast is also extended to the mise en scene of costume and props, with Somerset, played by Freeman, being fastidious and minimal in his clothes, domestic environment and what he needs to be a detective. Mills, played by Pitt, in contrast, is wilder, brash and informal.

Like last week, I want you to choose one of the four sequences shown in the lecture and undertake an analysis of it. This time the word count is raised to between 600-700 words.

AS Film - Mise en Scene: Lecture 1 26/09/14

Welcome to the supporting teaching blog for your AS Film Studies.

In today's lesson we considered one of the major cinematic techniques - Mise en Scene. This, as you will remember, translates as "everything in the frame". Mise en Scene includes: setting, location, costume, props, lighting and character placement, and has a vitally important role in how meaning is constructed by film makers, and consequently understood by the audience.

 In this blog entry you will find MP4 files of the sequences shown today

William Shakespeare's Romeo and Juliet, directed by Baz Lurhmann (1996).
Consider how Lurhmann provides a modern take on a classic play in order to engage the contemporary audience. This is achieved by its modern setting, costumes and props, while still retaining the original language. Note how the repeated visual motif of fire sets up the violence ahead.

28 Days Later, directed by Danny Boyle (2002)
A sequence full of meaning, which Boyle achieves with his creative use of a deserted London as a setting, the use of costume and props, together with how he places the main character within the various locations.


You may choose one of these sequences for your 1500 word coursework analysis. Other film sequences will be shown in the lectures the coming weeks which you can also choose from, as well as those which I did not show in the lessons.

IMPORTANT: You will be required to undertake a short 400-500 analysis of one of these three sequences as part of your initial review on the AS Film Studies course. This will help me assess your analytical and written skills in order to progress further onto this AS Level course.

Consider how directors use Mise en Scene in other films which you have watched.

More on Mise en Scene next week.