Mis En Scene

Running Head: Mise-En-Scene




The circumstance of the development of Mise En Scene is described in a masterful way by Bernard Dort in his article “Sociological condition of theatrical mise en scene.” According to Dort, “it was   in 1820 when people started to talk about mise en scene which means to adapt a literary text with a view to theatrical performance” (Pavis, 2013). To fully comprehend the scene from the movie “The hurt locker”, the viewer must be attentive to the ways the film plays on conventions of mise-en-scene (the coherent articulation of space in the photo, including framing, movement, lighting, production design, and the use of color or grayscale) on what the viewer sees and how he or she sees it.
The photo’s grim, grayscale image develop the mise-en-scene characteristic of the war on terror films into a painful statement on the incipient terror of Iraq. The combination of grayscale field, in which many details throughout the photo, from foreground to background, are visible, and the bombs that enclose almost the entire photo creates tension. The viewer sees a great deal but wishes to see more; the surrogates for the viewer within the photo offer partial information about the main character and the viewer wishes to watch the film. The effect is finally to leave the viewer filled with a sense of suspense. The mark of a good photographer is his ability to create a well-defined world and a visual space that articulates ideas and invites an inquiring gaze. This scene from “the hurt locker” invites the viewer to gaze on the photo and ask himself a number of questions that will leave him in suspense. This is an example of the modernist mise-en-scene which is open and invites a search for meaning that can be precise, ironic, and ambiguous, even simultaneously.
The photo portrays a war-borne agony which is expressed in this film by Kathryn Bigelow in her 2008 film ‘The Hurt Locker.’ This film takes the digital...