Horror Mise-en-Scene

I want you to think about the mise-en-scene in Let the Right One In. Examine all aspects of mise-en-scene: lighting, composition, set, properties, etc. This would include colors as well. Discuss the concept of "monster" through the mise-en-scene of the film. This exercise will help prepare you for your Independent Study. Examine CLOSELY and offer me many details and examples. Think about what the director is trying to say IMPLICITLY. Please do this in 2 well-developed paragraphs.

Video Contest--Dues Oct. 14

Dr. Kresse just sent this link to me. It's a video contest for anti-bullying. It doesn't look like it would be too hard for any of you to do and the grand prize is $2000. Here's the link.

The Passion of Joan of Arc

This response is due Friday, September 28. You get extra credit if you write your own response and also respond to someone else's quote (agreeing or disagreeing).

Please choose one essay prompt and write at least 2-3 well-developed paragraphs.

Essay #1: From Roger Ebert's essay on The Passion of Joan of Arc:

"There is not one single establishing shot in all of 'The Passion of Joan of Arc,'' which is filmed entirely in closeups and medium shots, creating fearful intimacy between Joan and her tormentors. Nor are there easily read visual links between shots. In his brilliant shot-by-shot analysis of the film, David Bordwell of the University of Wisconsin concludes: 'Of the film's over 1,500 cuts, fewer than 30 carry a figure or object over from one shot to another; and fewer than 15 constitute genuine matches on action.'''

Many avant garde films also do not have matches on action or carryover shots. Compare The Passion of Joan of Arc to one of the avant garde films we watched in regards to editing and miss-en-scene.

Essay #2: From the Ib Monty article I gave you:

"When the film was released, the close-up technique was regarded as shocking. Dreyer defended his method by stating: 'The records give a shattering impression on the ways in which the trial was a conspiracy of the judges against the solitary Jeanne, bravely defending herself against men who displayed a devilish cunning to trap her in their net. This conspiracy could be conveyed on the screen only through the huge close-ups, that exposed, with merciless realism, the callous cynicism of the judges hidden behind hypocritical compassion— and on the other hand there had to be equally huge close-ups of Jeanne, whose pure features would reveal that she alone found strength in her faith in God.' As in all of Dreyer's major films the style grew out of the theme of the film. In La passion de Jeanne d'Arc Dreyer wanted 'to move the audience so that they would themselves feel the suffering that Jeanne endured.' It was by using close-up that Dreyer could 'lead the audience all the way into the hearts and guts of Jeanne and the judges.'"

Agree or disagree with this quote.

Jonas Mekas

As promised, here is the interview with Jonas Mekas. And here is his web site. Be sure to watch Self-Portrait and A Walk.

Avant Garde/Experimental Film

Choose 3 of the films we watched in class and answer the following questions. Answer all questions for each film to create at least 3 hearty paragraphs.

Le Retour a la Raison
Entr'acte
Le Ballet Mecanique
Un Chien Andalou
Meshes of the Afternoon

What do you notice about the film's presentation of cinematic space? What do you see onscreen? For example, lots of landscapes or closeups? Moving or static camera?

How does the director's use of lighting help to create meaning?

Do you identify with the camera's lens? What does the director compel you to see? What is left to your imagination? What does the director leave out altogether? Describe the mise-en-scene and how it helps to create meaning in the film.

What implicit meaning do you find in the film?

Due: Monday, 9/24