Chapter four of Film Art titled, “The Shot: Mise-en-Scene” emphasizes the importance of mise-en-scene, which I contextualize in my words as the little details of filmmaking and choices a director makes to tell a story in a certain way. The authors break down four different elements of mise-en-scene that directors have authority over: the setting of a film, the choices of costume and makeup for characters, the different possibilities and options of lighting design, and the overall performances of the actors and set-up of a scene. After finishing this reading I was fascinated by just how important these four elements are to a film. I would label myself as a relaxed watcher, I may note some patterns I find interesting in a movie, but in my free-time I don’t watch movies to analyze the work that is put into them. This reading pushed me to appreciate the close thought that goes into making a movie- every detail counts. 

I was especially interested in the authors’ exploration and discussion about setting. Setting feels so important, like the basis of an entire story. When I write short stories or scenes the setting always feels like it has the most stake. I don’t want it to come off as cliche or unimportant. Because of the struggles I have in developing a setting when I write, I have a great appreciation for the settings in film and how a director is able to construct the story around a place, the feelings it evokes, and its surroundings. The authors wrote, “the overall design of a setting can shape how we can understand story action” (Bordwell et.al 115). The choices a director makes about where a scene is shot and what is placed where can have a lasting impact on a viewer and how one interprets a scene. 

I noted Alfred Hitchcock’s attention to mise-en-scene, specifically the element of setting while we watched Rear Window (1954). By opening the film with a scanning of L.B. Jefferies’ neighbors and a look into his apartment full of cameras and pictures we are able to learn so many basic but important details about L.B. Jefferies as a character and what we are going to be watching. One specific detail I found striking and so important to the setting were the photos of explosions on L.B. Jefferies’ walls. Immediately I understood that he was a man of pride and a bit of narcissism- he chose not to display the art of others, but his own art. And the choice to display such intense photographs pointed to the eerie mystery of the whole movie. 

Hitchcock also pays attention and utilizes other elements of mise-en-scene in Rear Window. By continuously dressing L.B. In plain pajamas in contrast to Lisa’s fancy, cocktail attire, These costume choices point out Jefferies’ lack of drive and laziness as opposed to Lisa’s determination and power. Not only is there an emotional divide between the two characters, their attire is never the same, making them look like an odd pairing. Lighting is also crucial in the film and is even discussed in the narrative. We see L.B. Jefferies literally hiding in the shadows as he watches Thorwald, a choice that is certainly intentional by Hitchcock and emphasizes the relationship between the two men. 

Mise-en-scene creates a film, without these different components of choice, stories would lack depth. This part of filmmaking is not only crucial to the director and their own vision of a film, but it is also incredibly important to a viewer. By making these choices in lighting, setting, staging, fashion, and makeup, directors are finding connection points for the viewer, they are creating a piece of art with meaning and excitement, and they are giving us things to think about far after finishing a film.