ARTS1060 Introduction to Film Studies – Essay Preparation
Here are a few excerpts from an essay written by a student in the course a few years ago.1
The question required students to use theories of mise-en-scene, narrative and sound to
identify and analyse the work of two auteurs studied in the course.
Excerpt 1: Although the first sentence is far too long (it is a run-on sentence), the student
provides a good summary of how and why auteur theory emerged. In the second sentence,
the student touches on the more theoretical dimensions of this concept. The third sentence
assesses the usefulness of the theory. Sentences 4 and 5 introduce and define mise-en-
scene and 6 links this to the auteur theory.
(1) Developed by the Cahiers du cinema critics in the 1950s and ‘60s consequent on the
rediscovery of classical Hollywood cinemas which was unavailable during the war, auteurism
posited that certain directors, despite the invasive nature of the studio production,
manifested a unique vision of the world, and an idiosyncratic personal style across their
body of films. (2) The theory (problematically) took the director as the film’s sole (or
dominant) creative force, despite the inherently collaborative nature of film production. (3)
Looking at films from an auteurist perspective can requires us to look for thematic and
stylistic tropes, which reappear throughout a director’s body of work. (4) The theory of
mise-en-scene, being defined as ‘in the scene’ and refers to the arrangement of profilmic
material for the camera. (5) We should think of mise-en-scene as an active process. (6) This
was historically the major element that auteur critics looked at when locating a director’s
unique style/vision (Cook).
Excerpt 2: (1) The student then uses a good topic sentence, with a linking phrase (in
addition) to begin the second paragraph, introducing the other key terms from the
question. (2) This is where the student introduces their argument. (3, 4, 5) These sentences
tells us how this argument will be made, ie. which directors are being used as examples and
what aspects of their work will be analysed to provide evidence.
1 This sample is used with permission from the student. For study purposes only. This document must not be copied or disseminated in any way.
ARTS1060 Introduction to Film Studies – Essay Preparation
(1) In addition to mise-en-scene, however, we can also look at theories of narration and
sound shape how we identify and theorise a director’s signature style. (2) Further, this essay
argues that it is necessary to look at the interrelationships between mise-en-scene, sound
and narration […] in order to identify the auteur’s unique view. (3) This essay will
demonstrate as much through an analysis of films by two very different auteurs. (4) First, it
will discuss Vertigo (Hitchcock, 1958) and how mise-en-scene, non-diegetic music and
restricted narration work together to implicate the viewer in voyeuristic activities of a male
protagonist. (5) Second, it will examine how in The Color of Paradise (Majidi, 1999), Iranian
auteur Majid Majidi uses mise-en-scene and sound to convey didactic messages as to how
to live according to Islam.
Excerpt 3: Here is an excerpt of where the student provides an example, using some of the
film analysis skills that have been developed during the course. Note that the student not
only describes the techniques (eg. eyeline looks, restricted narration, elements of mise-en-
secene etc.), but also explains the effect of these techniques and the way they are designed
to address the spectator.
Hitchcock uses mise-en-scene and tight eyeline match editing as well as restricted narration
to implicate the viewer in the voyeuristic activities of Scottie (Jimmy Stewart). Most notably,
in the scene at Ernie’s restaurant, Hitchcock aligns our gaze with that of Scottie’s as he
voyeuristically looks at Madeleine for the first time. From a narrative perspective, because
up to this point in the film we as viewers only know what Scottie knows about Madeleine
(restricted narration), she is an object of mystery to us as well as him. In the scene at
Ernie’s, Hitchcock uses costume and make-up, in particular Madeleine’s green dress and
peroxide blonde hair, to draw our gaze to her. Further, Hitchcock connects our gaze with
Scottie’s by first showing Scottie looking at Madeleine before slowly panning and tracking in
on her and then through a series of tight eyeline matches between Scottie and the table
where Madeleine is sitting. [cont…]