Mise en Scène and Film Style: From Classical Hollywood to New Media Art (Palgrave Close Readings in Film and Television)

Mise en Scène and Film Style: From Classical Hollywood to New Media Art (Palgrave Close Readings in Film and Television)

Language: English

Pages: 235

ISBN: 1349444170

Format: PDF / Kindle (mobi) / ePub


Styles of filmmaking have changed greatly from classical Hollywood through to our digital era. So, too, have the ways in which film critics and scholars have analysed these transformations in film style. This book explores two central style concepts, mise en scène and dispositif, to illuminate a wide range of film and new media examples.

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because it has inspired a lot of passionate work and offered some tools (albeit fragmentary and partial) for carrying it out; bad, because it creates confusions and blockages. Look back at Hoyveda’s list: it leaps from very particular, material tropes, such as ‘the placing of actors and objects’, all the way to ‘the idea’ and the quality of a director’s work. This confusion was inevitable in 1960, because much was at stake, in cultural terms: not only the correct valuing of the contribution of

edges of the frame! And they ‘snap back’ together, twice over. Literally, the elastic principle of mise en scène in action. That Visconti means us to compare the two couples is clinched in the match-cut engineered at this shot’s end: the dancers exit screen right and in the next shot enter screen left – introducing a parallel slow camera movement into Mario and Natalia. The sequence’s third phase is cued ingeniously by Visconti: in the course of a semi-circular tracking shot around the table

finds itself literally (as the artist loves to say) ‘squeezed and stretched’, distorted by computerised processes in *Corpus Callosum (2002), literally pressured into physical devastation in Presents (1981). In Rivette – as his evocation of Peaux de vaches from the previous chapter well shows – fluidity and continuity, the faithful capturing of bodily movement and gesture, return to screen style; but no less central to him are the sudden shocks, ellipses, inserts and reversals that complicate

what about so-called normal, average, conventional, mainstream cinema? Has it changed in its basic, storytelling form since the era of classical mise en scène circa 1960? And if so, how? Mise en scène is dead? There tend to be two, broad responses to these questions. The first, judicious response – backed up by much demonstration of the evidence – comes from the work of David Bordwell (2006) and Kristin Thompson (1999b), who insist on the essential continuity of classical narrative protocols in

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