Word: mised
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Dates: during 1970-1979
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...film narrative, but also with specific cinematic devices which convey the film's content and message in a cinematic way. Accordingly, Interiors marks the crucial point in Allen's directorial evolution, expressing much of the script's meaning through purely auditory/visual means instead of via dramatic situations, mise-en-scene, dialogue and acting. Like Chaplin (in A Woman of Paris ), Allen, too, decided not to participate as an actor in Interiors, a decision which permitted him to concentrate on directing the film. In a further parallel, while Chaplin appropriated certain stylistic features of the "Lubitsch Touch," Allen conceived his film...
...characters, the other compact with decorative objects (sculptures, pictures, ironwork and flashing neons), or architectural detail (walls, windows, panels and storefronts). In these moments the camera often remains stationary while the actors and actresses perform and move within the flat surface of the image, creating a mise-en-frame (which is the cinematic equivalent of a painting). For example, in the sequence in which Allen talks to his girlfriend in his apartment and then climbs a spiral staircase, the concept of mise-en-frame is presented in a most effective fashion: at the beginning the screen is predominantly dark, with...
MOST OF THE cinematic dynamism in Manhattan is contributed by camera movement: it is the major expedient by which Allen transforms mise-en-scene into mise-en-shot (i.e., the kinesthetic interaction between the camera's mobility and the movement of objects or characters within the shot). The tracking camera ideally relates to the theme of this film, merging into the film's content. If any environment can be epitomized by incessant and omnipresent movement-both physical and psychological-then that locale must be New York. As a New Yorker (perhaps even more as a Brooklynite who observed the "pulsating...
...medium shots executed by a panning camera. Again there is a long tracking take with Allen and Hemingway walking through the streets, and turning corners, on a sunny day. An abrupt cut of the dark apartment with spiral stairs-a static shot with only two bright spots, a typical mise-en-frame. Next comes a "bright" sequence composed of shot-reverse-shot exchange between four characters in the gallery. An abrupt cut shows the same group of people walking down the avenue...
...drew upon the thematic and philosophical features of Cries and Whispers, while Manhattan reveals many shooting devices typical of Bergman's films, including the temporal prolongation of shots made possible by photographing characters in close-up with the moving camera. By doing so, Allen decreases the theatrical nature of mise-en-scene characteristic of his previous movies (including Annie Hall in which dialogue has been filmed mainly by a stationary camera in front of which the characters perform their parts while the audience views the "scene" from a single perspective). In Manhattan, such a histrionic camera set-up is almost...