Being in Rome has made me more aware of how every detail in a space contributes to storytelling. From the intricate frescoes in churches to the chaotic arrangement of market stalls, everything is deliberately placed, evoking mood, history, and culture. This has led me to think more deeply about *mise-en-scène*—a key media theory that explores how everything within the frame contributes to meaning.
Mise-en-scène (French for “placing on stage”) refers to the arrangement of elements within a film scene, including set design, costume, lighting, composition, and actor movement. Directors like Alfred Hitchcock, Wong Kar-wai, and Andrei Tarkovsky use mise-en-scène to convey subtext, mood, and character psychology without relying on dialogue.
## Space & Set Design: Creating Meaning Through Environment
Rome itself feels like a carefully constructed set. The grandiosity of Vatican City inspires awe, while the narrow, winding streets of Trastevere feel intimate and lived-in. Similarly, in film, a setting can tell us everything about a character before they say a word. In *Parasite*, Bong Joon-ho uses vertical space—contrasting the opulent mansion of the wealthy Park family with the cramped semi-basement of the struggling Kim family—to visually communicate class disparity.
### Practical Application:
In my project, I want to think more intentionally about space. A cluttered room can symbolize a character’s mental state, while an empty hallway might evoke loneliness. The way characters move through a space—whether they dominate it or are overwhelmed by it—can visually reflect power dynamics.
## Costume & Props: Visualizing Identity and Change
Walking through Rome, I’ve been fascinated by how people present themselves—how fashion, accessories, and personal objects tell stories. In film, costume design and props function similarly. In *Joker*, Arthur Fleck’s costume evolves from dull, neutral tones to a striking red and yellow suit as he transforms into his violent persona. The umbrella in *In the Mood for Love* becomes a recurring prop, symbolizing missed connections and repressed emotions.
### Practical Application:
I want to explore how objects and clothing choices can reflect a character’s emotional arc. Perhaps a family heirloom changes hands throughout the story, gaining new meaning each time, or a character’s wardrobe subtly shifts to mirror their growth or decline.
## Blocking & Actor Movement: Physicalizing Relationships
Observing people in Rome, I’ve noticed how body language and positioning reveal unspoken dynamics—whether it’s lovers standing close together on a bridge or an isolated figure sitting alone in a crowded café. In film, blocking (the arrangement of actors within the frame) is a powerful storytelling tool. In *The Godfather*, Michael Corleone is often placed in the shadows, visually reinforcing his moral descent. In *Persona*, Ingmar Bergman uses extreme close proximity and mirroring between characters to emphasize psychological entanglement.
### Practical Application:
I want to experiment with blocking to show relationships. Characters sitting at opposite ends of a table could suggest emotional distance, while one character turning their back on another might signal rejection or secrecy. Small gestures—like a lingering glance or a hesitant step forward—can speak volumes.
## Light & Color: Crafting Atmosphere and Emotion
The way sunlight filters through Roman ruins or casts long shadows at dusk has made me more attuned to the emotional impact of lighting. In film, lighting choices create atmosphere and symbolism. Film noir’s high-contrast lighting reflects themes of crime and deception, while the golden glow of *Call Me by Your Name* evokes nostalgia and warmth. Color plays a similar role—Guillermo del Toro’s *Pan’s Labyrinth* contrasts cool, desaturated tones for reality with warm, rich hues for the protagonist’s fantasy world.
### Practical Application:
For my project, I want to use lighting to define emotional shifts. Soft, natural light might represent innocence or connection, while harsh fluorescent lighting could create discomfort. Adjusting color palettes—muted tones for present-day struggles, vibrant colors for memories—could reinforce emotional contrasts.
## Next Steps
As I continue my time in Rome, I plan to observe how mise-en-scène shapes real-world storytelling. I’ll take notes on how spaces, objects, and movement create meaning and apply these lessons to my project.
Mise-en-scène reminds me that storytelling is more than words—it’s in the way a room is arranged, how a character moves, and the interplay of light and shadow. Every element in the frame has the potential to deepen the narrative, and I’m excited to refine my visual approach using these techniques.
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