Focusing only on the film's mise en scene (lighting, shot composition, set design, costume design), discuss this quote from the Robin Wood essay I gave you:
"How to belong, how to meet"--another way of putting it is to say that Renoir's perennial concern is with the boundaries; that keep people apart and the possibility of transcending them. The four-part structure enables him to develop this theme through a network of shifting, interlocking relationships presented consistently in terms of difference and the overcoming of difference.
Your response should be 2 paragraphs long and should include a correctly cited quote from one of the essays I gave you.
The key to The Grand Illusion is always boundaries especially the constant shifting frame and subsequent frames with in it. By placing the vast majority of the film's action in various doorways and arches Renoir creates a veritable birdcage of frames exquisitely capturing the feeling of being imprisoned despite not using traditional prison settings. The world he creates is strikingly human rather than cold and regimented as many think of as prison life. While he presents a few isolated instances of regiment and restriction the vast majority of the film is used to show how the characters in this world are human. As peter Cowie says in his essay on the film "The Grand Illusion escapes the confines of the war movie genre." Renoir truly escapes the binds of the genre showing us the human quality of the soldiers we normal see as infallible war machines are shown instead, by the end of the film, as haggard and weak.
ReplyDeleteRenoir's microcosm and humanization of his characters through the lens shows how boundaries can bring us both together and the lack thereof can tear us apart. For example look at Lieutenant Marechal and Rosenthal during their captivity the two are never separated by much when they interact but by the time we see them free they look terrible and are now on either edge of the frame. Taking this all into consideration what i believe the significance of "to belong, to meet" is simply the process of being human.
yes.
Deletewheres the beef
DeleteThe mise en scene in this production is very interesting, every single shot conveys meaning through simplicity, and every single shot holds meaning through the costumes, lighting, set design, camera angles, use of space, framing, and shot composition. Renoir is well known for his simple yet profound shots to convey purpose. Especially in the film A Grand Illusion, many of Renoir’s famous techniques are reflected in one of his most popular films. Renoir utilizes many establishing shots to show how the setting connects to the plotlines. Along with establishing shots, he also uses natural prepositioned items to frame the characters, which also contributes to the way he utilizes the space in the shot to show importance. For example, in the scene where they are escaping, the snow is in the foreground, which shows it’s not only the most important, but also in control, which is why the two are in the middle ground, struggling in the snow, but still more important than the landscape behind them.
ReplyDeleteMany of the shots utilize framing in a way that makes the character seem as if they are in a cage, especially in the jail thing. Arches, doorways, window frames, and curtains are used to show that they are imprisoned, even if they aren’t in a traditional jail setting. In a review by Roger Ebert, he says “This print looks and feels like a brand-new film.” this illustrates how the movie was using older, easier concepts, to convey deeper meaning and make it seem like a newer thing, even if all the parts were old.
Throughout the movie there are many instances where mise-en-scene really makes a shot. There are many instances where the surrounding really tell their own story. Scenery such as arches and doorways set a stage for events and pull together a complete meaning for the movie. In the beginning we see the cabin that they stay in is very closed in and tight, but the windows, door and underground tunnel are all things that pull out elements for the movie. The way that the cabin is designed and with the combination of the outside frame out the window makes the story world seem real. Also in the underground tunnel everything is so realistic and the transition of shots from the tunnel to the outside are very nicely connected. Not only this, but costume design attributes to the fluency of the story world. Every outfit is designed specifically for that character, you can tell the clothing that Marechal wears is very distinctive and represents him as a director. Another instance of connection that keeps things flowing is the connection between what is occurring on stage and the crowd. The two shots are distictive and they show a lot of the story world. He fills his shot of the crowd completely and connnects perfectly with whats going on on stage without cutting too dramatically from the action. In one shot where they stay at the French women's house and Marechal walks through all the doorways is a good example of him composing the mise en scene nicely and it is said that "if the film's effectiveness has survived undiluted, it is largely due to its realism". The realism that is made by its costume design, composition, props, sets, and so much more.
ReplyDeleteThe mise en scene in La Grande Illusion is one of the major factors in understanding the ideas behind the movie. Through mise en scene (for example, the white gloves that von Rauffenstein always wears), Renoir establishes the class conflict between the various characters of the film. We recognize, as with Boeldieu, that he is aristocratic. In most of his scenes, his costume is perfectly coiffed and we see him in an open frame. Even though he is trapped behind German lines, he is free because of his relationship with von Rauffenstein and because of his wealth. Marechal is usually seen in a doorway or a small, enclosed room. This is meant to symbolize his lack of wealth, which often translates to being trapped.
ReplyDeleteMise en scene is utilised in the film to "illustrate diverse aspects of the theme in the particularities of social position, profession, outlook, etc.", as Robin Wood says. Through setting and costumes, the "difference and overcoming of difference" is outlined to the Marxist-lensed viewer.
(accidentally posted when I meant to preview)
DeleteThe most effective aspect of mise en scene in La Grande Illusion is, in fact, the costumes. Von Rauffenstein is always dressed professionally and ornately; the stiff collar that he is usually seen with shows how his perception of societal roles is stiff. Marechal is dressed like a less aristocratic person would be in those days. He is more casual and loose, which depicts his looser perception of societal roles.
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DeleteThough Renoir's masterful awareness of what is put onto the screen in every frame is extremely prevalent in La Grande Illusion, one element in particular that is simple yet effective are the costuming of both de Boldieu and von Rauffenstein. Though part of different battalions, they are fighting in the same war within their classes. What I mean by this is that de Boldieu and von Rauffenstein are more of less portrayed as the same person. Both high in rank, they have no other purpose than to lead in the time of war. In order to live, they need the war. This is portrayed simply and effectively through tight, restrictive and uniform garments. Whether it is the officer's jacket and cap or the character defining look of white gloves and a neck brace, when Ebert talks about how " that was always a sentimental upper-class illusion, the notion that gentlemen on both sides of the lines subscribed to the same code of behavior," he really means that these men have their place just like they have their clothing. Neither can change while the other stays, so both men stay in that position.
ReplyDeleteThere is a major parallel between Renoir's portrayal of high class citizens that we see here (Rules of the Game as well but that is beside the point) and the modern filmmaker that we have often discussed in class, Wes Anderson. Now, I know at first this comparison may seem a stretch, but both directors have used restrictive clothing and miss-en-scene surrounding an upper class character in their films. Take the character of Francis Whitman in Wes Anderson's 2007 film The Darjeeling Limited. Like von Rauffenstein in La Grande Illusion, Francis has restrictive bandages and braces covering his face during the movie. Whereas von Rauffenstein was unable to fully understand de Boldieu before it was too late, and the brace represented a restrictive mind, the bandages covering Francis's face restrict his mind from finding himself in India, even though his desire to do so is great. An even further comparison can be made between the two when you look at von Rauffenstein's attachment to the white gloves and how it is an obsession; the fact that he is the one who wears the gloves, and therefore is the one who stays in power over the other characters. In The Darjeeling Limited, Francis has a parallel attachment to his $6,000 belt, which he nearly gives to his brother before realizing that in order to stay in control of their trip, he must keep the belt. By using mine-en-scene in costume design, both directors further the unmovable nature present in both characters.
could be better.
DeleteJean Renoir provides implied meaning through mise-en-scene to shed light on the socio-cultural context of his film Grand Illusion. Renior often uses pieces of mise-en-scene to show in set design how the two french airmen’s social status and how they are truly in captivity. Characters are shown looking through windows often which reminds the audiences of their captivity. In a particular scene the captain and many other POW’s are shown looking out a window, then the next shot is one from outside of the window looking in. The window is composed of a grid like pattern, and the POW’s are in a closed frame in-between the two window panes. Renoir continually uses shots looking in from windows of the comrades, which gives the audience the feel of looking at animals in a cage because all windows in this film are composed of a grid-like structure. In a later scene we also see Captain de Bouldieu admiring a birdcage that is in between him and another man. The birdcage with a bird inside of it serves as a symbol for the prisoners and how they are blissfully unaware of their true state of captivity.
ReplyDeleteAnother example of mise-en-scene creating the feel of captivity is during the performance scene. The main performer is shown in a closed frame because of what is in the background behind him. The background consists of fences which creates the illusion of a prison even during this joyous scene, and the performer is shown directly in the middle of these two fences. The performer is being framed within a frame which commonly alludes to a character being trapped or imprisoned. Renior constantly uses mise-en-scene to represent how disconnected The Captain and the POW’s are from the war, and although there is not much evidence in the narrative of the harsh realities of the first world war, the implied meaning of imprisonment is so repetitive in the mise-en-scene that it becomes an even bigger part of the film as a whole. Andre Bazin wrote of Renoir that “he has inherited from the literary and pictorial sensibility of his father’s era a profound, sensual and moving sense of reality” in all of Renoir’s works he utilizes his ability to relate the small narrative to a larger universal issue. Analyzing the implicit meaning of the film even further using Andre Bazin’s words on Renoir’s talents, the imprisonment of the soldiers in this camp is a symbol for the imprisoning effect of war on society. Renior accentuates the anti-war judgement of this film by having this small prison camp serve as a symbol of how the outside world is affected by war.
Jean Renoir provides implied meaning through mise-en-scene to shed light on the socio-cultural context of his film Grand Illusion. Renior often uses pieces of mise-en-scene to show in set design how the two french airmen’s social status and how they are truly in captivity. Characters are shown looking through windows often which reminds the audiences of their captivity. In a particular scene the captain and many other POW’s are shown looking out a window, then the next shot is one from outside of the window looking in. The window is composed of a grid like pattern, and the POW’s are in a closed frame in-between the two window panes. Renoir continually uses shots looking in from windows of the comrades, which gives the audience the feel of looking at animals in a cage because all windows in this film are composed of a grid-like structure. In a later scene we also see Captain de Bouldieu admiring a birdcage that is in between him and another man. The birdcage with a bird inside of it serves as a symbol for the prisoners and how they are blissfully unaware of their true state of captivity.
ReplyDeleteAnother example of mise-en-scene creating the feel of captivity is during the performance scene. The main performer is shown in a closed frame because of what is in the background behind him. The background consists of fences which creates the illusion of a prison even during this joyous scene, and the performer is shown directly in the middle of these two fences. The performer is being framed within a frame which commonly alludes to a character being trapped or imprisoned. Renior constantly uses mise-en-scene to represent how disconnected The Captain and the POW’s are from the war, and although there is not much evidence in the narrative of the harsh realities of the first world war, the implied meaning of imprisonment is so repetitive in the mise-en-scene that it becomes an even bigger part of the film as a whole. Andre Bazin wrote of Renoir that “he has inherited from the literary and pictorial sensibility of his father’s era a profound, sensual and moving sense of reality” in all of Renoir’s works he utilizes his ability to relate the small narrative to a larger universal issue. Analyzing the implicit meaning of the film even further using Andre Bazin’s words on Renoir’s talents, the imprisonment of the soldiers in this camp is a symbol for the imprisoning effect of war on society. Renior accentuates the anti-war judgement of this film by having this small prison camp serve as a symbol of how the outside world is affected by war.
good point!
DeleteI disagree
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