MISE-EN-SCÈNEComposition & Framing

Aspect ratios

Academy ratio = 1.37: 1

Written on the Wind = 2.00: 1

A deep frame that emphasizes the z axisWritten on the Wind

A shallow frame that understates the z axis

Subject placement using the rule of thirds

American Beauty, Sam Mendes, 1999.

Subject placement using the rule of thirdsPan’s Labyrinth. Guillermo del Toro, 2007.

Subject placement without looking room creates tension

Pan’s Labyrinth. Guillermo del Toro, 2007.

Subject placement in centerPan’s Labyrinth. Guillermo del Toro, 2007.

Hitchcock’s rule: The size of the object in the frame should be directly related to its importance in the story at that moment

Figure placement in a balanced compositionJuno. Jason Reitman, 2007.

Figure placement in an unbalanced compositionJuno. Jason Reitman, 2007.

Figure placement in a balanced compositionAmerican Beauty

Low-angle shotWritten on the Wind

High-angle shotWritten on the Wind

Foreground and backgroundWritten on the Wind

Foreground and backgroundWritten on the Wind

Loose framingWritten on the Wind

Tight framing

Written on the Wind

Closed frame

The Night of the Hunter. Charles Laughton, 1955.

Closed frameThe Searchers. John Ford, 1956.

Open frameWritten on the Wind

Pulp Fiction, Quentin Tarrantino, 1994

Open frame

A composition with a strong focal pointWritten on the Wind