Com 248 Mise en Scene Powerpoint

The Royal Tenenbaums (Anderson, 2001)

Moonrise Kingdom (Anderson, 2012)

Key Light-the major source of
illumination, typically the main
source of illumination within the
world of the shot (a lamp, the sun,
etc.).

Fill Light-generally lies opposite the
camera from the Key Light; it works
to fill in the harshness of the Key
Light and diminish shadows. Often
it is the intensity of the Fill Light in
relation to the Key Light that
determines the quality of shadows in
the shot.

Backlight-generally located above and behind the subject; the Backlight often gives the
subject added dimensionality and separates them from the background. It is
sometimes called a “hair light” for the way in which it directs light onto the hair,
giving the hair added definition.

This is even lighting. It conveys a sense of normalcy and well-being and is
often used in musicals, comedies, and melodramas. The lighting generally does
not contradict the meaning(s) attached to the illuminated subject. David Lynch
and Alfred Hitchcock are notable exceptions.

A Hard Day’s Night (Lester, 1964)
“High Key” sometimes refers to brightly
lit schemes, but it always involves an
evenly lit subject/object.
Written on the Wind (Sirk, 1956)

 Unlike low key lighting, which conveys abnormal moods through stark
contrasts between light and shadow, high key lighting minimizes contrast
to create a sense of normalcy. This is why we so commonly see high key
lighting in sitcoms, comedies, and musicals (and, conversely, low key
lighting in film noirs, horror films, etc.).

High Key Lighting

Mad Men “Tomorrowland” (Weiner, 2010)

A Night at the Opera (Wood, 1935)

Low Key Lighting

Glee (Murphy, 2010)

Fiddler on the Roof (Jewison, 1971)

The Man Who Knew Too Much
(Hitchcock, 1956)

Blue Velvet (Lynch, 1986)

Com 248 Mise en Scene Powerpoint

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Com 248 Mise en Scene Powerpoint