As many of you would probably agree, Lost is superb in every aspect. Story, mythology, characters, music, direction, set design, editing, cinematography, etc. Notice that as I went on I went more into what’s behind the camera. This is the first of a new, weekly analytical post delving into the filmmaking aspects of Lost. There are plenty of posts on plot, characters, and OMG moments. Every aspect of an episode plays into your interpretation of it, whether you realize it or not. Enter mise-en-scène.
Mise-en-scène is the artistry in everything you see and hear in any given filmmaking moment. Most importantly, it’s mostly about psychology. How do angles affect your feelings towards a character? What does fast cutting from shot to shot affect your heart rate during a chase scene? What affects do handheld shots versus more static cinematography have on what you take away from the scene? These are the types of observations I will write about. I hope to provide something new, fresh, and informative.
First, a bit of background on me (don’t worry, I’ll try to make it as quick and painless as possible). I currently work in Hollywood (Studio City to be exact) as an Editor and Post Production Supervisor for a feature documentary on Malaria in Africa. I’m finishing up my degree in Film Production with a Narrative Film Editing emphasis and have edited eight short films in the last two years. I’ve been on more than 20 film sets and for 3 of them, I was 1st Assistant Director.
Okay, back to mise-en-scène. What is it? I don’t know. And from what I’ve learned, that’s the point. It’s interpretable yet teachable; there are rules, yet you can break them as long as you know what they are. Confused? Me too. For some reason, I wanted to put a brief list of all the things I’ll discuss. Don’t be afraid to Google any of these terms if I accidentally don’t explain something. In any case, here’s a breakdown of that I will cover in my filmmaking-side of analyzing Lost:
As ridiculous as this site is, it’d probably help a lot.
Cinematography (camerawork)
- Handheld vs. Sticks (the on-set term for a professional tripod)
- Focal length (the ‘zoom’ of the shot)
- Lighting
- Camera Angles (low, med, high, bird’s-eye, P.O.V.)
- Framing (Long shot, Close Up, MCU, 2 Shot… the list goes on)
- Camera Movement (Pan, Tilt, Dolly, Tracking, Crane, Jib, Hitchcock Effect)
- Focus Pulls (Rack focus, etc.)
- Color Correction/Lens Filters (colors, the ‘look’)
Editing/Post Production
- Overall Pace
- Cross-cutting (cutting back and forth between multiple scenes)
- Match-cuts
- Time extension vs. Time Distortion
- Eyelines
- 180 degree line
- Sound Design
- Score
Production Design
- Rooms
- Sets
- Props (different department but let’s just put it in here anyway)
Post-Mumbo-Jumbo
So, because I could spend a long, boring time disecting every shot (one of my professors made us do that to ‘The Graduate’ 3 times), I will just quickly go through notable scenes and point out an interesting facet of the mise-en-scène that impacted your interpretation/feelings towards the scene without you even knowing it.
Jin waking up in Jungle
We start out with an exciting Jib shot, taking us into the scene, back into the action. This isn’t at all like a continuation of a scene such as the ingenious ”Do you guys have any Milk?” line in Season 2. The next episode was a cold open right back at the scene. Here, it’s the start of a new chapter in the season. It’s as if the premise for the last 3rd of the season is now finally in motion.
The lighting is dramatic and dark. Now, you might say that “well, it has to be dark, the scene is at night!” Naturally. But why is the scene at night? What does that mean? Now, I know I’m starting out simple here because by the end I’m going to be talking about eyelines and match-cuts but I wanted to make this point clear: with the exception of the occasional prop error, every single thing you see on screen is controlled by one artist or another, be that a writer, production designer, cinematographer, director, anyone involved in the production. Thus, everything is fair game for analyzation, including the simplest fact that this scene takes place at night.
After Ben says “Please… help…” in the oh-so-creepy way reminiscent of Jacob in Season 3, notice the editing and how quickly it goes. I’m sure for the first cut of the scene, he put Ben in the van, closed the door, walked around, blah blah blah… here it’s BOOM BOOM BOOM. You don’t even think about it because you don’t need to see Jin do all those things. It quickens the pace by cheating time and thus creating more tension.
Okay, this next part might have you roll your eyes (if you’re still with me, that is). The simple direction a given character moves or looks has an impact on our psychology. Think about that for a second. More specifically, westerners read from left to right. When Jin gets in the car and drives away, which direction is he driving? From left to right. This is a friendly motion for our brains because our eyes are so used to moving left to right. It gives us the feeling that we’re with this character and feel for them. Now, obviously, one should not apply this to every single shot ever, but large movements in Lost (cars driving away, trekking in the jungle, etc.) nearly always follow this rule and it’s beautifully executed.
I hope I haven’t lost you to, “This guy is reading way too much into one simple shot.” However, the fact remains that they spend 10 days shooting a 42 page script (a minute of film is about a page of script). That’s about 4 pages per day. With the required set-up time, they probably spent half a day shooting this 2 minute scene. They put time into planning every shot and how to spend every moment.
Now, when a character is specifically moving from right to left, it sometimes doesn’t feel right. It feels like something is wrong and out of place. This could be a good guy in bad guy territory, designed to make you uneasy. The general direction the gang traveled to the Black Rock in the Season 1 finale was from right to left. When Jack was walking out to the dock where the submarine was in Season 3, he was moving left to right. Yet when Ben first came to the island, he was getting off the submarine and the director of photography made sure to film Ben moving left to right. Same location, but different characters and different contexts. In the Season 1 finale, what side did we primarily stay on the raft? Which direction was it always moving? I think you can guess. When Ben was running through the jungle in Namaste, he was running from right to left. These are all conscious choices made by the cinematographer/director to affect your unconscious interpretation of what’s going on.
Kate’s First Visit to Cassidy
Now, always keep in mind the vastly large camera techniques used in flashbacks/flashforwards vs. on-island cinematography. On-island jungle shots are 99% hand-held. Flashbacks are 99% on sticks (tripod) and any time there’s handheld it’s far less shaky than on-island handheld. This helps the viewer easily distinguish between the two parallel naratives.
There was an interesting cut here, going from Kate picking up Aaron to a steadycam shot of her singing to him. Notice the sound bridge, she ’starts’ singing when he’s still in the car seat then it cuts to her walking, singing the song.
Lost actually doesn’t do a lot of smooth steadycam shots like this. It conveys simplicity, fluidity, and is a non-confrontational camera movement. It’s conveying that ‘everything is alright’ because it is in Kate’s world.
Grocery Store
This one’s pretty simple. Über-handheld shot to convey chaos and panic, much like every shot on the island (except those involving Locke, those are usually static, conveying he has control).
Sonic Weapon Fence
Once again, they’re driving left to right (friendly movement). We’re on their side, feeling their feelings. What direction are they walking when we’re in The Other’s territory? Yep. Right to left. Hazzah! The movement makes you feel slightly uncomfortable, even if you never consciously noticed it.
Final Scene
Notice the Dolly-In on both shots to add a ton of drama to the scene.
That’s all I got for tonight. Great episode. I hope you guys enjoyed the first of what will hopefully be a long-running series of posts delving into how Hollywood screws with your brains! In the off-season, I plan to dive into past seasons’ episodes. Let me know what you guys think in the comments!
53 Responses to “LOST Mise-en-scène: 511 “Whatever Happened, Happened””
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i have to write an essay in my end-of-year exams on mise-en-scene, so you just gave me a lot of structural stuff and a few ideas that i hadn’t got from my lecturer. so cheers for that!
Just be really careful, because as TheKaneda points out below, the vast majority of film scholars/literature defines mise-en-scene as ONLY what literally appears in front of the camera — so while the editing, camera movement, etc, is certainly worthy of study and debate, it’s definitely not “mise-en-scene” in any traditional sense, and you’ll almost certainly bomb your exams if you start using nato64’s grossly exaggerated definition.
nato64 — great piece, but any chance you could change the title for future installations?
Thanks for sharing your insights, nato64!
I’m looking forward to the next insight opening.
*wrote, read and moved on into the living room from left to right*
Awesome!
As far as I’m concerned, you can go into as much tedious detail as you like. I love this kind of stuff.
I plan on going over the ‘grammar’ site you linked to tomorrow, when I’m a little more awake.
Excellent stuff here (even if I haven’t read it all yet) — and something that’s too often been ignored, not just when it comes to Lost, but to TV in general. Can’t wait to read through it, when I’m off from work =)
Only tiny nitpicking is my not agreeing with your definition of mise-en-scene, since the term *is* (relatively) specific when it comes to film and TV (no matter if a lot of critics abuse it). At least to the point where post production isn’t a part of it. It’s less specific when it comes to whether such aspects as framing are included, but vaguely speaking, it’s “what is in front of the camera when shooting”. Sets, props, blocking, lighting, filters (sometimes) etc.
Again, though, that’s minor nitpicking, and I can’t really think of any other precise term that encompasses all of the visual style elements, so “move along”.
And again, looking forward to this series very much =)
Ahh Yes, I’m glad someone called me on it. The truth is I am very much abusing the term ‘mise-en-scène’ to be a blanket for everything I wanted to talk about simply because I really didn’t know a cooler title for the article series. So I kinda bundled in Post Proudction aspects into the mise-en-scène definition.
Dive into past seasons’ episodes ASAP. Awaiting your wonderful insights.
Gr8 Post
Wow. Wow. WOW!!!!
This is by far my favorite article EVER posted to DocArzt! Thank you, thank you, THANK YOU! PLEASE continue writing these. Have you written any for other shows? This is truly great stuff. Cannot wait for the next one.
Excellent!!!!!!
Thank you! I haven’t written for any other shows. I truly think most shows don’t do as good as a job as Lost does when it comes to this kinda stuff.
I didnt finish reading it but I just have to say I am very excited about this way of discussin the show.
Okay I’m done
I loved it
I wished you could have spoken more about the final scene which is what sttod out most to me as Richard backed up with ben into the dark to a dark room with Ben and Locke. It was a smooth change scene.
I’m the type of girl who gets excited about Robert Deniros close-up scene in Sleepers. Where he is hearing a story for the first time that the audience has already seen and heard but when he is being told there is no sound just his reaction. Pure Genius
Thanks for the kind words! I think I’m going to write a Part 2 about the episode early next week.
It’s kind of obvious how tired I got as the episode went on. I delve into the first scene and by the last I used one sentence. I started writing the post around 10pm and by 1am I was like “ok… I’m done”. Lol. I definitely want to go deeper from now on now that I know you guys like it!
I meant scene change…sorry
Great!!! Looking forward to more.
Great! At last someone talks about this stuff!
Dude this is the shiz!
This is awesome, great job nato!
Now I’m going to be constantly watching which way they are moving
This idea is awesome!
Just for kicks, I was watching “The Long Con” today. When Sawyer enters the camp to reveal that he conned Jack and Locke out of the guns, he enters the camp from the right side. The rest of the camp is situated on the left.
Very intriguing!
As a film studies student I must say I find this idea absolutely brilliant, and it’s something that i have been doing with Lost for a while now. Especially on repeat veiwings, so it’s nice to someone else’s attempted analysis at the shows form and style.
This was very cool and *no saracasm* educational. Thanks
Absolutely brilliant! Thank you! When I was in high school I had a very short film study course that discussed the significance of camera angles, shots, etc. It’s fascinated me ever since.
I totally look forward to reading more articles from you!
I enjoyed this. If you’re at all afraid to delve too deeply for fear of losing us, don’t be!
As the odd type of casual viewer (no film school) who recently rewatched the movie Children of Men simply to admire the cinematography, I’ll be looking forward to any future posts from you.
Omg Children of Men is such an amazing film. The long shot in the car that just moves around and never cuts? Omg.
I couldn’t agree more! That car scene blew my mind the first time I saw it.
Between that scene and the long, 10 minute battle in the refugee camp that appears to be one continuous shot (excellent editing there!), that film does a hell of a job of making you feel like you’re part of and surrounded by all of the crazy action going on on-screen.
Geez Nato. Thanks a lot. Now, every time I watch a TV show I’m gonna worry if they’re walking right to left or left to right. ((sarcasm — but in a j/k type of way
))
Can’t wait to read more!
This. Is. Awesome. Thanks for the analysis and post, please keep it up!!!
Thank you, thank you, thank you! This is the kind of analysis that I’ve been looking for! I will definitely seek out your post every week!
GREAT!!! Can’t wait for older episodes!
Awesome recap, nato64. Always interesting to find out the little things we never think about, especially the ones that influence how we feel. Can’t wait to read more.
Terrific. I rethought the scenes as you described and felt it. Thanks.
This was awesome, thank you!
Does anyone else think the show looks quite jarringly diff from the first 2 seasons now. Why doesn’t the jungle look at all the same. It seems to be a lot more brown and dull and lit severely more brightly.
I would say that’s very intentional. Just like the jungle where Alex, Danielle, and Carl were walking felt very, very different. They want to give you the feeling they’re in different parts of the island. The stuff closer to the original beach camp was very familiar. If they were in Dharmavile and the EXT. JUNGLE – DAY was the exact same jungle, it would feel familiar and less threatening.
Nice analysis, nato! My undergrad degree is also in Film Production, and I enjoyed your filmic perspective into the episode. Lots of fun! Reminded me of school
nato64,
I’ve never commented on this website before, but I loved your article SO much that I finally registered just so I could say: WOW!
I totally LOVE this kind of stuff. I have a question for you – and this is in HUGE debate over at Darkufo – what do you have to say about Little Ben’s bullet wound? In the ep where Sayid shoots him, the bullet hole is clearly on the LEFT side of his chest. THEN, in this past ep, the bullet wound is on the RIGHT side of his chest.
I don’t know what to make of this. Could this be a continuity error? Or is it intentional? With your knowledge, you may be able to shed some light on the situation.
Thanks!
P.S. Looking forward to hearing more from you in the future!
I, for one, think it’s a kind of “semi-intentional” continuity error — at the very least, I’m quite sure anyone reading into it will be disappointed.
I think it has to do with a different (but somewhat related) kind of psychology when it comes to film… If you see someone being shot, and the wound is NOT on their left side, people tend to disregard it as “they’ll be fine”. So, when you don’t have time to emphasize the severity, go for the left.
On the other hand, if Ben had had a left side wound in “Whatever happened…”, the usual nitpicky audience would start questioning how he survived that for a whole episode (regardless that he could).
Hence, since there’s now time to establish the severity and urgency in other ways, place the wound on the right, in order to avoid disbelief from some of the audience. Most of them won’t notice the discrepancy between episodes (I know I didn’t).
In other words, I don’t think The Powers That Be changed their mind, or there was a slip, OR that it has any kind of story relevance — they just went with what worked best in each episode.
In my opinion, at least.
Looking at that last scene in “He’s Our You”, there are a lot of other “continuity errors”… — one of them a good example of the difficulties of maintaining the “180 degree line” and eyelines (not the Richard Alpert-kind) — which I can see nato will get back to… This is less interesting when it comes to the actual meaning of a scene — it goes deeper, into our basic comprehension of what’s going on:
Right when Ben reacts to Sayid quieting Jin, the close-up of his face has been flipped horizontally (note the tape on his glasses). These flips happen *very* often — especially on TV due to time constraints, and not least on Lost — not really due to the psychological right/left aspect nato discussed here, but rather in order to follow the “rules” that dictate how we interpret spatial relations between the characters in a scene.
Simplistically speaking: When two people interact (talk etc.) in a scene, keep one person on the left, facing right in all shots, and keep the other on the right, facing left. Or, put differently: Keep the camera on the same side of an imaginary line drawn between the two characters.
A great example of this, in the same episode, is when Ben confronts Sayid in Santo Domingo. Note that Ben is always looking right, and Sayid is always looking left — even if just slightly. It goes for the last scene too, and 99.9% of all other scenes in Lost, because if it didn’t, we’d be confused about where people were in relation to each other. We’d still be able to figure it out, but the cuts would look less fluid and draw attention to themselves.
Sometimes, especially when characters move between shots, it’s hard to figure out on set, and only noticed when putting it all together in the editing room. And in such cases, TV editors will usually try a flip, if there’s not too many revealing details (like signs or whatnot) in the shot.
Thankfully I haven’t noticed anyone start making theories based on those flips yet
And I finally got back to reading this. Really good stuff, nato!
Another thing about movement from right to left vs. left to right is: Movement left to right will mostly appear to be faster and have more impact than movement from right to left.
So, taking into account other factors, like the ones nato describes and the spatial relation rules, if a director needs speed or impact to a movement (whether it be a car chase or someone beating Ben into a bloody pulp), he’ll often try to stage it so that the movement happens left to right.
This is GREAT…
Things I would have never thought about before and I can just see us in the forums now:
“But I noticed he was walking from right to left in that scene…”
“…it was a STEADY CAM shot…”
“Did you notice how bright the light was when..”
I hope you will post in there as well!!!
Thank you so much!
Wow, that is really a great article. i am looking forward to reading more of your insights. I love analyzing this show, and this is fascinating and adds even more rewatch value to this show! It would be interesting to have an overview of each season and see how it has changed over the years.
Awesome. I only come to this site every once in a while, but I’ll be coming back regularly for this. A thousand times more interesting than recaps about how nobody likes Jack’s shrinkage.
“There was an interesting cut here, going from Kate picking up Aaron to a steadycam shot of her singing to him. Notice the sound bridge, she ’starts’ singing when he’s still in the car seat then it cuts to her walking, singing the song.”
I absolutely loved this cut, and now I know the term “sound bridge” which is part of the reason why. Great stuff. I’ve been struck by a lot of great scene constructions this season – Ben killing Locke, the alarm scene after the roundtable discussion in Lafleur, Sun pursuing Ben through the jungle in Namaste. Hope you can go back and do past episodes too.
Absolutely loved this. More please, and longer next time.
Very nice…and not long enough!
Fascinating read! Love for it to be even more in depth next time!
i just have to say that this is so interesting. i have absolutely no knowledge of the intense things that go on behind the camera, but i would love to. it’s funny how most of us don’t even notice this stuff, at least not on a conscious level. when you pointed out that they usually walk left-to-right, i immediately thought to myself ‘but not when they were walking in the ‘dark territory’ in the season one finale. i never even knew that i noticed that! thanks for the insight.
Question from a Lost fan with no filming experience:
In “The life and death of Jeremy Bentham” there is an interesting scene where Locke is in the backseat of a car driven by Abbanon (sp?) after having been just instructed by Widmore to get everyone to go back to the island with him.
Abbanon slows the car to a stop while two shepards and a herd of sheep cross the road. They are crossing from the right of the car to the left of the car and there is a Green sign on the right of the car where the sheep are coming from. The car stops and Abbanon asks Locke ‘where are we headed’ and locke makes a decision to go see Sayid first. After he answers the question the shot pans out to the road again and the sheep are now walking back past the green sign, thus, back on to the right of the car.
Continuity error in filming or intentional?
Very nice read. Did those analysis in the past too, also the graduate
. I’m writing my thesis now about the moral subtext of Dexter and The Wire. That’s narrative analysis. It’s nice to see how much things are hidden in an episode you are not conscious off.
Like to see more of this kind of discussion!!
WOW! I love this “psychological” insight into how the scenes are set up, and I’m looking forward to reading your posts on upcoming episodes! Thanks!
WOW this is awesome! As a long time fan of the original ‘Star Wars’ trilogy I have always been fascinated with the inner workings of scenes like what you have given us!
I think back to other films now – ‘Indiana Jones /Crystal Skull’ – the opening scene when the car is heading to the test base, it’s driving right to left (ominous) and all of the car-vs-car fight scenes with Indy/Shia and baddies were right to left as well.
In ‘A New Hope’ (Star Wars) – Luke’s X-Wing goes down the Death Star trench left to right (hero destroying the evil) – Heck, in ‘The Empire Strikes Back’ the AT-AT walker attack is right to left too.
Nice! I am looking forward to your continued input for sure!!
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