Within ‘The Birds,’ upon an analysis of the opening scene, one could determine how certain aspects of the mise-en-scene such as clothing, colour and posture help establish the character of Melanie Daniels. The first clip we get as an audience is of Melanie Daniels walking across the screen from right to left. This shot is unusual as normally it would be shot with her walking left to right. This could show Melanie’s differences to those around her, how she could later become an outsider to those in Bodega Bay, and present differences that distance her from those she comes to know in Bodega bay. While she is walking across the road another noticeable trait of characterisation is her High Heels. Already from this use of Mise-en-scene in terms of costume, one can assume or identify that she is of importance within the upper class. The heels could symbolise a high lifestyle, and maybe a rebellious streak within her, as it is later revealed with her antics in Rome. She also seems to walk uncomfortably in them, suggesting that she is perhaps uncomfortable with something in her life, such as the ‘Rome’ incident and that she has hidden details of her life that constantly threaten the world she lives in, her current lifestyle. These hidden details could be such as the ability to love, the way her mother ran off, and her rebellious antics, all of which are revealed more and more as the film continues and as Melanie’s character develops. Her elegance, which also shows hints of awkwardness present her as a girl whose sophistication, could be a cover for her insecurity.
As the scene develops, we see Melanie enter an expensive pet shop where she is surrounded by Birds in Cages. Here, setting is important within the Mise-en-scene, and again symbolises more of her character. The fact that the shop is expensive and ornamental symbolises her apparent wealth and her upbringing, whereas the Birds in cages, could symbolise how she is locked up inside, that her life mirrors the ones of which the birds live. Here Hitchcock uses the technique of mirroring to highlight the state of Melanie’s life and emotions. She is locked up, almost guarded to those around her and doesn’t tend to express her emotions easily. Hitchcock helps the audience see this through the birds, and throughout the film, gives references to how her character develops and flourishes, when she is given responsibility and security.
The use of Mirroring is also used within the Mise-en-scene, in Kassovitz’s ‘La Haine’. There is a reflection of scenes from other films, such as ‘Taxi Driver’ by Martin Scorsece (1976). Vinz imitates the scene where Travis Bickle is talking to himself in the mirror. Within ‘La Haine’, this use of mirrors could serve as many symbolic meanings. Firstly one could assume it is showing the character of Vinz, of how he is caught up in his emotions. He is angry and confused, and the fact that he is conversing with himself violently, shows the conflict inside and his feelings towards their discrimination in society. However on another level, one can see how the use of mirroring here, mirrors the emotions of everyone who is discriminated upon, of society as a whole. How there is constant conflict in society between the different races.
At the end of his speech, he points his hand in the form of a gun, towards the mirror and there is a gunshot before the scene fades. This could be seen as a form of prop within the mise-en-scene, and it is important and significant within the film. One could assume it symbolises the apparent ‘Explosion’ that is being built up throughout the film. That everything is leading to one final explosion in society that will ultimately end in death and destruction. Kassovitz uses these gunshots at the end of most explosive scenes within the film, and they help foreshadow this imminent battle to end all. The fact it seems as though Vinz is shooting himself, also helps foreshadow his death by gunfire, and the strong role that guns play within the film.
The importance of characterisation within the use of mise-en-scene, is also present in ‘La Haine’. Each of the main characters are from a different racial background. Vinz is Jewish, Said is Arab, and Hubert is French-African. Within the film Kassovitz uses the mise-en-scene to give references to their racial backgrounds, through the use of props, speech and music. Kassovitz never mentions their racial backgrounds, he does it subtly. As with Vinz; Kassovitz uses traditional Jewish music, when Vinz is dancing in this dream, he has them eating traditional Jewish food at breakfast ‘Blimis’, and his grandmother talks about the synagogue. With Hubert, Kassovitz controls the mise-en-scene, by having him stand in front of a ‘Black Power’ poster on a wall, symbolising his colour and race, along with references from others that his skin is like “Chocolate Milk”. The poster also serves as a symbol of racial freedom, the freedom that Hubert and others like him wish to have. It almost suggests that they have no power at all, and that all they wish for is some recognition in society.
Kassovitz also controls the mise-en-scene through the use of camera shots and angles. These suggest many things about the boys. Kassovitz tends to show how the boys do not fit in, in Paris, yet they fit in within their estate. He uses the mise-en-scene to present how they are trapped. One instance of this is the use of a camera on a mini-helicopter which travels the estate in the form of a tracking or crane shot. It gives a view of the estate from above, allowing the buildings to dwarf the boys presenting a feeling of entrapment. Yet it also presents a brief moment of freedom, as the helicopter is flying, and flying away is an ideal of freedom.
The use of colour within the mise-en-scene also has significance in our reading of the films. Within ‘the Birds’, in the scene where Melanie enters the shop to find out where Mitch lives, her clothes further add to her characterisation. Her clothes are polker straight, a tight pencil skirt, a jacket and a matching top, show how she is quite rigid in her character. The colour of the suit, Green, is a cold, harsh colour, and one could assume this highlights her personality within the beginning of the film, especially towards Mitch. Later when she is attack by the gull, the drawing of blood shows two things. Firstly, it is possible to state that it marks the moment of a change in her personality, that from here on we get depth in Melanie’s character. That she changes from her cold, rigid front into a loving, deeper woman. Secondly one could take the colour of the blood, red, as a symbolism of the horrors to come, a warning to the audience of the changes that will happen, and of the bird’s impending attacks.
As ‘La Haine’ is a film noir (black and white), it isn’t possible to state the use of colour, however the contrasting use of day and night in the mise-en-scene, in terms of setting, can be analysed. Kassovitz uses this aspect of mise-en-scene to show how Paris, and the boy’s estate are worlds apart in terms of race. He shows this by filming the Estate by Day, in stereo sound and using short focal distance. Whereas Paris is filmed by Night, using mono sound, and long focal distance. This portrays the haven that the Estate brings to them, while showing the hatred and dire things that Paris displays and presents to them.
In conclusion it can be seen how Mise-en-scene is a vital aspect of any film. It helps the audience receive a deeper understanding of the film as a whole along with its themes, characters, events and ideas. Mise-en-scene plays a significant role in our reading of ‘The Birds’ and ‘La Haine’ and through a thorough analysis one can see how various aspects of the mise-en-scene were controlled by the directors to present the audience with understanding and meaning.
Bibliography:
Hitchcock’s Films Revisited by Robin Wood, Faber and Faber, 1989.
Film Art: An Introduction by Bordwell and Thompson, 7th edition, Mcgraw-Hill,
Mise-En-Scene: Film style and interpretation by John Gibbs, Wallflower press, 2002.
