کتاب میزانسن

Frank Kessler charts the use of the term mise en scène from its origins in theatre circles in the 19th century through to the auteur theories found in French film criticism of the 1950s and 60s up to the present day and the place of mise en scène in the contemporary digital cinematic landscape. The book disentangles the various ways in which mise en scène appears in writings about film. It also looks at the different practices of mise en scène and the way in which these are conceptualised. Kessler’s three-pronged historical, theoretical and practical approach fills a major gap in the existing literature on cinematic mise en scène. The French expression “mise en scène” is synonymous with the English “staging”, as it includes all the aspects that are involved when a play is being “put on stage”. So while the cultural hierarchies in nineteenth-century France may have privileged text and declamation over all the other elements of a play, the mere scope of what mise en scène contributes to a theatrical performance shows that the hierarchical relations could easily be reversed. Once the staging of a play came to be considered an interpretation of the text rather than a simple reproduction of the written work, it was mise en scène itself that in fact became the pre-eminent means for artistic creation. As a result, the author of the text could no longer be considered the sole creator of a theatrical work of art.

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