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Mise en Scène and Film Style

Palgrave Close Readings in Film and Television

Series Editors: John Gibbs is Head of Department and Douglas Pye Senior Visiting Fellow in the Department of Film, Theatre & Television at the University of Reading. Their previous collaborations include Style and Meaning: Studies in the

Detailed Analysis of Film

and the series Close-Up. Advisory Board: Jonathan Bignell , University of Reading, UK, Joe McElhaney , Hunter College, City University of New York, USA, Edward Gallafent , University of Warwick, UK, Andrew Klevan , University of Oxford, UK, Adrian Martin , Monash University, Australia, George M. Wilson , USC, USA

Palgrave Close Readings in Film and Television

is an innovative series of research monographs and collections of essays dedicated to extending the methods and subjects of detailed criticism. Volumes in the series - written from a variety of standpoints and deal ing with diverse topics - are unified by attentiveness to the material decisio ns made by filmmakers and a commitment to develop analysis and reflection from this foundation. Each volume will be committed to the appreciation of new are as and topics in the field, but also to strengthening and developing the co nceptual basis and the methodologies of critical analysis itself. The series is b ased in the belief that, while a scrupulous attention to the texture of film and tel evision programmes requires the focus of concept and theory, the discoveries that such attention produces become vital in questioning and re-formulating theory and concept.

Titles include

Lez Cooke

STYLE IN BRITISH TELEVISION DRAMA

Lucy Donaldson

TEXTURE IN FILM

Edward Gallafent

LETTERS AND LITERACY IN HOLLYWOOD FILM

Adrian Martin

MISE EN SCÈNE AND FILM STYLE

From Classical Hollywood to New Media Art

Palgrave Close Readings

Series Standing Order ISBN 978-1-137-02360-5 (hardback) ( outside North America only ) You can receive future titles in this series as they are published by pla cing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and the ISBN quoted above Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke,

Hampshire RG21 6XS, England

Mise en Scène and

Film Style

From Classical Hollywood to

New Media Art

Adrian Martin

Monash University, Australia

© Adrian Martin 2014

All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licen ce permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988.

First published 2014 by

PALGRAVE MACMILLAN

Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limit ed, registered in England, company number 785998, of Houndmills, Basingstoke

Hampshire RG21 6XS.

Palgrave Macmillan in the US is a division of St Martin"s Press LLC,

175 Fifth Avenue, New York, NY 10010.

Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United S tates, the United Kingdom, Europe and other countries This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of th e country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data

Martin, Adrian, 1959-

Mise en scène and film style : from classical Hollywood to new media art /

Adrian Martin, Monash University, Australia.

pages cm."(Palgrave close readings in film and television.)

1. Motion pictures - Production and direction. 2. Mass media -

Technological innovations. I. Title.

PN1995.9.P7M335 2014

791.4302

9

32"dc23 2014028973

Softcover reprint of the hardcover 1st edition 2014 978-1-137-26994-2 ISBN 978-1-349-44417-5 ISBN 978-1-137-26995-9 (eBook)

DOI 10.1057/9781137269959

Corrected Printing 2013

For Cristina Álvarez López, who knows all the moves

This page intentionally left blank

vii

Contents

List of Figures viii

Acknowledgements ix

Prologue: At the Ballet Ruse x

1 A Term That Means Everything, and Nothing Very Specific 1

2 Aesthetic Economies: The Expressive and the Excessive 21

3 What Was Mise en scène ? 43

4 The Crises (1): Squeezed and Stretched 74

5 The Crises (2): The Style It Takes 95

6 Sonic Spaces 108

7 A Detour via Reality: Social Mise en scène 127

8 Cinema, Audiovisual Art of the 21st Century 155

9 The Rise of the Dispositif 178

Epilogue: Five Minutes and Fifteen Seconds with Ritwik Ghatak 205

Bibliography 217

Index 227

viii

List of Figures

P.1-P.2 Passion (Brian De Palma, 2012) xii

2.1 Vivre sa vie (Jean-Luc Godard, 1962) 36

3.1-3.2 Anatomy of a Murder (Otto Preminger, 1959) 44

3.3-3.4 On a Clear Day You Can See Forever (Vincente

Minnelli, 1970) 52

3.5-3.11 Le notti bianche (Luchino Visconti, 1957) 66

4.1-4.4 Martha (Rainer Werner Fassbinder, 1974) 87

5.1 The Moderns (Alan Rudolph, 1988) 100

5.2 Domino (Tony Scott, 2005) 106

7.1-7.5 How Green Was My Valley (John Ford, 1941) 153

8.1-8.2 House of Cards (Season 2, Episode 3, 2014) 160

8.3 Web Therapy (Season 1, Episode 1, 2011) 176

9.1 Emerald (Apichatpong Weerasethakul, 2007) 200

E.1-E.11 The Golden Line (Ritwik Ghatak, 1965) 215 ix

Acknowledgements

This book draws on material I have written over a period of more than

20 years. It has undergone various transformations along that path;

everything recycled has been extensively rewritten and revised here, but I thank the original editors and publishers of the texts. I road-tested some of the ideas in this book before audiences at Monash International Film Festival, University of Otago, University of Wisconsin- Milwaukee and the Australian Screen Directors Association. The writ- ing-up was finished in the congenial atmosphere of the Film, Media and s Distinguished Visiting Professor during 2013-2015; thanks to Vinzenz Hediger and the whole team there. I am indebted to Robert Nelson, supervisor of my PhD Toward a Synthetic Analysis of Film Style (Monash University, 2006), from which I have also drawn and revised material for this book. My heartfelt gratitude, for diverse forms of practical as sist- ance, to Cristina Álvarez López, Girish Shambu, Sarinah Masukor, Anna Dzenis and Andrey Walkling, Miguel Gomes and Luís Urbano. All quotations from texts that appear in the Bibliography under their original French or Spanish titles are my own translations. To indicate the diverse ways that the term mise en scène has been rendered in English language territories, I have retained its variant forms (mise-en-scè ne, mise-en-scène , mise-en-scene, etc.) inside quotations, while respecting the French usage in my own text. Research for this project was funded by the Australian Research Council

2010-2012 through Monash University on the topic of 'Between Film

and Art: An International Study of Intermedial Cinema". x

Prologue: At the Ballet Ruse

Establishing shot: the exterior of a theatre. The music of Debussy begin s on the soundtrack for the sake of a smooth transition to inside the hall: the ballet Afternoon of a Faun , choreographed by Jerome Robbins, is beginning, and Isabelle (Noomi Rapace) is sitting expectantly in th e audience. Light hits the stage and a transparent screen rises to reveal a male dancer (Ibrahim Öykü Önal) lying still on the floor. To emphasise Isabelle"s act of spectatorship, the camera starts from a position behind her head, racks focus from her to the stage, then slowly moves past her, toward the spectacle. The music continues - as does the forward-tracking camera movement - but now we are elsewhere; the singular scene has become a sequence, knit from different, simultaneous actions in several places. Dirk (Paul Anderson) stumbles, drunk and obnoxious, into the end of a dinner party held by his sometime lover, Christine (Rachel McAdams); she rejects his fumbling advances. Most of this interplay between them is played out in one, unbroken shot along the garden path at the side of Christine"s ultra-modern apartment - the sound of their predictable argument eventually faded out in favour of Debussy. But now something formally startling literally enters the picture: an extreme close-up of Isabelle"s eyes, staring straight ahead, slowly 'shoves out", in a sideways motion, the image of Dirk and Christin e walking and arguing - until we arrive at a 50/50, split-screen arrang e- ment (Figure P.1) On the left-hand screen, we witness a classical alternation of shot and reverse shot: Isabelle"s gaze, and the ballet in progress - a performance in which the dancers (Polina Semionova has also joined the stage) look for the most part, directly into the camera (or at their theatre audien ce), even when in the throes of an intense clinch - the idea of Robbins" choreography being that they are looking into a rehearsal mirror. 1 On the right-hand screen, the long take continues (Christine sending Dirk out into the street, back home) until the two-minute mark, when another shot/reverse shot volley begins: Christine finds an unsigned note stuck to her front door, instructing her to shower and prepare for bed ... which is just the sort of surprise, game-playing, sexual assignation we know (from earlier in the story) that she likes.

Prologue: At the Ballet Ruse xi

Now we are witnessing, across the two screens, a mixture of rhythms and temporal structures: as the ballet keeps playing out in the continui ty of real time on the left (with the film carefully disguising its compre s- sion of the original choreography), time leaps forward in ellipses on the right: Dirk drives off, bashes his car into a road sign, and returns to the apartment; while Christine follows her mysterious partner"s instruc- tions. There are rhymes, or echoes, from one side of the screen to the other: the dancing woman"s amorous ecstasy is matched by Christine"s sensual elation under the shower. When the close-up image of Isabelle"s eyes returns for the third time, it completes the shoving gesture began earlier, taking over the entire screen, as do the counter-shots of the stage. The reverse also happens: Christine"s screen shoves out Isabelle"s, in what could almost be a visual pun on their volatile power dynamics throughout the narrative. The decisive break in the sequence occurs when, after a long, myste- rious, prowling Steadicam POV (point of view) movement discovers Christine, the split-screen aligns two similar medium close-ups: female dancer on the left, Christine with her mysterious partner"s hand caressing her face on the right (Figure P.2). Suddenly, there is a quick, full-frame zoom into a masked face (Debussy abruptly replaced by Psycho -style screeching strings), and then the gruesome spectacle of a knife slashing Christine"s throat, splashing blood on the camera lens - quickly followed by another shock cut to the subsequent scene: Isabelle waking up, frightened, in bed. Did she dream what we have just seen? This six and three-quarter minute sequence is the central, virtuoso set-piece of Brian De Palma"s Passion (2012). How far could we get with analysing it if we used the time-honoured tools of mise en scène analysis - put simply, looking closely at the individual images, their composition, content and staging? Certainly, we could isolate many germane elements: the movement of bodies (De Palma stresses his debt to the art of choreography) and of the camera; the use of décor (white and minimal on both halves or zones of the screen), lighting, colour; the underlining of specific postures and gestures in the performances ... But such observations would need to be incorporated, sooner or later, into two, overarching aspects of the sequence. First, the fact that it uses a split, dual screen - a way of interrelating two distinct sc enes without recourse to cross-cutting, except for those moments when De Palma chooses, for impact, an edit in full-screen format. And second, xii Prologue: At the Ballet Rusequotesdbs_dbs47.pdfusesText_47
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