Mise enscène Makeup No makeup applied on the face of Renée Jeanne Falconetti a stage and film actress in The Passion of Jean of Arc Hollywood stars are requested to get their teeth capped eyebrows plucked and makeup applied ID: 175859
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Slide1
Introduction to Film Studies
Mise
-en-scène Slide2
Make-up
No make-up
applied on the face of Renée Jeanne
Falconetti
, a stage and film actress in
The
Passion of
Jean of Arc
Hollywood stars are requested to get their teeth capped, eyebrows plucked and make-up applied.Slide3
Erich von Stroheim – the first director to have
made the
actor to wear
no make
-up. Slide4
White Queen
(Anne Hathaway) in Tim Burton’s
Alice in the Wonderland
(2010) with many layers of foundation and powder finished with pink blusher. Slide5
Elizabeth Taylor plays Cleopatra with plenty of green and blue eye shadow. Joseph
Mankiewicz’s
Cleopatra
(1963)Slide6Slide7
Daryl Hannah’s panda eyes in Ridley Scott’s
Blade Runner
(1982)Slide8
Make-up
Monster is created by applying heavy make-ups
According to Mary Shelley’s
Frankenstein
, he has ‘watery glowing eyes’ and ‘flowing black lips’Definitive visualization of Frankenstein (1931) with flat head and hollow eyes.
Girl at pondSlide9
Make-up
One of the greatest make-up that has ever been applied in film. David Lynch’s
Elephant Man
(1980) John Hurt played Joseph Merrick and his make-up was based on a real-life cast made of Merrick’s head after his death.
Train stationSlide10
Make-up
Whenever disguise takes place, make-up is the most significant way to do so.
Jack Lemon and Tony Curtis disguise as female musicians in Billy Wilder’s
Some Like It Hot
(1959
)
stationSlide11
Make-up
In
The Curious Case of Benjamin Button
(2008) Brad Pit is born as an old man and dies as a baby. The curious narrative requires different make-ups are applied to Pit’s face.Slide12
Make-up
The heavily painting make-up in
The Cabinet of Dr.
Caligari
fits not only the characterization in the narrative but also the other aspects of
mise
-en-scène
: lighting and expressionistic set designSlide13
Lighting
Lighting – more than just illumination
Lighter and darker areas create an overall composition of each shot
They guide attention to certain objects and actions
A bright patch draw our eye to a key gestureA shadow conceal a detail or build up suspense Lighting articulate textures Slide14
Standard three point lighting: key, fill and back lightingSlide15
Key lightingSlide16
Fill lighting
3 point lightingSlide17
Lighting
Highlight
– a patch of relative brightness on a surface
Part of a woman’s face in
Matter of Life and Death
and metal grills in
400 Blows
display highlights
Highlight shows
the texture – the woman’s soft skin and hard and cold surface of the grillsSlide18
Lighting
Shadows
An ‘attached’ shadow occurs when light fails to illuminate part of an object, because of its shape or its surface feature
Patches of a girl’s face and body falls into darkness in
Spirit of Beehive FrankensteinSlide19
Lighting
A
‘cast’
shadow occurs when a source of light projects shadows because something in front of it blocks out the light
Kurosawa
Akira’s
The
Stray Dog
, cast shadows
of bars
between the actors and the light source.Slide20
Lighting
Lighting shapes a shot’s overall composition
A pool of light cast by a hanging lamp sets up a scale of importance. The man the most clearly lit is the prominent gangster in
Asphalt Jungle.Slide21
Lighting
‘The proper use of light can embellish and dramatize every object.’ Joseph von Sternberg
4 major features of film lighting
QUALITY; DIRECTION; SOURCE; COLOUR
QUALITY - The relative intensity of the illuminationHard lighting (noon day, summer sunlight) – strong shadowSoft lighting (overcast, winter day) – defused illumination and soft shadowsSlide22
Lighting
Hard lighting – bold shadows and crisp textures and edges
Soft lighting – blurs contours and
texture
and make more diffusions and gentler contrasts between light and shade
Satyajit
Ray’s
Aparajito
(1956)Slide23
Lighting
The hard light can be created by a concentrated source and creates harsh, sharp-edge shadows. It renders the image heavy and serious look.
Wong
Kar
Wai’s In the Mood for Love (2000) photographed by Christopher Doyle.Slide24
Relatively small light source results in a sharp boundary between the lit and shaded side of the object. Slide25
Lighting
Akira Kurosawa made hard lighting even harder by using mirrors. Mirrors reflect harsh light. Photographer, Kazuo
Miyagawa
.
TajomaruSlide26Slide27
Lighting
Soft light occurs when a light source is large relative to
and
farther from the subject, and cast diffused shadows with soft edges. It renders images lyrical and happy feel.
Lasse Hallström’s Dear John
(2010) photographed by Terry Stacey, love-romance/war film. Slide28
Relatively
large light
source results in a
blurred boundary
between the lit and shaded side of the object. Slide29
Romantic comedy use soft lighting to fit the mood: diffused and soft edge shadowsSlide30
In
Film noir
- post-war crime cinema, hard lighting is the essential part of its visual style. Dark and tragic film ending with the self-destruction. Slide31
Lighting
DIRECTION
The path of light from its source(s) to the object lit
Frontal lighting
tends to eliminate shadows
Frontal lighting results in a fairly flat-looking image
Jean-Luc Godard’s
La
Chinoise
(1967)Slide32
Lighting
The source of illumination is placed near the camera. Paul Thomas Anderson’s
Magnolia
(1999) photographed by Robert
Eslwit Slide33
Lighting
Hard
Side lighting
sculpts the character’s features and the object’s contour.
The right half of the man’s face is in complete shadow, Carol Reed’s
The Man between
(1953)Slide34
Side lighting gives the image dramatic feel. Francis Ford Coppola’s
Godfather
(1972) photographed by Gordon Willis. Slide35
Lighting
Back lighting
comes from behind the subject filmed. It can be positioned at many angles and tends to create silhouettes
Carol Reed’s
The Third Man
(1949) photographed by Robert
Krasker
Slide36
Back lighting gives the images mysterious or menacing atmosphere. Ridley Scott’s
Blade Runner
(1982) photographed by Jordan
Croneweh
.Slide37
Back lighting gives the contours of the subject
glow.
Final BattleSlide38
In James
McTeigue
’s
V for Vendetta, the most of V’s body is concealed and when it is shown, strong backlights are used with a less powerful light showing his face.Slide39
Lighting
In
under lighting
the light comes from below the subject filmed. In Tim Burton’s first
Batman
, the low angle shot is combined with
under lighting
.
It creates distorted images
.
JokerSlide40
Jack Nicholson again shown in under lighting. It is frequently used in horror films
.
Stanley Kubrick’s
Shining
Slide41Slide42
Lighting
In
top lighting
the
spotlight shines down
from above. Marlene Dietrich’s face is lit from top front in Josef von Sternberg’s
Shanghai Express
(1932). A high frontal light brings out the line of her cheekbones and create shadows in her eye sockets. Hint of corruption and mysterious sexuality.
SXSlide43
Lighting
In
Colour
lighting, thin
colour
film placed in front of a light gives image a universal tint.Slide44
Lighting
In Michael Powell and
Emeric
Pressburger’s
Black Narcissus,
their cinematographer Jack Cardiff got scenes lit in bold
colours
.Slide45
Lighting
The theatrical lighting in blue in the concluding sequence of
Nagisa
Oshima’s
last film,
Taboo
(1999) Slide46Slide47
Lighting
In William Wyler’s
Jezebel
, Bettie Davis is a central figure and lit by the key light from top right, by the fill light from left and by the back light from slightly high at back. The figures in front remain rather dark as the light do not reach them. Slide48
Lighting
Three point lighting in a
colour
film
Strong key light from left, a fill light from off right of the camera, and the office behind the couple is lit more dimly and softly with background light.
Whenever the camera position moves, the lighting positions must be rearranged. Slide49
Lighting
Three point lighting suited to
high-key lighting
Photography with low contrast between brighter and darker areas
The most frequently used in classical Hollywood cinema.Slide50
Lighting
Low-key lighting
creates stronger contrasts and sharper, darker shadows. The lighting is hard, and fill light is lessened or switched off.
Light is hard and comes from right in the shot above,
The Maltese Falcon
. Fill and back light eliminated creating a dark shadow on the wallSlide51
Lighting
The fill light and back light are significantly less intense in
Andrzey
Wajda’s Kanal making the back of the screen remain opaque.Slide52
Lighting
Low-key lighting
has usually been applied to somber or mysterious scenes. Common in horror films of the 30s and
film noir
in the 40s and 50s. Revived in the 80s in such films as
Blade Runner
and
Rumble Fish