By John Gibbs
Mise-en-scène: movie type and Interpretation explores and elucidates buildings of this primary proposal in puzzling over movie. In uncovering the background of mise-en-scène inside movie feedback, and during the certain exploration of scenes from movies as Imitation of Life and Lone Star, John Gibbs makes the case for the significance of a delicate knowing of movie kind, and gives an advent to the abilities of shut interpreting. This booklet hence celebrates film-making in addition to movie feedback that's alive to the artistic probabilities of visible style.
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Additional resources for Mise-en-scène: Film Style and Interpretation
Chucho walks parallel to the line until he is opposite Sam, then turns to face him again. Chucho: My government can go fuck itself, and so can yours. I‘m talking about people here! Men! … Mi amigo, Eladio Cruz is giving some friends of his a lift one day in the back of his camión, but because they’re on one side of this invisible line and not the other, they‘ve got to hide in the back como criminales, and because over there he’s just another Mex bracero, any man with a badge is his jefe. As Chucho tells his story the camera pans to the left, leaving the present day characters behind, and revealing a broken-down truck stranded on a bridge on a quiet road near the border.
Chapters 2 and 3 consider these areas in greater detail. 2 THE INTERACTION OF ELEMENTS One of the points which emerged forcefully in Chapter 1 is that it is the interaction of different aspects of mise-en-scène which enables filmmakers to accomplish the most interesting effects. Chapter 2 explores an extended example from the 1996 film Lone Star in order to develop this sense of interaction at greater length. Lone Star is a border film. This is a tradition of films—to call it a ‘genre’ would be to exaggerate the case, and the term ‘cycle’ suggests a temporal proximity which the films (and works in other media) do not possess—which are set on the US/Mexico border.
A pause. Chucho looks away, and then looks back at Sam. Chucho: You’re the sheriff of Rio county, right? Un jefe muy respetado. Chucho draws a line in the dirt between the two men with the bottle which he plants at its end. He stands up and beckons to Sam. Step across this line. Sam walks away from Chucho, parallel to the line rather than crossing it. Ay, qué milagro! You’re not the sheriff of nothing anymore. Just some tejano with a lot of questions I don’t have to answer. … A bird flying south, you think he sees this line?