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''Mise-en-scène'' ((:mizɑ̃sɛn) "placing on stage") is an expression used to describe the design aspects of a theatre or film production, which essentially means "visual theme" or "telling a story"—both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction. It is also commonly used to refer to multiple single scenes within the film to represent the film. ''Mise-en-scène'' has been called film criticism's "grand undefined term".〔Brian Henderson, "The Long Take," in ''Movies and Methods: An Anthology'', ed. Bill Nichols (Berkeley: University of California Press, 1976), 315.〕 ==Definition in film studies== When applied to the cinema, ''mise-en-scène'' refers to everything that appears before the camera and its arrangement—composition, sets, props, actors, costumes, and lighting. The “mise-en-scène”, along with the cinematography and editing of a film, influence the verisimilitude or believability of a film in the eyes of its viewers.〔Connell, Joanne. “Film tourism – Evolution, progress and prospects.” Tourism Management (October 2012), 33 (5), pp. 1007–1029〕 The various elements of design help express a film’s vision by generating a sense of time and space, as well as setting a mood, and sometimes suggesting a character’s state of mind.〔Barsam, Richard Meran., and Dave Monahan. Looking at Movies: An Introduction to Film. New York: W.W. Norton &, 2010〕 “Mise-en-scène” also includes the composition, which consists of the positioning and movement of actors, as well as objects, in the shot.〔 These are all the areas overseen by the director. One of the most important people that collaborates with the director is the production designer.〔 These two work closely to perfect all of the aspects of the “mise-en-scène” a considerable amount of time before the actual photography even begins.〔Pramaggiore, Maria, and Tom Wallis. Film: A Critical Introduction. Boston: Laurence King, 2005.〕 The production designer is generally responsible for the general look of the movie, leading various departments that are in charge of individual sets, locations, props, and costumes, among other things.〔 Andre Bazin, a well-known French film critic and film theorist, describes the mise-en-scene aesthetic as emphasizing choreographed movement within the scene rather than through editing.〔 This narrow definition of ''mise-en-scène'' is not shared by all critics. For some, it refers to ''all'' elements of visual style—that is, both elements on the set and aspects of the camera. The term is sometimes used to represent a style of conveying the information of a scene primarily through a single shot—often accompanied by camera movement.〔 Two academic papers, Brian Henderson's essay on the "Long Take" (1976) and Lutz Bacher's MA thesis entitled "The Mobile Mise-en-Scène" (1976), discuss the use of mise-en-scène in long shots and shots that encompass a whole scene. Neither conflates its meaning with how the term was originally applied to film in the ''Cahiers du Cinéma'', which was expressed in 1960 by critic Fereydoun Hoveyda as follows: "What matters in a film is the desire for order, composition, harmony, the placing of actors and objects, the movements within the frame, the capturing of a moment or look... ''Mise en scene'' is nothing other than the technique invented by each director to express the idea and establish the specific quality of his work." This recent and limiting redefinition of the term makes it synonymous with a "oner" or a single shot that encompasses an entire scene. This use of the term displays some ignorance of both the traditional use of the term in French theatre and film and its actual translated meaning, which is, broadly, "to put in the scene".〔 In German filmmaking in the 1910s and 1920s, one can observe tone, meaning, and narrative information conveyed through ''mise-en-scène''.〔 These films were a part of the German Expressionism movement in the 1920s, and were characterized by their extreme sets, décor, acting, lighting, and camera angles.〔 The aim of these films is to have an extremely dramatic effect on the audience, often emphasizing the fantastic and grotesque.〔 Perhaps the most famous example of this is ''The Cabinet of Dr. Caligari'' (1920) where a character's internal state of mind is represented through set design and blocking. The sets involved stress the madness and horror of the film, as expressionist films are meant to do.〔 The similar-sounding, but unrelated term, "''metteurs en scène''" (figuratively, "stagers") was used by the auteur theory as a disparaging label for directors who did not put their personal vision into their films. Because of its relationship to shot blocking, ''mise-en-scène'' is also a term sometimes used among professional screenwriters to indicate descriptive (action) paragraphs between the dialog. Only rarely is ''mise-en-scène'' critique used in other art forms, but it has been used effectively to analyse photography. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mise-en-scène」の詳細全文を読む スポンサード リンク
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