Divergent: Mise en Scene

 During the last few classes of AICE Media Studies, we learned about mise en scene, or what is known as production design. We learned that the job of a production designer is that they are responsible for making sure that the set matches the characters and the tone of the project. In film, the overall mood, characters, and theme of the project are very important. In order to ensure that these aspects are met, production designers incorporate mise en scene elements throughout the film or project. Such elements include specific sets, props, lighting, costumes, actor blocking, and shot composition. 

Today, I will discuss the mise en scene or production design of the movie Divergent and explain how it contributes to the mood, characters, and theme.

In this first shot, the lighting is a warm-toned orange. This lighting helps create a tense atmosphere by symbolizing Tris's internal conflict and her self-consciousness. In other words, in Divergent, the people are divided into what is called "factions." Each of these factions represents a type of personality. For example, Tris's family is a part of the Abnegation faction, which represents the selfless. As a result, they want her to choose to stay in the same faction, living a humble life. However, in this shot, the lighting is a mix of grayish orange. The orange light contrasts with the gray tones that represent the Abnegation faction. The orange lighting and ambiance of the shot hint at the Dauntless faction, which represents fearlessness and bravery. The mix of gray and orange lighting in the scene symbolizes Tris's attraction to the Dauntless faction and her desire for freedom.  Thus, through this lighting choice, the mise en scene emphasizes Tris's emotional struggle between following her family's wishes and following her own desire for independence. As a result, this also helps foreshadow later events of Tris choosing to join the Dauntless at the ceremony.

These next two shots show the costumes of the characters in the movie, specifically, the people are a part of the Amity faction. The costumes of the Amity faction stand out through their bright, earthy colors and their flowyness. Specifically, the costumes are sage green, pastel orange, and yellow. Within the mise en scene, these colors symbolize the personality of the Amity faction. The Amity faction has a peaceful and carefree nature. In the first shot below, it is clear that the woman is wearing a soft and flowy sage green tank top with minimal accessories. The lack of extravagance in her costume helps highlight the nature aesthetic and relaxed lifestyle of the Amity faction. The softness of their costumes contrasts significantly with the tight black outfits of the Dauntless faction. Thus, through these costume choices, the mise en scene helps viewers understand and differentiate between the different factions.

The next two shots are shots from the Choosing Ceremony scene. The Choosing Ceremony is an event in the movie where the characters who are of age choose the faction that they will belong to for the rest of their lives. This moment helps symbolize the struggle of choices and self-identity within the film's dystopian society. In the shot, it is clear that the scene is taking place in a large auditorium where the factions are divided into separate seating sections. This separation helps display the strict social structure of the film's world. Thus, the mise en scene in this scene uses actor blocking and props to communicate such ideas. Each of the factions sits together in organized groups. This shows the unity within their groups but separation from the other groups. In other words, this blocking of the actors emphasizes how individuals of each faction are categorized and expected to stay within their group. Furthermore, in these two shots, there are five bowls resting on a table in the stage of the auditorium that serve as important props in the film. Each one of these bowls represents a faction through the material that lies within it. For Abnegation, there are stones, for Erudite, there is water, glass for Candor, and hot coals for Dauntless. These props highlight the importance of tradition because in this scene, characters essentially perform a ritual to choose their faction. As the characters are called onto the stage, they drop their blood into one of the bowls as a way of choosing a faction. This ritualistic action reinforces the movie's theme of self-identity in that they have to make a sacrifice. Thus, overall, in terms of mise en scene, the combination of actor blocking and the bowls as props helps the viewers understand the rigid control and struggle of individuality in the dystopian society of the movie. 

The next two shots are during the Dauntless training scene of the movie. In these shots, Tris stands at the center of the target outline while knives are thrown around her by Four. The mise en scene uses actor blocking and props again to help create tension and highlight her bravery. Tris is positioned in the middle of the target outline, which isolates her and symbolizes the pressure that she is experiencing internally from trying to prove herself. She wants to prove to the other members that she is brave and fearless. The knives also serve as symbolic props in that they represent danger and her fear of failure. The precise placement of the knives represents not only her vulnerability but also her growing courage, which develops throughout the movie. Thus, through the actor blocking and props, the mise en scene helps convey Tris's character development as she starts developing the characteristics and traits of the Dauntless faction. 

These next shots are establishing shots that show the city and the surroundings of the society. The mise en scene in these shots uses set design to communicate the movie's dystopian world. The buildings appear abandoned and run-down. They have crumbling walls that are covered in moss or plants. This helps create a sense of growing decay within the society and neglect. Moreover, in these shots, a fence or border is seen to be surrounding the city. This reinforces the theme of control within the movie. It shows how the society in the film is strictly regulated and isolated from other parts of the world. The use of these set designs helps convey the oppressive environment in which the characters live in. Thus, by carefully designing the city to have dystopian-like features, the mise en scene helps illustrate to the viewers the overall setting and structure of the world in the movie. 

Lastly, in these shots, the film uses composition elements such as rack focus to draw attention to specific characters and their emotional states. For example, in this scene, Tris sees herself in the mirror after her mother styles her hair in a bun. At first, Tris's reflection is blurred, making her appear uncertain and disconnected from her surroundings. As the focus shifts, her reflection becomes sharp and clear. This visually represents her growing self-awareness and is the moment in the movie's storyline when she first starts to see her true identity. Thus, the use of focus within the composition emphasizes her internal conflict and transformation. Similarly, in the opening scene, where people are crossing the bridge (the shots below the mirror shots), shallow focus is used to isolate certain characters from the crowd. This helps further highlight the theme of the movie in terms of individuality within the dystopian society. Thus, through these composition techniques, mise en scene emphasizes the mental state of mind or psychology of each character, which helps reinforce the idea of a struggle in self-identity. 

Movie Analysis: "To All the Boys I've Loved Before (2018)"

     In class today, we were asked to analyze clips from movies to determine the different shots and editing it presents. The movie I chose to analyze is called, To All the Boys I've Loved Before (2018). In the first video, the clip is within the timestamp of 0:28-0:41. This scene is an example of a dissolve transition. During this scene, Lara Jean is on the track field when Peter approaches her while holding one of the love letters she has written to him. As she feels embarrassment starting to rise, she also comes to the realization of what is happening. As a result, she faints and experiences a dramatic, slow-motion dream that is reflected based on her mental state at the moment. The use of the dissolve transition allows for viewers to understand the anxiety and panic that Lara Jean is facing in the moment. In the next part, from the same video, but at timestamp 1:02-1:06, this is an example of an eyeline match. Lara Jean has just awoken from her faint, and she is talking to Peter. While this is happening, Lara Jean notices her sister's ex-boyfriend, Josh, approaching her, but with his own letter. The scene shows Lara Jean looking up and ahead, and then the next scene cuts to show the viewers what she is looking at. The use of an eyeline match in this scene helps create a dramatic effect by building tension. It evokes a sense of anticipation for the viewer as they might wonder, "What is going to happen next?" Furthermore, towards the end of the video, at the timestamp 1:58, this is an example of a low angle. For context, in this scene, Lara Jean rushes to hide in the bathroom after kissing Peter on the track to avoid her sister's ex-boyfriend, who had received one of her love letters. Lara thinks that hiding in the bathroom will allow her to escape the situation. However, once she is in the bathroom, she is confronted by another person who also received one of her love letters. The clip shows the letter being "slipped" underneath the bathroom stall, but then it cuts to a low angle of Lara Jean standing on the toilet seat. The use of a low angle in this scene evokes a sense of helplessness on the viewer's side. In other words, viewers may be able to relate to Lara Jean and the situation she is facing. By using a low angle, the viewer might feel helpless in that they can't do anything to save Lara from her situation. 

    In the next video, it is also of the same movie, To All the Boys I've Loved Before. In the first few seconds of this video clip, 0:00-0:03, this is an example of using jump cuts. The scene is of Lara Jean walking through the school hallway on the first day of school. The hallway is bustling with students walking to class and students hanging around the lockers on the sides. The use of jump cuts in this scene creates a feeling of unease and compresses the time of Lara walking in the hallways to a shorter time frame. A scene walking in the hallways would usually be boring and mundane, but by using jump cuts, this makes the sequence of events in the movie seem more dynamic to the storyline as a whole. 

    Furthermore, the next video clip I chose to do, which is also on the same movie, is on the timestamp of 1:47-1:51 of the 3rd video. In this scene, the camera first shows Lara Jean and Peter having a conversation. However, it then cuts into the notebook that Lara Jean is writing on. The cut-in of the notebook shows viewers what Lara Jean is writing specifically. This is important because in this scene, Lara and Peter are discussing the rules for their fake relationship. By cutting into the notebook, this puts emphasis on the importance of the rules in relation to the storyline and later events. In this case, the cut-in of the notebook is a form of foreshadowing in that they are writing up the rules they are supposed to follow, but eventually, both Lara and Peter end up breaking them as they fall in love with each other. 

    Finally, in the last video (4th video), from timestamps 0:32-1:05, this is an example of over-the-shoulder shots being used. For context, in this scene, Lara Jean confronts Peter about being caught with his ex, Gen, after saying that he was over her. Over-the-shoulder shots are typically used in dialogue scenes, cutting back and forth between each character. Thus, by using over-the-shoulder shots in this scene, this allows viewers to understand the current relationship between Lara Jean and Peter. Specifically, in the scene, a sense of tension and intimacy is created through the conversation. Viewers may feel as if they are a part of the conversation, which helps build suspense and establish a perspective. Therefore, the different film elements I have identified in these few clips of To All the Boys I've Loved Before are a dissolve transition, an eyeline match, a low angle, jump cuts, a cut-in, and over-the-shoulder shots. 

Video Clips

Video 1

Screenshots from Video 1

Dissolve (0:28-0:41)

Eyeline Match (1:02-1:06)

Low Angle (1:58)

Video 2

Screenshots from Video 2

Jump Cuts (0:00-0:03)

Video 3

Screenshots from Video 3

Cut-in (1:47-1:52)

Video 4

Screenshots from Video 4

Over-the-shoulder shots (0:32-1:05)

Sound Story

In the past few days, we have been learning about the different types of sounds in film, such as diegetic sounds and non-diegetic sounds. My teacher assigned us a project where we have to create a film or storyline using only sounds and no visuals. I decided to work with my friend Ngoc on the project. We started planning and brainstorming an idea for our storyline. We came up with a storyline of running late for school and missing the bus. We started off the first scene as waking up late. To create this scene, we screen recorded the audio of the Apple alarm. However, me and my partner also wanted to layer the alarm sound with birds chirping to make it more realistic. We could also only use a maximum of five words in the recording, so I put a voice over of myself saying, “Oh my gosh!” We then created the rustle of a blanket by shoving around an actual blanket on a bed. Then, to create the sound of getting up from bed and running to the bathroom, I filmed a video of me rein-acting the actions in real life. Our next scene was the bathroom scene. We layered the sound of a bathroom vent in the background during the entire scene. We did this by recording a long audio of the bathroom vent and then adding it afterwards to the full video as a sound effect. To record the rest of the bathroom scene, I created the toilet scene by blowing water out of a straw and using a toilet flushing sound effect that I found online. Then, we mimicked the sound of teeth brushing by scraping two pieces of Velcro together. After the bathroom scene was the bedroom scene where we portrayed getting dressed or getting ready for school. We created the sounds of opening a drawer and a closet by also rein-acting those actions in real life. Furthermore, to make it even more realistic, we separately recorded the audio of zipping a jacket up and down to make it seem as if we were putting clothes on in the storyline. The next scene, scene 4, was the kitchen scene of eating breakfast. To portray the sound of pouring cereal, we poured bracelet beads into a bowl. In order to make it seem like we were eating the cereal, my partner crushed up popcorn to mimic the sound of chewing. The final and last scene was running out of the house to try and catch the bus. I used my house keys to make the scrambling sound while trying to lock the door. My partner recorded herself fidgeting with her house keyhole to create the sound of locking the actual door. I used two sound effects during this scene, a bus honk and birds chirping. The bus honk was to signal in the storyline that the bus was here. In addition, I made my friend record herself saying “WAIT!” and had her create the fast beating of a heartbeat after running to catch the bus and still missing it. 

To edit all these recordings and create one storyline, I used the editing app CapCut. At first, I tried using iMovie to edit the clips, but I found the app hard and confusing to use. As a result, I tried editing on the TikTok app because it has a built in version of CapCut. However, I also had difficulty using CapCut on the TikTok app and ended up just downloading the CapCut app to edit. This project was fun to do but we encountered many difficulties along the way. One of the biggest difficulties for me and my partner was trying to isolate the sounds from the background static noise. In some of our recordings, there was a static sound in the background that affected the overall audio. This issue was mainly prominent in our recordings that we did in school. Thus, in order to fix this, we decided that it would be better to film the sounds at home where it was a quieter environment. Thinking back, I would have bought a lavalier microphone or a clip on miniature microphone from Amazon to record the sounds. This would have allowed me to isolate the sounds without catching the background noises as much. Another difficulty that we encountered was that it was hard to transition some of the sounds from one sound to the next. In other words, when we transitioned from the bedroom scene to the kitchen scene, it sounded rough. It was obvious there was a cut in between the two scenes which we did not like. In order to fix this, we incorporated the sound of footsteps fading in and out to make the scenes connect. Thus, although we experienced a few difficulties along the way of creating the sound story, it was a fun project that allowed me and my partner to have a better understanding of the long and tedious process of being foley artists. We were able to experience what it was like being a foley artist and it certainly was a difficult but exciting process!

Sound Story

Sound Story Script

Scene 1: Waking up

0:00-0:12 Ringtone: Apple iPhone Alarm Sound

0:09-0:18 Birds Chirping (in the background)

0:12-0:14 Voice over: “Oh my gosh!”

0:14-0:15 Ruffle of blanket

0:15-0:19 Getting off of bed, putting on house slippers, and running downstairs to the bathroom

 

Scene 2: Bathroom

0:19-0:22 Opening bathroom door and turning on light switch + vent

0:21-0:44 Bathroom vent (layered sound/running in the background as background noise)

0:22-0:28 Using the toilet

0:29-0:34 Toilet flushing

0:34-0:41 Sink (turning on, letting it run, and turning off)

0:36-0:40 Brushing teeth

0:40-0:46 Gargling water/rising mouth

0:44-0:46 Bathroom vent and turning bathroom light off

0:47-0:50 Closing bathroom door

 

Scene 3: Bedroom/getting changed

0:50-0:52 Running back upstairs to bedroom

0:52-0:54 Opening bedroom door

0:55-0:56 Running quickly to dresser

0:56-0:59 Opening dresser/rummaging through it to get clothes

0:59-1:02 Opening closet to get jacket

1:02-1:06 Looking through closet and moving around hangers

1:06-1:08 Zipping jacket

1:08-1:11 Leaving room and heading to kitchen

Scene 4: Kitchen/Eating breakfast

1:11-1:12 Opening kitchen cabinet

1:12-1:15 Grabbing glass bowl and placing on top of counter

1:15-1:17 Grabbing utensils

1:17-1:24 Grabbing cereal bag, opening it, and pouring it into a bowl

1:24-1:27 Eating cereal

1:26-1:30 Drinking leftover milk from cereal

1:30-1:31 Placing bowl in the kitchen sink

 

Scene 5: Packing bookbag/getting ready to leave and missing the bus

1:31-1:32 Heading back to bedroom

1:32-1:33 Grabbing lanyard/keys

1:33-1:38 Opening backpack and packing notebooks

1:38-1:39 Bus honk, signaling that it is outside

1:39-1:42 Running to the front door, opening it to leave and scrambling to lock the door

1:40-1:47 Birds chirping in the background

1:42-1:52 Chasing after the bus that is already leaving the bus stop, out of breath and panting

1:44 “Wait!” – Missed the bus