Mise-en-scène - Elements of Cinema – A Student's …
Studies film as an aesthetic and cultural medium. Teaches the fundamentals of film, including narrative form, mise en scene, cinematography, editing, sound, and non-narrative forms. Teaches film analysis, including ideological approaches, and considers film as a cultural institution. Includes discussion, lecture, film screenings, papers, and tests. May be delivered hybrid.
Mise-en-scene | Film Theory and Criticism
It’s an intentionally seedy film—you can pretty much smell Hank Quinlan—and Welles, always a better director of space and decor than of actors, creates in his mise en scene a dynamic tension between the rich baroque and the decadent gothic. “Baroque” in the way it uses incidental ornamentation within the frame composition, insisting upon signs, posters, souvenirs and bric-a-brac to provide comment on character and event, as well as to lend atmosphere. Bulky Quinlan, looking up quizzically, belatedly prepares his defense against the lanky Vargas, in a room walled with bullfight posters and photos of the great matadors. We almost expect him to snort and paw the earth. This mise en scene was, in part, Welles’s debt to Karl Freund, neo-Gothic cameraman (The Golem, 1920; The Last Laugh, 1924; Metropolis, 1926; All Quiet on the Western Front, 1930; Dracula, 1931) and director (Mad Love, 1935) who combined compositional richness with thematic darkness to create a Cinema of the Grotesque that seminally influenced the look and style of Citizen Kane (1941).
Covers cinema directors, genre, theory, and social change on a rotating basis. Explains course focus, defines terminology involved, then studies evolution and/or specific texts or contexts, and considers theoretical discourse. May be repeated for a maximum of 9 credits toward graduation. Some films screened may carry an "R" rating.