Mise en scene - Comparative essay

 Compare how the aesthetics of mise en scene have been designed to generate spectator response in the two films you have studied. You must refer to examples from one film from 1930– 1960 in your answer and examples from one film from 1961-1990. [35]  

INTRO: introduce both films. 

 

P1: (Dawn of Man) (Film Premiere) – Colour pallet/atmosphere (Dawn of man: natural, warm colours, set, tone, natural look), (Film Premiere: unnatural lights, bright spotlights, bright colours), Spectacle

 

P2: (Deactivation of HAL) (You Were Meant For Me) – Dialogue (Deactivation of HAL: very little dialogue or sound effects in the whole scene, the main sounds we can hear are all diegetic which are: Dave's breathing, and HAL trying to convince Dave to stop, HALs speech starts to slow as he becomes disconnected, HAL singing daisy daisy “I’m half crazy” this could possibly connote towards how HAL was becoming crazy and killing people Framing) (You Were Meant For Me: bright over the top singing, very happy, singing is seen in a very positive romantic way, a lot more dialogue to progress the narrative) Lighting 

 

 

 

Both Space Odyssey 2001 and Singin’ in the Rain create aesthetics effects through the use of mise en scene, each element of mise en scene has been specifically selected by the director to generate a specific spectator response. 

 

One example where mise en scene generates aesthetic effects for spectator response is in the opening sequence of Space Odyssey 2001. The opening sequence in any film plays a vital role in setting the tone for the rest of the film and is usually a sequence where the director would ease the audience into the story and introduce characters. However, this opening sequence does the opposite to this. Kubrick purposefully throws the audience into the deep end; however, we are introduced with a familiar setting (earth/desert) which has no relation to the film title or future or space so will immediately stimulate the audience to start thinking and second-guessing how this rural desert environment will then transition into space. Kubrick’s uses a specific colour pallet and lighting of natural, warm, earthy colours sets a specific tone of laid back and calm, as this warm colour pallet usually links to, for the audience. The colour choices allow the audience to relax as they are colours that they would relate to earth therefore they know where they are and therefore feel safe in this environment. This is all set up by Kubrick in order to make his juxtaposition into space to create as much confusion and a response of ‘what’s going to happen next’ for the spectator. Comparing this opening sequence to Sigin’ in the Rains opening sequence we can find that mise en scene through the use of lighting creates a spectacle for the audience. The opening sequence consist of more conventional tropes, as an audience we are introduces to each character and then given some context about Don Lockwood. The lighting for this sequence is meant to resemble a spectacle and excitement involved with a film premiere in Hollywood, the use of unnatural lights, bright spotlights, bright colours, creates this sense of spectacle and generates an exciting, upbeat response for the spectator. 

 

Further on into both films’ mise en scene is used again to generate a different spectator response. An example being the Deactivation of HAL scene where lighting, dialogue, shot types and setting plays a role in generating spectator response. In the opening shot of this sequence there is a shot where the camera is placed at an extreme low angle looking up at Dave connoting Dave is extremely powerful as he is denoted as the largest thing in the scene, and we are looking up at him which also connotes to his power. All around Dave and in the background the lighting is all white brightly lighting the scene which has connotations to heaven and relates to what Dave is about to do, deactivate HAL. The rest of this sequence is shot in the control room where all the lighting is red connoting towards hell or evil and HALs real traits. This sequence requires the audiences to think a lot more as Kubrick has allowed for there to be more than one spectator response. The same concept can be applied in the You Were Meant For Me sequence in Singin’ in the Rain, however this concept is a little more subtle and directs the audiences response to a more narrow focus when compared to the deactivation of HAL sequence. In in the You Were Meant For Me sequence Don is ‘setting the scene’ so he can tell Kathy how he feels about her. Don creates a background, lighting, wind, and mist to create a dreamy like setting. The reddish tone from the lights doesn’t connote evil or hell like Space Odyssey 2001 but the red here connotes love and ties in with the dreamy pink clouds in the background. The same idea of character placement to connote power is used here as done in space odyssey, at the beginning of the sequence Kathy is much higher than Don connoting she has the power in the relationship, however at the end of the sequence Don is on the ladder above Kathy connoting that Kathy has fallen for him. This has all been done to guide and develop the characters for the audience but also left up for the spectator response to develop their own view on each character.

 

Specifically chosen aesthetics of mise en scene are all there to generate audience responses to specific things that is going on in the film. Directors will have chosen each element of mise en scene to manipulate the audience’s response. A prime example of this is the ending of Space Odyssey 2001 where audiences were outraged that there was no clear ending to the film, Kubrick responded saying the audience needed more imagination and that the ending could be chosen by them. This abrupt ending to the film meant Space Odyssey stuck with audiences long after they had left the cinema and meant that spectator response would continually go on as they were left with this unsettling end.