Narrative function of misce-en-scene

The narrative function of mise-en-scene helps guide us through film through the story being told and in the manner to which the story is told that allows us to see it in such a narrative form. Analyzing a scene from sweet Alabama where Melanie first confronts Jake about why he will not sign their divorce papers is a good example of mise-en-scene and we can apply the following questions from Teaching Mise-en-Scène Analysis as a Critical Tool by Tricia Welsh

Dominant. Where is our eye attracted first? Why?

Our eyes our first attracted to Melanie as she is screaming at Jake about not signing these papers to where you can see the lake in the background.

Lighting key. High key? Low key? High contrast? Some combination of these?

Lighting is low key in the beginning and stays that way throughout most of the scene.

Shot and camera proxemics. What type of shot? How far away is the cam-era from the action?

The camera is right in the action in the beginning of the argument it almost feels like you are there.

Angle. Are we (and the camera) looking up or down on the subject? Or is the camera neutral (eye level)?

In the beginning we are looking down on the subjects, to where we go to looking up at the subject and then the scene finishes out with looking at eye level where they start to talk to each other in a calmly matter.

Form. Open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance?

The form is closed off because of the visual elements are very arranged as we follow them during their argument.

Framing. Tight or loose? Do the characters have no room to move around, or can they move freely without impediments?

The framing is most definitely loose because they move around as Jake sprints to lock the doors and Melanie tries to find her way in.

Character placement. What part of the framed space do the characters oc-cupy? Center? Top? Bottom? Edges? Why?

The character placement starts in the center and stays that way until Jake realizes that Melanie has somehow gotten herself into the house where you see both of them on the edges where you can certainly read their body language.

Character proxemics. How much space is there between the characters?2

In the beginning of the scene they are in very close proxemics as they are practically screaming in each other’s face. Then when the argument somewhat disbands their proxemics get larger as Jake runs away and locks the door and then the proxemics come back in closer once Melanie gets into the house.

All of these help in the narrative form because without them you would not have the story line being portrayed in such a great way. Narrative tells the story and without the proper placement and understanding mise-en-scene you can’t really see the meaning behind it or for how it was meant to be seen.

Welsch, T. (1997). Teaching mise-en-scène analysis as a critical tool. Cinema Journal, 36(2), Retrieved from http://www.jstor.org/stable/pdfplus/1225778.pdf

Genre Analysis: Romantic Comedies

The romantic comedy is a genre derived from the romance genre and the comedy genre. Beginning in the time of Shakespeare romantic comedies were very popular. Most famously Romeo and Juliet a tale of two lovers who were forbidden to see each other. Although it did not have the happiest ending Romeo and Juliet embodied love and that is the basis of the storyline for genre.

Romantic comedies have distinct characteristics about them that make them stand out among the rest. “It fluently stakes out a new and well-organized approach to romantic comedy that is thoroughly versed in the critical literature, well grounded in genre theory, and forges immediate connections to our experience of gender, sexuality, and courtship” (Grindon, 2010). Gender, sexuality, and courtship are all factors that fall into this genre that you need all to complete it.

This genre can be argued to be broken up in the little parts rather than the big picture. “Genre consists of a series of conventions rather than a body of works” (Grindon, 2010). “These conventions often arise in a scene, as a motif, or even a fragment in a film that may be dominated by another genre” (Grindon, 2010). This can include light and or dark imagery and showing opposite points of view like in Romeo and Juliet where we see many different points of view from the two sides of the family and from Romeo and Juliet themselves.

Newer films within the romantic comedy genre tend to involve more sexual based relationships to draw more of an audience. “Deleyto argues that romantic comedy essentially involves three key constituents: a narrative about love, gender, and sexual relationships; a space of magical transformation that frees the characters from inhibitions so they can explore their desire; and humor which establishes a benevolent perspective” (Grindon, 2010). These three constituents make up the basis of the genre all successful romantic comedies include all three.

Another popular convention in this genre is the oh so popular meet cute. “These fundamentals are antecedent to conventions, such as the dual protagonist or the “meet-cute,” which evolve over time as a result of changing social conditions” (Grindon, 2010). The meet cute has become very popular over the years. In movies like The Sweetest Thing the meet cute is what first brings the two first together.

Most romantic comedies usually do have happy endings. “Deleyto contests the view that romantic comedies require a happy ending and as a result are politically backward because they offer a naive endorsement of “one true love” and “living happily ever after” (Grindon, 2010). This can be deceiving for some because their isn’t always a happily ever after.

Grindon, Leger. (2010) Film Quarterly, 63 (4), Retrieved from http:www.jstor.org/stable/10.1525/FQ.2010.63.4.82

Gender & Film

Gender in film has been apparent since film has existed. When film first began it was more common to find men staring in all the different roles. When the industry began to expand and grow it began picking up more and more female cast members. In all other industries this was uncommon to have so many different women working. “This is ironic since film acting was one of the first high-income, high-status occupations in the United States to achieve high levels of gender integration, due largely to the narrative demands for heterosexual romantic relation-ships in most films” (Bordwell et al., 1985) (Lincoln, & Allen, 2004).

Women began getting paid just as often and as much as some men seeing that there characters were in so high demand. This was unheard of at the time due to many women still not getting paid nearly enough as what the men were. “Indeed, film acting was one of the few elite occupations in which women were often paid as much as men. For example, 5 of the 10 highest paid film stars in 1938 were women” (Rosten, 1941:342) (Lincoln, & Allen, 2004). 

The typical role for women in film during this time were for roles that fit their part. Meaning that women played in many roles that were they could act in parts people were use to seeing women in. “While women starred in all film genres in the 1930s and 1940s, they were typically cast in serious dramas and even more prominently in musicals and romantic melodramas” (Lincoln, & Allen, 2004).

The studio giant that started the careers of some major starts took a major hit after some legal proceedings in the late 1940s. “The careers of both male and female stars were adversely affected by the decline of the studio system after the paramount decision by the Supreme Court in 1948, which forced the major studios to divest themselves of their theaters” (Lincoln, & Allen, 2004). This split up would affect the careers of many in the film industry. 

Because of the outcome studios were no longer looking for contract starts and especially contract women. This is when we began to see a decrease in the amount of women in film. “Studios no longer developed films for specific female stars” (Lincoln, & Allen, 2004). Women began to make less and men started appearing more and making more. “These claims are bolstered by re-cent research conducted by the Screen Actors Guild (1999) which found that, at all levels of acting, women appear as lead characters in fewer films than men and earn half as much as their male counterparts” (Lincoln, & Allen, 2004)

Overall gender in film will always be apparent. Some will say that females will always be affected depending on the film market its popularity and where it is going in the future. “The careers of female stars may have been adversely affected by changes in the audience and consequent changes in the popularity of different film genres” (Lincoln, & Allen, 2004).

Lincoln, A. E., & Allen, M. P. (2004). Double jeopardy in hollywood: age and gender in the careers of film actors. Sociological Forum,, 19(4), Retrieved from   http://www.jstor.org/stable/4148831.