I rate it a 7.8/10, too much water

Memorable scene – tears in rain (duh)

Film element focus – mise-en-scene

Film	Preference	Memorable scene	Film Element Focus
Bladerunner (Scott, 1982)	4/10	one of the opening scenes where you see the set of the world for the first time	Mise-en-scene

Film	preference (/10)	memorable scene	film element focus
Blade runner (scott,1982)	6/10	pris getting killed	Mise-En-Scene

DEFINITIONS OF EACH OF THE SPECTRUMS OF THE ARTS:

THE PERFORMING ARTS

These can be defined in the sense that they are happening in real or present time. They can be observed and taken in as a ‘real occurrence’ in front of the viewer, or perhaps only once and cannot be replicated.

THE RECORDING ARTS

These are any form of art which is not created in the present but rather has been articulated in the past and is a compact form of content which can be replayed or re-used multiple times. These forms of art give a unique perspective to viewers and are mostly for individual interpretation as they do not give a totally biased or clear message. Arguably giving a more ‘direct path between subject and observer’.

THE REPRESENTATIONAL ARTS

The criterion for this spectrum of the arts is to be dependent upon specific language or bias in the form of an artistic messenger (the ‘codes and conventions of language’). Representational arts require a medium through which a message is portrayed that is extremely personal and usually does not need input from anyone other than the original artist (i.e. poems or paintings which have been done by one person).

EXAMPLES OF EACH OF THE SPECTRUMS OF THE ARTS:

THE PERFORMING ARTS:

PLAYS OR LIVE SHOWS, E.G. MACBETH ‘THE LIVE PLAY’ AT THE HATFORD THEATER

THE RECORDING ARTS:

FILMS AND RECORDED SONGS OR TV SHOWS, E.G. THE TRUMAN SHOW (PETER WEIR, 1998)

THE REPRESENTATIONAL ARTS:

FORMS OF LITERATURE OR PHYSICAL ART, E.G. ‘THE TYGER’ (WILLIAM BLAKE)

Mise-en-scene is an umbrella term in filmmaking which relates to many aspects in the pre, post and production of a film.

Wes Anderson, a director whose unique utilisation of symmetry in set design and precision in the colour scheme of costumes and props, could be said to present multiple examples of successful mise-en-scene in the 2014 film ‘The Grand Budapest Hotel’.

As a first example, the use of colour symmetry in set design and wardrobe is prominent throughout the movie, and it seems that the director utilises warmer tones to convey a light-hearted atmosphere as there is a mostly comedic air. Period accuracy cannot be measured due to no label upon when the story is set. However,  Anderson consistently references a very significant and identifiable style, one reminiscent of the era ranging from the early nineteenth to mid twentieth century. In the second still below this paragraph, Ralph Fiennes’ character is pictured in a concierge suit relative to the dressage of the centuries. Materials like velvet and the distinctly beige-coloured modestly lengthy coat Saoirse Ronan’s character can be seen sporting are bold choices in costuming which do not fail to remind viewers that Wes Anderson chooses not to specific a year in which the film is set, but rather has such faith in set design and character clothing choices which can almost fulfil the same purpose.

Space is an essential tool to show an audience where their attention should be focused. The Grand Budapest Hotel features one scene in particular which utilises this particularly efficiently in my opinion. In the below scene, two characters are pictured out of centre despite being the only subjects in the frame. This – especially being shot by a director so notoriously bound to symmetry – indicates a certain meaning or presentation. In this case, a means of foreshadowing later events which should unfold. Mise-en-scene in the form of setting up shots or scenes focusing on subjects which don’t meet the usual criteria of the film – those levels between characters (as seen below) or situation of focus in the frame can alone connote to something meaningful or essential in the story. Simply because they are created to be different to other things to which the audience will have become accustomed. Lighting is a catalyst due to the fact that the sharp contrast of the beamed lights draw focus to the darkness in the room which also consists of the characters’ cool-toned suits. An uncanny contradiction in itself.

The above still is a perfect example of Anderson’s recognition of the importance of composition as an aspect of filmmaking. Rather than relying on dialogue for exposition as is common; this shot centres on Edward Norton’s subject, around whom the backlot delivers information in the form of paintings and maps on an almost crammed pin board (perhaps to denote to an unhealthily untidy obsession). Famously, the show-not-tell method of informing audiences is a respected method of creative story-crafting; and the fact that Norton’s subject remains central in the frame conveys the subtlety of the exposition itself as a result of careful composition. Once again a monochrome colouring is used to enlighten the audience of the character being introduced without the use of dialogue or text.

Another example of the uses of colour and space can be seen below. Contrasting to the light and warm tone utilised to portray a soft atmosphere, Anderson once again merely relies on a much darker colour scheme with relation to costumes to allow the interpretation of transferral into a more serious or dramatic atmosphere. A drastic use of proximity which separates the central subject from background characters foreshadows his importance in future storylines; without dedicating a large amount of unnecessary expositional time to him when he – as a character – is not yet a main antagonist.

A form of eliminating sub-plots which are not relevant at a certain time during the film, mise-en-scene could be seen to be an efficient plot device.