Mise-en-scène: Film Style and Interpretation by John Gibbs

Author:John Gibbs
Format: epub
Tags: PER004000, Performing Arts/Film and Video/General, PER004030, Performing Arts/Film & Video/History & Criticism
Publisher: Perseus Books, LLC
Published: 2002-02-26T16:00:00+00:00

Of course it would be wonderful to see The James Brothers and Bitter Victory and Wind Across the Everglades in the form Ray intended … but Ray’s films, like Stroheim’s, are weakened comparatively little, because of [his] control over texture. (1962a: 25)

It should be clear that in practice considering mise-en-scène without also thinking about sound and dialogue may prove rather limiting. So often it is the interaction between these different channels of communication that is stimulating. It may not even be possible, in some situations, to talk about elements of mise-en-scène without also referring to editing, as the discussion of the scene from Lone Star reveals. When discussing a long take, when does one stop talking about mise-en-scène and start talking about editing? After all, one of the most significant artistic decisions about a long take is when to bring it to an end. Nevertheless, if mise-en-scène had a polemical edge at this time, it was because it was so necessary to focus attention on the elements of which it is comprised. One of the most important functions of mise-en-scène as a critical concept remains the way in which it draws attention to, and makes easier to discuss, all of those elements which communicate non-verbally.

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