Formalism, Mise-En-Scene and Expressionism

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Formalism, Mise-En-Scene and Expressionism

In Hollywood films, the concept of verisimilitude generally refers to the concept that is emphasizing realism and illusion, which is to mean, of being true or real. It is a resemblance or likeness of the reality, facts or probability of truth. In films, it means the quality of the production appearing as real or true and this is by use of compelling features such as Mise-en-scene, formalism and expressionism. On the other hand, there is the use of Legisimilitude, which generally refers to the opposite of verisimilitude, where the account of truthlikenes is refuted. This looks at account of showing the important distinction between the accidental generalization and law like issues. However, in most cases, the concept of verisimilitude seems to have a general regard rather than legisimilitude as it construes more on second order relations between the predicates. As well, it extends on truth likeness as had been seen earlier to higher order logic.

Mise en scene is a term that is used in film and theatre or movie and it is an expression, which describes those aspects, or features that help in telling the intended story in a film. It comes in one of the stage design or the artful ways that are visual or combine all of them as far as the story is told. When applied to cinemas, the term refers to everything that comes before the camera and the arrangements in it such as sets, props, composition, costumes, the actors and the lighting. It also encompasses the movements and the positioning of the actors on the set and most analysts, this term refers to all visual forms that are presented in the film or the movie. In most cases, this area of film management is overseen by the director and in some countries such as French; they are given terms such as metteur en scene to mean placer on scene.

Movie Review Quiz


To start with, the beginning has a lighted background perhaps signifying that the character being in a dark room that is dimly lit. At least other scenes such as the dance of the blind have full-lit rooms where people can be seen clearly. However, other areas are put in black and white while others are purely dark showing the particular place and situation of the character. The scene generally referred to as the Conformist is set in black and white and this is in line with the love being a central point. The setting starts in a room where then the character seems to be in his house with the wife. He then departs after a call and heads to the other scene of the dance with a blind, and here we see him meeting with other people well groomed and ready for a dance. In virtually all characters, all scenes have people well groomed with most men being in full suits and the women with attires that signify special occasions. The language is largely English and this indicates that the movie was meant for English speaking audiences. While it could be said that the director is biased on the above, he however strikes on the kind of simple English that the characters converse.

The Conformist (1970) by Bernardo Bertolucci uses a kind of sophisticated cinematic language that generally talks of a story of a damaged soul whose psychosexual anguish simplifies the political over-compensation and the emotional stasis. The use of mise en scene in the film helps show out that the answers of the Clerici’s psyche have affected virtually most part of his life. However, it could be seen that this aspect has not been strongly utilized by this director but it does not entirely spell the failure of the film. About realism in this film, what is seen is the neo realism rather than conforming to the traditional aspects of realism and actually, it should have been the means in the cinema rather than being the end for itself. Regarding the actor Jean-Louis Trintignant who acts as Marcello Clerici, he makes the general artistry become undeniable and his upbringing, internal crisis and the tumultuous ways make even Marcello paranoia. The character therefore is brought out significantly as somebody who shapes the characters of the other cast members.

It is easy to concur with the views of Pauline Kael in regard to this movie that the director stands as one person who can make the movie industry stand on its own again, but as well, he seems to have fallen short on some particulars. For example, we have noted earlier that the art of mise en scene has not entirely been utilized, and this is true of the review of Pauline Kael. The concurrence here is that there was potentiality of making this movie as one of the best that could be reviewed and with the strong characters of the caliber of Jean-Louis Trintignant then, he had everything at his disposal. He moves to details, and with the help of this strong character, we see that other characteristics of people and the general themes are brought out well.