Research brief Mise-en-Scene

Research Activity 1

1. Can you describe how the elements of Mise-en-Scène in the following scene?

The scene begins in the witch’s dark, enclosed room, which looks like an underground basement. The brick walls, chains, large cauldron and crow make the setting feel threatening and unnatural. The poison apple is the most important prop, as it directly represents the danger she is preparing for Snow White.

The scene then moves to the dwarfs’ cottage, which is much brighter and surrounded by trees and greenery. This creates a strong contrast with the witch’s home. The window also acts as a boundary between Snow White’s safe space inside the house and the witch outside. When Snow White begins to lean towards the window, this boundary gradually feels less secure.Other important props include the apple pie Snow White is making and the small animals gathered around her, which help show her gentle and innocent nature. At the end, the animals find two vultures sitting on bare branches, creating an ominous contrast with the green and lively environment around them.

2.Costume, Hair & Make Up

The witch wears a dark hooded cloak that covers most of her body, making her appear mysterious and threatening, as though she may be hiding something dangerous. Her exaggerated facial features, including her large hooked nose, wart and single tooth, make her look strange and sinister.In contrast, Snow White wears a brightly coloured dress with a red bow in her hair. Her pale skin, red lips and long eyelashes give her a youthful and gentle appearance. Unlike the witch, her face and arms are clearly visible, which makes her seem more open and approachable. The strong contrast between their designs reinforces the difference between Snow White’s innocence and the witch’s threatening nature.

3.Facial Expressions & Body Language

The witch’s facial expressions make her appear threatening and sinister. Her eyes are wide open with a large amount of white visible, while her raised eyebrows and dark eye area give her an intense and unsettling expression. Her hunched posture also makes her movements appear strange and unnatural.

When she tries to persuade Snow White, the witch leans her body forward towards the window, almost as if she is trying to enter Snow White’s space. Although she tries to behave kindly, her body language remains intrusive. Eventually, she even reaches her arm through the window to offer Snow White the apple.

In contrast, Snow White’s raised inner eyebrows and gentle expression make her appear innocent and vulnerable. At first, she avoids the witch’s gaze and stays further inside the house. As she gradually lowers her guard, however, she moves closer to the window. This physical movement towards the witch shows that she is beginning to trust her.

The animals react very differently. They immediately hide or run away when they see the witch. Their frightened body language warns the audience that she is dangerous, creating a contrast with Snow White, who gradually begins to trust her.Overall, their body language creates a clear contrast between the witch’s manipulative and threatening behaviour and Snow White’s innocent and trusting nature.

4.Lighting and Colour

The witch’s room uses low key lighting, with most of the environment shown in grey and black tones and strong areas of shadow. The light is mainly focused on the witch and the poison apple, drawing the audience’s attention towards them. The apple is first covered in bright green poison before turning into a vivid red apple. Its attractive colour makes it look tempting, even though it hides danger. The shadows around the room also strengthen the threatening atmosphere.

In contrast, the dwarfs’ cottage uses more Natural Lighting and feels much warmer and more lively. Although the interior is still quite grey and rustic, the natural light, greenery outside and Snow White’s bright clothing give the scene more life. When the witch appears, however, her shadow first falls across Snow White and then gradually spreads across the room. This makes it feel as though danger is slowly entering what was originally a safe space.

Snow White is initially shown in the light, but after the witch appears she becomes surrounded by shadow, which foreshadows the danger that is about to affect her. Although the witch is standing outside in natural lighting, from inside the house her face and body remain dark, keeping her appearance threatening and mysterious.

The red poison apple also stands out strongly from the other duller green apples in the basket, making it the main focus of the audience’s attention.At the end of the scene, the green leafy tree filled with small colourful birds creates a lively and peaceful image. This contrasts sharply with the bare tree branches, dull yellow-grey background and the two large vultures, which create an ominous and threatening atmosphere.

5.Positioning of characters/objects within the frame

At first, the witch and Snow White are shown in separate shots rather than appearing in the same frame. Both characters are usually placed near the centre of their own shots, but Snow White looks upwards when speaking to the witch, suggesting that the witch is positioned slightly higher than her. This creates a sense of imbalance between them.

The window forms a very clear visual boundary between the two characters. At first, the witch is framed outside the window, almost as if the window is separating Snow White’s safe space from the danger outside. Snow White initially stays further inside the cottage, but as she gradually lowers her guard, she moves closer to the window. Only then do the two characters begin to appear together in the same frame. This change in positioning visually reflects Snow White becoming more trusting of the witch.

The witch also gradually occupies more of the frame. When Snow White finally reaches the window, the camera moves outside and the witch’s body fills roughly half of the composition, making her presence feel much stronger.

The poison apple is also positioned very deliberately. Earlier, it is shown in a close-up, making it an important visual focus. Later, when the witch takes it from the basket, the apple moves with her hand from the right side of the frame towards the left, into Snow White’s space. This movement makes the apple feel like the danger is physically crossing the boundary between the witch and Snow White.

The animals do not remain around Snow White. Instead, they hide outside behind objects or in the trees, leaving Snow White more isolated when she faces the witch.At the end of the scene, the two large vultures are placed prominently in the centre of the frame. Their size, central position and sinister expressions make them immediately noticeable and create a strong sense of danger and foreshadowing.

6. What role does the shot choice (Cinematography) play in the scene.

The cinematography helps direct the audience’s attention and show the changing relationship between the characters.

Close-up shots are used for the poison apple and the process of making it. The Close-up directs the audience’s focus towards the apple and emphasises the danger it represents.

Medium Shots are used frequently throughout the scene. In the first section, a Medium Shot allows the audience to clearly see the witch’s actions while she prepares the poison. In the cottage scene, Medium Shots allow us to see both the characters’ facial expressions and body language, helping to show their relationship.

During the conversation between the witch and Snow White, the camera repeatedly cuts between the two characters rather than showing them together at first. These cuts maintain the visual separation between them and reflect Snow White’s initial caution. When Snow White finally trusts the witch and accepts the apple, they appear together in the same frame, visually showing that the distance between them has been reduced.At the end of the scene, the vultures are shown in a closer shot and placed prominently in the centre of the frame. This makes them appear more threatening and creates a stronger sense of danger and foreshadowing.

Research Activity 2

Can you describe the mise-en-scene in this picture? How are the characters placed in the frame?

The two characters are positioned in the centre of the frame, lying parallel to each other on a double bed. Although they are physically very close, they do not touch or look at each other, creating a strong sense of emotional distance.

Their body language reinforces this separation. The woman holds her arms across her chest, which makes her appear closed and uncomfortable. The man also keeps his hands to himself rather than reaching towards her. Both characters stare upwards at the ceiling with tired and unhappy expressions, suggesting that they are each absorbed in their own thoughts.

The bed itself also helps communicate their relationship. The two separate blankets create a visible line between them, almost dividing the bed into two individual spaces. This visual separation reflects the emotional gap between the characters.

The scene uses a high angle shot, with the camera looking directly down at the two characters from above. This allows the audience to clearly see both their physical closeness and their lack of interaction. The hotel room appears orderly and symmetrical, but the characters themselves feel disconnected.Overall, the mise-en-scène creates a contrast between physical closeness and emotional distance. Even though the characters are lying beside each other, their positioning, body language and the division of the bed suggest that there is a barrier between them.

Research Activity 3

1.Can you describe the relationship between the characters?

The relationship between the two characters feels unequal and uncomfortable. Although the main character is the mistress of the house and Mrs. Danvers is the housekeeper, Mrs. Danvers appears to have more control in the scene.

The main character looks nervous and confused, and she seems eager to please Mrs. Danvers. In contrast, Mrs. Danvers remains calm, cold and emotionally distant. This makes the main character appear insecure, while Mrs. Danvers seems much more confident and authoritative.

2.How do we know what the relationship is?

We can understand their relationship through their body language, facial expressions and positioning. The main character is sitting down and has to look up at Mrs. Danvers, which makes her appear less confident and less powerful. She also looks nervous and seems to speak in a way that tries to please Mrs. Danvers.

In contrast, Mrs. Danvers remains standing and looks down at the main character. Her expression is calm and cold, and she speaks in a distant manner. This makes her appear more dominant and in control, even though she is the housekeeper.

The difference in height and posture between the two characters therefore creates a clear sense of imbalance in their relationship.

3.Can you describe how the mise-en-scene works together to tell us what the relationship is?

We can understand their relationship through both the cinematography and the characters’ behaviour.

The camera language creates a clear power difference between them. The main character is often shown in a high angle shot, making her appear smaller and less powerful, while Mrs. Danvers is shown in a low angle shot, making her seem more dominant and intimidating. The camera also cuts between the two characters, allowing the contrast in their expressions, positions and levels of confidence to become clearer.

Their behaviour reinforces this imbalance. The main character appears nervous and eager to please Mrs. Danvers, while Mrs. Danvers remains calm, cold and emotionally distant. She speaks in a controlled manner and simply walks away after finishing what she wants to say, which makes her seem confident and in control of the situation.

Together, the high angle shot, low angle shot, character positioning and contrast in body language make the relationship feel unequal, with Mrs. Danvers holding more power in the scene.

Research Activity 4

 1.Can you describe the mise-en-scene in this picture?

The scene takes place on a busy street that appears to be part of a market. There are many people around the main character, but none of them interact with her. She also appears to be the only woman visible in the crowd, which makes her stand out and seem more isolated.

The main character is positioned in the centre of the frame. She looks to the side while holding her headscarf with one hand, and her facial expression and body language suggest that she feels nervous and uncomfortable.

The environment also contributes to this uneasy mood. The street is crowded with people, buildings and objects, while many electrical wires cross above the character’s head. One of the lines passes almost directly over her, creating a sense of visual pressure. The large basket or load on the left side of the frame also makes the space feel more crowded and enclosed.

Overall, although the street is busy and full of people, the main character appears emotionally isolated. The crowded environment, her central position and her anxious body language create a tense and uneasy atmosphere.

2.What type of shot is it?

Medium close-up

3.What is the camera angle?

Eye-level shot

4.Where is the character located in the frame?

The main character is positioned in the centre of the frame, making her the main visual focus. The people around her remain in the background and at the sides, which further draws attention to her.

5.What is she wearing?

She is wearing a bright red headscarf and green clothing. These vivid colours contrast strongly with the darker grey and brown clothes worn by the people around her, making her stand out clearly from the crowd.

However, this bright appearance contrasts with her nervous expression and closed body language. Although her clothing makes her visually noticeable, she seems to be trying to make herself less noticeable by holding her scarf close to her body and looking anxiously to the side. This contrast may be a deliberate choice to emphasise her discomfort and vulnerability within the crowd.

6.What is the depth-of-field?

The image uses a deep depth of field. The foreground, midground and background are all relatively clear, so the audience can see both the main character and the busy street around her.

This keeps the crowded environment visible and helps emphasise that, although she is surrounded by people, she still appears isolated and uncomfortable.

7.Describe the colour palette?

The colour palette is mainly made up of muted grey, brown and beige tones. In contrast, the main character wears bright red and green, which are much more saturated than the colours around her.

This strong colour contrast makes her stand out from the crowd and draws the audience’s attention towards her.

8.Describe the lighting?

The scene uses natural lighting with light coming mainly from the side. It appears to be late afternoon, as the sunlight is warm and low.Part of the character’s face and body is lit by the sunlight, while the other part remains in shadow. This contrast between light and shadow adds to the uneasy and uncertain mood of the scene.

Key Learning Points

This course explored how visual elements are used to guide the audience and communicate meaning in film and animation.

Composition and Framing

Composition techniques such as the Rule of Thirds, Golden Ratio, leading lines, symmetry, negative space, and foreground, midground and background help create visual balance and guide the audience’s attention. Framing determines what is included within the camera’s view.

Mise-en-scène

Mise-en-scène refers to the arrangement of visual elements within a scene, including settings, props, costumes, lighting, colours, character expressions and positioning. Each element can communicate information about a character’s emotions, relationships and social status.

Staging and Blocking

Staging and blocking control how characters move and interact within a space. Character positions and movements can reveal emotions, show power relationships and direct the audience’s attention.

Screen Direction and Camera Language

The 180-degree rule helps maintain spatial continuity between shots. Camera distance and angles also influence how the audience perceives a character. For example, close-ups emphasise emotions, while low-angle shots can make a character appear more powerful. Camera movements, such as panning, tilting and tracking, also help tell the story.

Reflection

After attending this course, I learned that every shot in film and animation is carefully calculated and designed. In the past, when watching films, I might have focused mainly on the plot and dialogue. However, I now realise that nothing on screen is accidental. As mentioned in my notes, “The greatest anathema to dramatic tension is arbitrary behaviour!” Every prop placement, every angle of light, and every movement of an actor subtly communicates the characters’ underlying intentions and the emotions of the story.

I was particularly impressed by the idea that “staging makes physical what is internal”. I learned how directors can use simple spatial relationships, such as who is standing or sitting, or the relative size of characters within the frame, to quickly establish complex power dynamics between characters. This is a highly effective and sophisticated technique in visual storytelling.

Furthermore, the explanation of the 180-degree rule and screen direction answered a question I had wondered about for a long time. I finally understood why, even when scenes change frequently, we can still clearly follow who is talking to whom and which direction a character is running in. When this rule is broken, the audience may subconsciously feel confused.

Overall, this course has taught me the basic visual language needed to “read” a film, from the Golden Ratio in composition to the psychological effects of different shot sizes. This knowledge will not only change the way I watch films and animation in the future, but also provide a solid methodological foundation for my own visual storytelling and animation practice.

1. Understanding Narrative Structure

Narrative structure provides the foundation of a story. Different storytelling models, such as the Three-Act Structure, Freytag’s Pyramid and the Hero’s Journey, offer different ways to organise events and develop conflict.

A common narrative pattern is the movement from equilibrium to disequilibrium, followed by a new equilibrium. An event disrupts the protagonist’s ordinary world, forcing them to respond to challenges and eventually reach a resolution.

Stories can also explore deeper themes, including maturation, redemption, education, testing and disillusionment. These themes help connect external events with a character’s internal journey.

2. Character Development and Storytelling

Characters are essential to the development of a narrative. The protagonist drives the story through their decisions and actions, while the antagonist creates obstacles that challenge their goals.

Other characters, such as mentors and sidekicks, can provide guidance, support or contrasting perspectives. Their relationships help develop conflict and reveal different aspects of the protagonist’s personality.

I learned that character development is not only about what happens to a character, but also about how they respond to challenges and change throughout the story.

3. Film Language and Editing

Editing is more than simply connecting shots. It shapes how audiences understand a story, experience time and space, and respond emotionally to the images.

Four important relationships between shots are:

• Graphic: Visual connections created through composition, shape, colour or movement.
• Rhythmic: The use of shot duration and timing to control the pace of a sequence.
• Spatial: The creation of spatial relationships through establishing shots and cross-cutting.
• Temporal: The manipulation of time through continuity, flashbacks, montage and omission.

Effective editing often feels invisible because audiences remain focused on the story rather than the transitions between shots. At the same time, the timing and arrangement of images can guide attention and encourage audiences to actively interpret what they see.

4. The Unique Potential of Animation

Animation shares many storytelling principles with live-action cinema, but it also offers greater freedom to transform images and represent abstract ideas.

Through metamorphosis, symbolism and visual metaphor, an animated image can change into something entirely different, allowing a transition to communicate an emotion, concept or narrative development.

Rather than simply reproducing reality, animation can create its own visual logic. This makes it particularly suitable for exploring psychological experiences, philosophical questions and imaginary worlds.

5. Reflection and Application to My Practice

These readings helped me understand the relationship between narrative structure, character development and visual storytelling.

A strong story needs more than an interesting concept. Its structure should create meaningful progression, its characters should generate conflict through their choices, and its editing should guide the audience’s understanding and emotions.

For my own animation practice, I want to explore how visual transitions, timing and symbolic imagery can communicate ideas beyond dialogue. I am particularly interested in creating work that encourages audiences to reflect on a subject while also forming an emotional connection with the story.

Reading

Film Theory and Analysis: Insights from Feminism

Reading Film Theory and Analysis made me realise that films are not merely a form of entertainment, but also reflect broader social and cultural ideologies. The approach that resonated with me most was feminist film analysis within the contextualist approach.

Traditionally, women in cinema have often been portrayed through stereotypes, such as weak characters defined by the gaze of others or one-dimensional villains. This reading helped me understand the power of a creator’s perspective in shaping how audiences perceive women. Contemporary filmmaking increasingly challenges these outdated stereotypes by presenting female characters as independent, complex individuals with their own agency.

This has inspired me to challenge gender stereotypes in my future work and create female characters with authentic inner strength. I hope my work can be not only visually engaging but also communicate contemporary values of equality and diversity.

When studying visual art and design, I learned that an artwork is not only about the subject or story. It is also built through a series of basic visual elements and principles.

The Elements of Art describe what we use to create an artwork, while the Principles of Art describe how we organise these elements.

Elements = What we use
Principles = How we organise them

1. Elements of Art

There are seven main elements of art: Line, Shape, Form, Value, Colour, Space, and Texture.

Line

A line can be understood as a moving point. It can be used to define the edges of objects, guide the viewer’s eyes, or suggest movement.

Common types of lines include horizontal, vertical, diagonal, curved, and zigzag lines.

Hatching and cross-hatching can also be used to create light and shadow.

Shape

A shape is a 2D area created when a line closes.

There are two main types:

• Geometric shapes – circles, squares, triangles, etc.
• Organic shapes – irregular shapes inspired by nature.

Shapes can also be positive or negative. A positive shape is the main object, while a negative shape is the space around it.

Form

Form is similar to shape, but it is 3D. It has height, width, and depth.Examples include cubes, spheres, cylinders, and pyramids.In 2D artwork, artists can use light and shadow to create the illusion of three-dimensional form.

Value

Value describes how light or dark something is.

A simple value scale can go from:

White → Light Grey → Mid Grey → Dark Grey → Black

Value is important for showing light, depth, and volume.

Colour

Colour can be described through three main properties:

• Hue – the colour itself, such as red or blue.
• Value – how light or dark the colour is.
• Saturation / Intensity – how strong or pure the colour is.

A colour wheel can help us understand relationships between colours.

Some common colour schemes are:

• Monochromatic
• Analogous
• Complementary
• Triadic
• Split-complementary

Space

Space refers to the area around, between, and inside objects.

Artists can create a sense of depth by using:

• Overlapping
• Size
• Position
• Detail
• Colour and value
• Perspective

These techniques can make a flat 2D image feel more three-dimensional.

Texture

Texture describes how a surface looks or feels.

There are two main types:

• Actual texture – a real physical surface that can be touched.
• Visual texture – an image that creates the illusion of a particular surface.

For example, a painting can make a surface look rough, smooth, soft, or metallic.

2. Principles of Art

Balance

Balance is about creating visual stability.

It can be:

• Symmetrical – both sides are similar.
• Asymmetrical – different elements are balanced through their visual weight.

Emphasis and Contrast

Emphasis makes a particular part of an artwork stand out.

Contrast creates differences between elements, such as:

• Light and dark
• Large and small
• Warm and cool
• Rough and smooth

Contrast can help direct the viewer’s attention.

Movement

Movement creates a sense of action and guides the viewer’s eyes through the artwork.

Lines, shapes, body positions, repetition, and direction can all create movement.

This principle is especially useful in animation, film, and photography, where the viewer’s attention is constantly being guided.

Proportion

Proportion describes the relationship between the size of different elements.

For example, the size of a character compared with their environment can change how we understand a scene.

Rhythm

Rhythm is created through the repetition of visual elements.

Repeated shapes, colours, lines, or movements can create a visual rhythm, similar to a beat in music.

Variety

Variety adds differences to an artwork.

Different shapes, sizes, colours, and textures can prevent a composition from becoming too repetitive.

Harmony

Harmony is created when different elements work well together.

Similar colours, shapes, textures, or repeated elements can make a composition feel connected and consistent.

Gradation

Gradation is a gradual change from one element to another.

eg:

Large → Medium → Small

or

Dark → Mid-tone → Light

Gradation can create depth, movement, and a smoother visual transition.

3. Golden Ratio

The Golden Ratio is a mathematical proportion that is often discussed in art, design, architecture, and composition.

It can be used as a guide for organising elements within a composition.

However, I think it is more useful to see the Golden Ratio as a composition tool, rather than a strict rule that every artwork needs to follow.

What I Learned

After studying these concepts, I realised that visual composition is not only about making an image look attractive.

The Elements of Art give us the basic visual materials, while the Principles of Art help us organise these materials.

For example, when analysing an animation scene, I can ask:

• What colours are being used?
• Where does my eye look first?
• How is depth created?
• How are the foreground and background arranged?
• How does the composition create movement?
• Why does a particular object stand out?

These questions help me look at images more carefully and can also be applied to my own 3D animation, game design, and visual storytelling work.