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1.  Identify the main features of mise-en-scene

2.  Integrate the representation of culture & identity into analysing mise-en-scene of films that tackle or comment on the issue

3. Verbalise how the main features of mise-en-scene aid the representation of culture and identity in film

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Easy Rider, Dennis Hopper, (1969)
Two counterculture bikers travel from Los Angeles to New Orleans in search of America.
http://www.imdb.com/title/tt0064276/?ref_=nv_sr_1

ACTORS:
LIGHTING:
DECOR:
PROPS:
COSTUME:
CULTURAL IDENTITY ISSUE

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The term ‘culture’ refers to the language, beliefs, values and norms, customs, dress, diet, roles, knowledge and skills, and all the other things that people learn that make up the ‘way of life’ of any society. Culture is passed on from one generation to the next through the process of socialization.

The concept of identity is an important one, as it is only through establishing our own identities and learning about the identities of other individuals and groups that we come to know what makes us similar to some people and different from others, and therefore form social connections with them.

(http://www.polity.co.uk/browne/downloads/sample-chapter_2.pdf)

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Cultural identity is the identity or feeling of belonging to a group. It is part of a person's self-conception and self-perception and is related to nationality, ethnicity, religion, social class, generation, locality or any kind of social group that has its own distinct culture.

(https://en.wikipedia.org/wiki/Cultural_identity)

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The study of 'Cultural Identity' in film studies refers to the ways in which films are linked to, and comment on, the cultural background they come from. As such, it views films as 'representations' of reality.

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This is England tells the story of Shaun (Thomas Turgoose), an 11 year old kid growing up in the North of England. Set during the summer holidays of 1983, it follows his journey from a shaggy haired ruffian grieving the loss of his father into a shaven headed thug whose anger and pain are embraced by the local skinhead fraternity.

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Pride, Matthew Warchust, (2014)
U.K. gay activists work to help miners during their lengthy strike of the National Union of Mine workers in the summer of 1984.
http://www.imdb.com/title/tt3169706/?ref_=nv_sr_5

ACTORS:
LIGHTING:
DECOR:
PROPS:
COSTUME:
CULTURAL IDENTITY ISSUE?

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Pride 2014 - Dance scene (Shame, Shame, Shame" By Shirley & Company)

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"I would believe only in a God that knows how to dance". Friedrich Nietzsche "Shame, Shame, Shame" By Shirley & Company

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Empire of the Sun, Stephen Spielburg, (1987)
A young English boy struggles to survive under Japanese occupation during World War II.
http://www.imdb.com/title/tt0092965/?ref_=nv_sr_1

ACTORS:
LIGHTING:
DECOR:
PROPS:
COSTUME:
CULTURAL IDENTITY ISSUE

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Anita & Me, Metin Huseyin, (2002)
Meena, a 12-year-old living in a mining village in the English Midlands in 1972, is the daughter of Indian parents who've come to England to give her a better life. This idyllic existence is upset by the arrival in the village of Anita Rutter and her dysfunctional family.
http://www.imdb.com/title/tt0303661/?ref_=nv_sr_3

ACTORS:
LIGHTING:
DECOR:
PROPS:
COSTUME:
CULTURAL IDENTITY ISSUE?

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a clip of Anita and Me, Metin Hüseyin, (2002).

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The Full Monty, Peter Cattaneo, (1997)
Six unemployed steel workers form a male striptease act. The women cheer them on to go for "the full monty" - total nudity.
http://www.imdb.com/title/tt0119164/?ref_=nv_sr_1

ACTORS:
LIGHTING:
DECOR:
PROPS:
COSTUME
CULTURAL IDENTITY ISSUE?

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Pulp Fiction, Quentin Tarantino, (1994)

ACTORS: John Travolta, Uma Therman. Travolta, an A listceleb, Therman a rising star appealing to large audience, which also helps with promotion.
LIGHTING: Three point lighting - back light, picking the characters out from the background, key spotlight on the stage highlighting the dancers and indicating the situation to the audience, fill light from the from ensuring the spotlight does not cast shadows during the dance sequence.
DECORE: 1950's design indicating the setting of the scene; a 1950's themed restaurant/club. Stage is circular and the ceiling opposes it with lots of symmetrical lines, perhaps representing the characters differences. The use of the colour blue could signify the characters moods.
PROPS: Masses of 50s memorabilia, posters, lights, furniture indicating where they are.
COSTUME/MAKE UP: The Characters are both in very sterile outfits consisting of black and white. Uma Therman's character also wears a wig perhaps indicating the discomfort with her own identity. She also has very little make up on , this indicates that she is not vain or self obsessed. She is more concerned with being comfortable. We also see this when both characters kick their shoes off

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Props (or 'things') are objects used in film. Props can be such diverse objects as books, cameras, telephones, TV sets, computers, cigarettes, flowers or umbrellas. A prop is often connected with a particular character and can make the audience aware of further details of an individual's character traits: a camera or binoculars, for instance, can indicate that a person is voyeuristic. Moreover, props can show a character's professional field (e.g. notebook, stethoscope, a butcher's knife) or their hobbies and habits (e.g. books, cigarettes).

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- the digital nature of the HAL computer is represented by the repeating patterns and strong geometrical design of the set

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2001: A Space Odyssey, Stanley Kubrick (1960)

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2001: A Space Odyssey, Stanley Kubrick (1960)

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- The futuristic furniture and reduced colour scheme stress the sterility and impersonality of the space station environment.

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- Objects contained in the setting of the scene
- Can be used to amplify character emotion or the dominant mood of the film.

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Costume simply refers to the clothes that characters wear. Costume in narrative cinema is used to signify character, or advertise particular fashions, or to make clear distinctions between characters.

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- The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived.

- Light affects the way colours are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition.

- Most mainstream films rely on the three-point lighting style, and its genre variations. Other films, for example documentaries and realist cinema, rely on natural light to create a sense of authenticity.

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There is enormous historical and cultural variation in performance styles in the cinema. Early melodramatic styles, clearly indebted to the 19th century theatre, gave way in Western cinema to a relatively naturalistic style.

-There are many alternatives to the dominant style:  the use of non-professional actors in Italian neorealism, the typage of silent Soviet Cinema, the improvisatory practices of directors like John Cassavettes or Eric Rohmer, the slapstick comedy of Laurel and Hardy, or the deadpan of Buster Keaton and Jacques Tatí, not to mention the exuberant histrionics of Bollywood films.

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Mise en scène encompasses the most recognizable attributes of a film – the setting and the actors; it includes costumes and make-up, props, and all the other natural and artificial details that characterize the spaces filmed.  The term is borrowed from a French theatrical expression, meaning roughly “put into the scene”.  In other words, mise-en-scène describes the stuff in the frame and the way it is shown and arranged. (https://collegefilmandmediastudies.com/mise-en-scene-2/)

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- The arrangement of everything that appears in the shot:
actors, lighting, décor, props, costume.
- a French term that means “placing on stage.” The frame and camerawork are also considered part of the mise-en-scène of a movie