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MISE-EN-SCÈNE

The Royal Tenenbaums (Anderson, 2001)

Moonrise Kingdom (Anderson, 2012)

The Royal Tenenbaums (Anderson, 2001)

Three-Point Lighting

Backlight-generally located above and behind the subject; the Backlight often gives the

subject added dimensionality and separates them from the background. It is sometimes called a “hair light” for the way in which it directs light onto the hair, giving the hair added definition.

Key Light-the major source of illumination, typically the main source of illumination within the world of the shot (a lamp, the sun, etc.).

Fill Light-generally lies opposite the camera from the Key Light; it works to fill in the harshness of the Key Light and diminish shadows. Often it is the intensity of the Fill Light in relation to the Key Light that determines the quality of shadows in the shot.

High Key LightingThis is even lighting. It conveys a sense of normalcy and well-being and is often used in musicals, comedies, and melodramas. The lighting generally does not contradict the meaning(s) attached to the illuminated subject. David Lynch and Alfred Hitchcock are notable exceptions.

A Hard Day’s Night (Lester, 1964)

Written on the Wind (Sirk, 1956)

“High Key” sometimes refers to brightly

lit schemes, but it always involves an evenly lit subject/object.

Unlike low key lighting, which conveys abnormal moods through stark contrasts between light and shadow, high key lighting minimizes contrast to create a sense of normalcy. This is why we so commonly see high key lighting in sitcoms, comedies, and musicals (and, conversely, low key lighting in film noirs, horror films, etc.).

A Night at the Opera (Wood, 1935)

High Key Lighting

Low Key Lighting

Mad Men “Tomorrowland” (Weiner, 2010)

Glee (Murphy, 2010)

Fiddler on the Roof (Jewison, 1971)

Blue Velvet (Lynch, 1986)

The Man Who Knew Too Much (Hitchcock, 1956)

com 248 mise en scene powerpoint

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