Analysis: "Nine lives" (2005 by Rodrigo García)

Mise-en-shot	Mise-en-scene
Long shots	Real scene à supermarket
Camera movement of main character à eye view / viewpoint	Lighting à perfect for its context
Time sequence à real time, chronology	Costumes à casual clothes
Sound à diagetic (no soundtrack / in the environment)
50mm lens (approx.) à close to the eye
Real size

Deborah Méndez ©

Formalist-style film & Realist-style film

	Formalist-style film	Realist-style film
Mise-en-scene/ Mise-en-shot techniques associated with this style of film-making	-         Heavily edited à “jump cuts” -         Montage -         Fast and slow motion -         Low/high camera angles -         Transformation of 3D world into a 2D surface -         Stylised / symbolic images -         Artificial settings -         Artificial lighting -        No attempt at verisimilitude -         Stylised dialogue / diagetic -         Lots of non-diagetic sound -         Subtitles / captions	-         Long takes, deep focus -         No especial montage -         Subjective viewpoint – uses camera lens to reproduce the way we look at the world -         “Documentary” style -         Natural/non-intrusive -        Realistic/authentic setting -         Naturalistic dialogue -         Lots of diagetic sound -          Minimal non-diagetic
Definition / aim of this style of film-making	- Stylised or auteur emphasise his own style	- Real events in the impression of real life -    Life as it is: reality
Directors associated with style	-         Sergei Eisenstein -         Jean-Luc Godard	-         Roberto Rossellini (Italian neorealist) -         Jean Renoir -         Rodrigo García
Films associated with style	-         October (1927) directed by Eisenstein	-         Nine Lives (2005)

Deborah Méndez ©

October (1927)

Film by: Eisenstein
Year: 1927

Mise-en-shot	Mise-en-scene
Many short shots	Artificial lighting à lots heavy shadows
Sound à background music (fast), no dialogue but has banners	Props à ropes, ladder, guns, hoes, scythe
No camera movement
Symbolic act
Soundtrack synchronized with the action
Heavily edited
First scene à looking up the statue (make it look bigger shows importance)
Not real time
Sequence goes in linear progression
Black and white
No continuity à big gap between
Montage

Deborah Méndez ©

Characteristics: Mise-en-shot & Mise-en-scene

What is Mise-en-scene?

It is an expression to describe the design aspects of a theatre or a film production.

What is Mise-en-shot?

It is the process of translating Mise-en-scene into moving pictures, shots and the relationship between both.

Mise-en-shot	Mise-en-scene
Camera angles	Props
Editing	Costumes
Sound	Settings
Shot composition	Lights
Camera movement
Sequence
Colour
Montage

Deborah Méndez ©

Barney Elliot: My personal opinion about his Masterclass

On Thursday 7th April, we had an amazing film Master class. Barney Elliot came to talk us about his experiences throughout life. He introduced himself in a very relaxed way and told us to make lots questions so that he could be able to understand us more and be sure we understood all of what he was talking.

He told us that the inspirations he got when making his two most famous short films: “True colours” and “The last resource”. When making the short film “True colours”, he told us the he was inspired when going to a supermarket. After looking to the film, we were able to recognise his relationship with real life and understood how anyone can be inspired in different real life situations.

I personally think that both films were really got created. I found them very interesting and like the camera angles, which make them have an eye view more motivating and attracting. Characters were very attention-grabbing and let us the audience to want more about the story and what it will happen.

Finally, he told us about movie-making and their future plans: he is actually looking for fundraising to be able to have his first very important movie. He make us believe and understand that it was possible to life from making movie and we should make in life what we are going to be happy and pleased because that is what we are going to make throughout all of our lives.




Deborah Méndez ©

Matrix: "What extra elements 'make' the film?"

Some  important elements which "make" the film are:

- Camera angles: focused shots on faces (Morpheus glasses)

- Costumes: dark, gothic, but well designed

- Mysterious settings: abandonel - "putrifying elegant"

- Storm outside: sounds, it adds mystery and drama

- Body language: Morpheus expressions, he is confident while Neo is confused

- Framing of armchair: its shadow

- Colour: filtered to give impression

Deborah Méndez ©