Framing and Mise-en-Scene in Films with Unfamiliar Aspect Ratios
1
VIDEO
MS of NARRATOR through a 16:9
aspect ratio. He stands in an
open field, walks slowly into
the right frame, and looks
directly into the camera.
MS of Narrator through a
2.35:1 aspect ratio. He walks
towards the center frame.
MS of Narrator through a 4:3
aspect ratio. He stands in
the center frame.
00:07:37 Cut to shots from
The Grand Budapest Hotel.
The writer and MR. MOUSTAFA
are inside the bathroom. Both
are in their own respective
bathtubs. The writer is
positioned in the left
third and Mr. Moustafa is
positioned in the right
third of the frame. The Grand
Budapest Hotel (2014) written
in lower left third.
00:42:39 Cut to shots from
Jauja. Capitan Dinesen is
shown through an extreme
long shot as he rides a horse
towards the center of the
frame, getting larger in
proportion the closer he
gets to the camera. Jauja
(2014) written in lower left
third.
00:11:45 Cut to shots from
Hero. Two poles are centered
in the shot that divides the
frame into left, center, and
right thirds. Nameless is in
the left frame; Sky is in the
right frame; the blind man
is in the center frame. Hero
(2002) written in lower left
third.
AUDIO
NARRATOR
An interesting aspect of films is
its ability to visually portray a
narrative. Filmmakers have direct
control over what the audience
perceives.
NARRATOR
Depending upon a filmmakers style,
they can show as much-
NARRATOR
(continued)
-or as little as they please.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
The establishment of mise-en-scene
within a film is, therefore,
accentuated by the aspect ratio a
filmmaker uses to present certain shots
or an entire film. Logically speaking,
what needs to be arranged within the
frame is imperative upon the frame, or
camera lens, being used to film with.
(Sync sound from Jauja at 40%)
NARRATOR (VO)
Mise-en-scene, for those that do not
know, refers to the arrangement of
all things within a frame. Aspects
of mise-en-scene include lighting
and color, makeup and costuming, set
design, acting, and framing.
(Sync sound from Hero at 40%)
NARRATOR (VO)
The alteration of a films aspect
ratio has a definite impact towards
the framing, space, and composition of
a film. The framing of a scene shot
through an anamorphic aspect ratio
varies from the framing of a scene shot
through an Academy aspect ratio.

VIDEO
00:29:00 Cut to shots from
Mommmy. Steve takes his
longboard and rides into
town. He rides into the
parking lot of a grocery
store. Steve takes one of
the shopping carts and begins
to spin it around. Mommy
(2014) written in lower left
third.
Cut to MS of Narrator through
a 16:9 aspect ratio. He
stands in the left third of
the frame and looks directly
at the camera.
00:41:30 Cut to shots from
Mommy. DIE, Steve, and Kyla
are sitting at the kitchen
table. The three of them are
eating food. Steve throws
his hands in the air and
chuckles. Die slaps at
Steves arm. Cut to CU of
Steve looking seductively
at Kyla. Cut to CU of Die
looking nonchalant towards
Steve and hospitable to Kyla.
Mommy (2014) written in lower
left third.
00:12:12 Cut to shots from
Mommy. CU of Die and Steve
as they ride the public bus.
Steves head lays on Dies
lap as she looks out at the
setting sun.
00:22:00 Cut to shots from
The Grand Budapest Hotel.
Mr. Gustave and ZERO are on a
train as military men enter
their train cart. Zero is
hoisted up by one of the
military men and beat. A
man approaches from behind,
causing the men to stop. The
Grand Budapest Hotel (2014)
written in lower left third.
2
AUDIO
(Sync sound from Mommy at 40%)
NARRATOR (VO)
This study will investigate
mise-en-scene within films. More
specifically, this study will analyze
the framing, space, and composition of
films shot in aspect ratios beyond the
common, but not standard, 16:9 aspect
ratio.
NARRATOR
For the purposes of this study, we
will analyze the films Mommy, The Grand
Budapest Hotel, Hero, and Jauja.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
Mommy is a film by director Xavier
Dolan, set within a fictional Canada in
the year 2015. It tells the story of a
single mother who tries to care of her
son with ADHD. When they befriend Kyla,
the mother across the street, these
three learn to work together. However,
when Steve is faced with a lawsuit as
a result of his erratic behavior, Die
has no choice other than to relinquish
custody of Steve to a psychiatric ward.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
Through the films interesting square
aspect ratio, the typically tight
framing prevalent within many shots
underscore the struggles of raising a
child with a mental disability.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
The Grand Budapest Hotel is a film by
director Wes Anderson. Told through
acts, like a play, the narrative refers
to a girls contemplation of an author
and his encounter with Mr. Moustafa,
who then tells the writer about his
life and the life of Mr. Gustave.

VIDEO
00:12:40 Cut to shots from
The Grand Budapest Hotel. Mr.
Gustave and Zero walk through
the Grand Budapest Hotel
and Mr. Gustave delegates
duties for Zero. They enter
the extremely red elevator,
crowded with people. Quick
shots are used as Mr. Gustave
and Zero rapidly roam the
hotel.
00:16:46 Cut to shots from
Hero. Establishing ELS shot
of mountain ranges. A man on
a horse is faintly seen in
the right frame. He slowly
rides into the frame. Cut
to Nameless approaching an
extremely red calligraphy
studio. Nameless gets off
of his horse and enters the
building. Hero (2001) written
in lower left third.
00:58:57 Cut to shots from
Hero. Nameless and the
King of the Qin Dynasty
are sitting across from
each other in the Kings
palace. The flames that
separate Nameless and the
King are flickering. This
scene is a collection of CU
shot/reverse-shots between
the King and Nameless.
00:06:37 Cut to shots from
Jauja. Capitan Dinesen is
standing in the left-most
frame. His back is faced
towards the camera as he
looks out at the Patagonian
Sea. LIEUTENANT PITTALUGA
is in the background and
positioned in the right-most
frame. The center of the
frame exposes the seashore
in the distance. Jauja (2014)
written in lower left third.
3
AUDIO
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
An interesting aspect of this film
is the utilization of three different
aspect ratios to connote different time
frames: the 1930s, the 1960s, and the
1980s. Not only do the different aspect
ratios define the setting of each shot,
they also utilize mise-en-scene in
distinct and unique ways.
(Sync sound from Hero at 40%)
NARRATOR (VO)
Hero is a film by director Yimou Zhang
that shares similarities with a "wu
xia pian," or a martial chivalry film.
The narrative tells the story of the
assassin named Nameless that protects
the King of the Qin dynasty by killing
three other assassins that want the
King dead.
(Sync sound from Hero at 40%)
NARRATOR (VO)
In the film, Nameless is characterized
to be an unreliable character as he
retells the events of assassinating
Sky, Flying Snow, and Broken Sword.
The anamorphic aspect ratio used to
shoot this film helps to establish
the themes of nature, narration, and
martial chivalry films.
(Sync sound from Jauja at 40%)
NARRATOR (VO)
Jauja is a film by director Lisandro
Alonso. It tells the story of a Danish
father and daughter in the Patagonian
Desert in search for the land of
Jauja, a fabled land of happiness and
divinity. When Inge runs off with a
man named Corto, Capitan Dinesen enters
the desolate desert in search for his
daughter.

VIDEO
00:21:20 Cut to shots from
Jauja. Capitan Dinesen,
Lieutenant Pittaluga, ANGEL,
Birrita, and Corto are on the
shore of the beach next to a
bonfire. Angel forces Corto
onto his feet to tell what he
knows about Colonel Zuluaga.
00:21:47 Angel leans towards
Capitan Dinesen and whispers.
Cut to MS of Narrator through
a 16:9 aspect ratio. As he
is talking, he extends his
arms out wide then brings his
hands close together without
touching.
00:03:30 Cut to scenes from
Mommy. A woman is driving in
her car. As the shot peers
over her shoulder, a car
collides into a car going
in the other direction. Die
stumbles out of the crashed
vehicle. The man that crashes
into her car steps out and
pleads with her. Die scoffs
and walks away, despite
having noticeable wounds.
00:03:51 Cut to shots from
The Grand Budapest Hotel. The
writer stands on a balcony
positioned in the right-most
frame. Cut to birds eye shot
of the writer looking down at
the ballroom. There are many
tables and chairs but few
people. The walls are colored
a pinkish hue yet appear to
be faded and worn out. The
lack of people in the frame
creates mostly negative space
within the shot.
4
AUDIO
(Sync sound from Jauja at 40%)
NARRATOR (VO)
The use of the Academy aspect ratio of
1.33:1 suggestively places the setting
in the 19th century. This aspect ratio
allows the audience to experience
Dinesens frustration and the vastness
of the Patagonia, implementing this
important theme:
ANGEL
The desert devours everything.
NARRATOR
Through mise-en-scene, the frame can
feel either really open and expose a
lot of negative space, or it can feel
really tight with close up shots and
little to no negative space.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
The story of Mommy begins with Dies
car being crashed into and totaled.
Through the square aspect ratio, this
conflict is emphasized greatly by
framing only Die and her wrecked car.
In this beginning sequence, the square
aspect ratio allows the frame to solely
focus upon the points of struggle,
henceforth creating a claustrophobic
tone.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
The beginning of The Grand Budapest
Hotel, in contrast to Mommy, does not
restrict aspects of mise-en-scene;
in fact, the anamorphic aspect ratio
establishes an isolated atmosphere.
While it can be argued that Andersons
choice to film these scenes through
an anamorphic lens is because of its
growing popularity, there is greater
evidence to prove the widescreen aspect
ratio highlights the desolate mood.

VIDEO
00:01:09 Cut to shots from
Hero. A stampede of horses
come riding from beyond
the distance towards the
camera. Cut to quick shot
of mountains in order to
establish setting. Cut back
to stampede of soldiers on
horseback. The soldiers come
like a hoard of bees, with
countless rows of others
behind the front line, which
stretches across the entire
frame.
00:00:43 Cut to shots from
Jauja. Fade in as Inge
and Capitan Dinesen sit in
the center of the frame.
Dinesen is faced with his
back towards the camera.
His elbow is rested on his
knee while his thumb and
forefinger hold his chin.
Inges body is facing the
camera. She reads a journal
and looks at the book in her
lap. The blowing wind sways
the grass in the background.
Cut to MS of Narrator through
a 16:9 aspect ratio. He is
standing in the right-most
frame.
00:09:30 Cut to shots from
Jauja. Capitan Dinesen and
Lieutenant Pittaluga are
sitting besides each other.
The two face the off-screen
shore of the beach.
00:09:40 Lieutenant Pittaluga
leans in close to Dinesen to
tell him something.
5
AUDIO
(Sync sound from Hero at 40%)
NARRATOR (VO)
The opening sequence of Hero combines
tight framing of Mommy with the
widescreen aspect ratio found within
The Grand Budapest Hotel. The sequence
opens with a hoard of soldiers on
horseback riding directly towards
the center frame. The ability for the
soldiers to cover the entire anamorphic
frame and pursue behind the front line
indicates the strength of the incoming
army, henceforth, establishing Hero as
a wu xia pian.
(Sync sound from Jauja at 40%)
NARRATOR (VO)
Jaujas first scene begins with showing
Capitan Dinesen and Inge in the center
of a grassy area. The films portrayal
through the Academy aspect ratio and
rounded-off edges is indicative of
the classical or pre-classical time
this narrative is set within. Although
less of the frame is exposed, as is the
case in Mommy, because of the Academy
aspect ratio, the spatial composition
establishes an extremely desolate tone.
NARRATOR
As we shall see, spatial composition
can either accentuate or alter the
framing of a shot.
(Sync sound from Jauja at 40%)
NARRATOR (VO)
The shooting of this film through the
Academy aspect ratio allows for a
balance between emphasis on the main
characters and emphasis on the vast
Patagonian Desert.
LIEUTENANT PITTALUGA
On the desert frontier, one is alone.

VIDEO
00:15:54 Cut to shots from
Jauja. Inge is standing in
the front left frame. Birrita
leads the horse over the hill
and beyond frame. She turns
to look back towards the
desert. Inge, then, turns to
her side to get the attention
of her father. The camera
does not follow her movement
and therefore leaves her
looking beyond the left-most
frame. She turns around and
heads for the horse.
00:08:32 Cut to shots from
Mommy. Die and a LADY
are talking about Steves
rehabilitation. Through each
shot/reverse-shot, the MCU
of each character fills the
frame.
00:08:40 The lady leans
over the table while she is
talking to Die.
00:08:45 Cut to reverse shot
of Die as she leans slightly
back and replies.
00:25:05 Cut to shots from
Mommy. Die is crying in her
room. Steve holds her cheeks
in his hands while he blots
the tears away from her eyes.
Die continues to cry and
be within a state of panic.
Steve uses his hand to cover
Dies mouth. As his hand
covers his mothers mouth,
he kisses the back of his
hand. Steve then holds onto
her shoulders and sways her
in reassurance.
6
AUDIO
(Sync sound from Jauja at 40%)
NARRATOR (VO)
As a result, this scenes foreshadows
Inges leaving. As the horse walks
away, becoming diminutive in size
within the desert, Inge becomes
intrigued. She looks towards her
father for a sense of confirmation
and permission. The unwavering camera
frames Inge to be looking out at the
edge of the frame. Despite this, Inge
leaves to follow the horse. As the
spatial distance grows between Inge
and Dinesen, she becomes metaphorically
deeper within the desolate Patagonia.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
In comparison to Jauja, the square
aspect ratio of Mommy implies that
actions and events occur in close
proximity towards the camera as a way
to develop the tight and claustrophobic
atmosphere.
LADY
Loving people does not save them. Love
has no say.
DIE
Skeptics will be proven wrong.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
In this scene, the close up shots of
Die and Steve looking at each other
places the conflict as the center of
attention for the audience. Die and
Steves close proximity to each other
and the camera underscore a strong
connection of love. While this scene is
one of many that develops the Oedipal
complex within the narrative, the tense
feeling constructed by the framing and
spatial composition comments on the
challenging feat of motherhood.

VIDEO
00:12:43 Cut to shots from
The Grand Budapest Hotel. Mr.
Gustave is walking powerfully
through the halls of the
hotel. Zero follows Mr.
Gustaves trail a few steps
behind, perplexed. Cut to Mr.
Gustave and Zero inside the
elevator.
00:12:57 As Mr. Gustave and
Zero are inside the elevator,
Mr. Gustave turns to ask Zero
a question.
00:13:55 Cut to Mr. Gustave
and Zero walking down a
hallway. Mr. Gustave walks
down the center of the
red-carpeted hallway while
Zero follows on his side.
They enter the room where
the Dowager Countess stays
the night before. Mr. Gustave
approaches the pink rose and
opens the letter adjacent to
the rose.
00:58:18 Cut to shots from
The Grand Budapest Hotel.
The camera frames Zero
sleeping in a pile of hay.
The camera pans to a sewage
hole where Mr. Gustave and
his prison mates emerge
from. Zero rushes into the
frame to lend a helping hand
for Mr. Gustave. All of the
prison mates emerge from the
hole. Mr. Gustave takes this
opportunity to introduce Zero
to his new acquaintances.
7
AUDIO
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
Instead of using framing and composite
techniques to develop theme, The
Grand Budapest Hotel uses framing
and spatial compositing in order to
characterize dynamic change throughout
the narration.
ZERO
Who wouldnt want to work here? Its an
institution.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
In the beginning sequences between
Mr. Gustave and Zero, Mr. Gustave
does not see Zero as a friend. This
is evident through the composition of
the character within the frame. For
most of the beginning scenes, Zero
is positioned behind Mr. Gustave,
connoting that Mr. Gustave is a more
significant and daunting character.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
By the middle of the narrative, Mr.
Gustave has learned to trust Zero and
regards him as a friend. The dynamics
in the composition have changed to
prove this. In this scene, Zero helps
Mr. Gustave and other prison members
escape by helping them out of a sewage
hole. Because both Zero and Mr. Gustave
share equal parts of the frame and are
the same distance away from the camera
as each other, both are characterized
to be equals. Through this development,
Mr. Gustave holds great compassion for
Zero and Zero shares some of the brave
traits that Mr. Gustave obtains.

VIDEO
00:34:22 Fade to shots from
Hero. Flying Snow and Moon
stand in the middle of the
autumn forest. There is
an orange-ish tint to the
leaves, accentuated by the
use of natural and warm
tones. Flying Snow and Moon
engage in a swordfight scene.
They fly through the air and
slash their swords at each
other in beautiful waves of
frenzy.
00:58:43 Cut to shots from
Hero. Nameless and the
King of the Qin Dynasty
are sitting across from one
another. Both are perfectly
centered in the middle of the
frame as they talk to each
other. The shot/reverse-shots
between the King and Nameless
is interrupted to show
the flames of the candles
flickering sporadically. They
move side to side due to the
blowing of the wind.
00:36:22 Cut to shots from
The Grand Budapest Hotel.
From Zeros point of view,
there is a frame within a
frame of a window and rows
of prison bars behind it. Mr.
Gustave approaches in the
center of the frame from
behind the prison bars.
A guard unlocks the gate
with his key and allows Mr.
Gustave to pass through to
talk with Zero. There are
shot/reverse-shots between
Mr. Gustave and Zero on
either side of the glass
wall, talking to each other.
8
AUDIO
(Sync sound from Hero at 40%)
NARRATOR (VO)
An interesting aspect of the
mise-en-scene in Hero is the
filmmakers attention to symmetry. The
implementation of balance within scenes
of a wu xia pian depicts the fight
scenes in a hyper-realistic manner.
In this scene, where Flying Snow and
Moon are fighting in the forest, the
shot/reverse-shots between these female
characters establishes symmetry and
beautifies Chinese sword fighting.
(Sync sound from Hero at 40%)
NARRATOR (VO)
Another instance in which symmetry is
utilized through the shots composition
is in the scene between Nameless and
the King of the Qin Dynasty. For both
of these characters to be framed
similarly to a king represents a
sense of respect that both characters
receive. Interestingly, the anamorphic
aspect ratio of these scenes leaves the
exterior of the palace visible, serving
as a constant reminder to the audience
about the soldiers that stand on guard
to protect the King.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
The Grand Budapest Hotel is
exceptionally known for its use of
symmetry. No matter what aspect ratio
a shot is filmed in, it is common
for Anderson to implement symmetry
within his shots, especially within his
shot/reverse-shots. Because Anderson is
well known for using pristine symmetry
within his works, the discussion
of symmetry in Andersons work is a
topic for another documentary. For the
purposes of mise-en-scene, symmetry in
this film depicts it to be a "moving
painting."

VIDEO
Cross dissolve to MS of
Narrator through a 16:9
aspect ratio. He is standing
in the left-most frame.
01:16:09 Cut to shots from
Mommy. Die, Kyla, and Steve
are on a suburban street.
Kyla is rollerblading, Die is
riding on a bike, and Steve
is in front of them, skating
on his longboard. The camera
is focused low to the ground
and shows each persons
wheels on their respective
rides. Steve is positioned
in front of Kyla and Die with
his arms stretched out.
01:17:00 Cut to MS of Steve
positioned in the center of
the frame. He looks directly
into the camera. He brings
his arms towards the camera,
with both of his knuckles
bent so that only the back
of his forefingers are
touching together. Steves
face squints as he pushes
his hands a part from one
another. As his arms pull
out, the frame stretches from
a 1:1 aspect ratio to a 16:9
aspect ratio.
01:18:41 Kyla and Die turn
a corner and proceed down
the road. Steve stands on
his longboard with a great
smile on his face. Cut
to montage of shots: Die
cleaning peoples pools, Kyla
skipping across the street,
Steve pushing a shopping cart
in the middle of a busy road
as Kyla and Die ride beside
him on their bikes, telling
him to stop.
9
AUDIO
NARRATOR
In these films, the aspect ratio
accentuate moods and/or themes most
noticeably in climactic scenes.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
This scene is arguably the most
important scene in the film, Mommy.
At this point in the narrative,
Die, Steve, and Kyla are happy with
themselves and to be around each
other. Steve rides on his longboard
with his arms stretched out, like a
Christ figure, to connote a feeling of
liberation. In this instance, everyone
is happy and experiencing pure joy.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
In one of the most cinematically
breathtaking and awesome shots
ever, Steve literally stretches
the aspect ratio of the film as it
shifts from a square aspect ratio to
a widescreen aspect ratio. Alongside
the underscoring, the shift from the
established aspect ratio allows the
tone of this scene to feel liberating
and without worry.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
This scene is pivotal because of the
freedom that each main character
exhibits in this moment. Steve is
relieved to not experience problems
regarding ADHD. Die is relieved
to have a stable job and not feel
claustrophobic under the stress of
raising Steve alone. And Kyla is
excited to have friends and a sense
of belonging.

VIDEO
01:20:15 Die reads the letter
held within her hand. Words
quickly skim from the left
to the right of the screen
to suggest she is reading
the letter quickly. Detailed
is the lawsuit filed against
Steve for setting fire to
a cafeteria in which he
will owe $75,000. Die is
positioned in the center
of the frame as the frame
reverts back to the 1:1
aspect ratio.
01:28:14 Cut to shots from
The Grand Budapest Hotel.
There is a frame within a
frame as the camera pushes
into the train window. Zero
and Agatha are sitting on the
left side and Mr. Gustave is
sitting on the right side of
the frame. The train begins
to stop and idle soldiers
come into frame from the
other side of the window.
Three men enter the cabin and
haggle Zero and Agatha.
01:31:24 The author and Mr.
Moustafa are sitting across
from each other at a table in
the ballroom.
01:33:36 The author, young,
is shown sitting down and
writing at a desk. He is
positioned in the left most
frame, with the rest of the
frame being predominantly
empty. Cut to the author,
older, as he sits in a
sofa while writing. He is
positioned in the right most
frame. Cut to the girl from
the first scene. She sits
on the park bench outside
and reads the book. She is
positioned in the center most
frame.
10
AUDIO
(Sync sound from Mommy at 40%)
NARRATOR (VO)
This scene is even more powerful when
the widescreen aspect ratio reverts
back to the square aspect ratio. As
Die reads the letter about the lawsuit
against Steve, her world literally
caves back in on her. As a result, the
claustrophobia of the square aspect
ratio underscores strong tensions and
depicts a return from the fantasies of
living carefree.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
It is ironic how the climax and
denouement to The Grand Budapest
Hotel is slow and somber when
the majority of the narrative is
quick-paced and energetic. The final
scene with Mr. Gustave parallels the
other scene with him and Zero on the
train; however, the lack of color in
the shot foreshadows Mr. Gustaves
untimely death.
MR. MOUSTAFA
In the end they shot him. So it all
went to me.
(Sync sound from The Grand Budapest
Hotel at 40%)
NARRATOR (VO)
The revert from the Academy aspect
ratio, to the anamorphic aspect ratio,
and finally to the widescreen aspect
ratio at the end of the film is an
indication of the many perspectives
this narrative is told in. The abrupt
yet slow-paced ending allows the
audience to uphold the frame narrative.
As a result of the multiple aspect
ratios, the audience is able to
appreciate the grandiose life of Mr.
Gustave and of the Grand Budapest
Hotel.

VIDEO
01:27:00 Cut to shots from
Hero. Flying Snow, with tears
in his eyes, points his sword
towards himself and drives
it into his abdomen. As he
hurls over in pain, he is
teary-eyed, wishing his final
goodbyes to Broken Sword.
She bends down with him,
unable to control the screams
that come from her throat.
The two are kneeling in the
desolate desert as the wind
blows their white clothing.
01:29:56 Nameless stands
alone against a wall. Cut to
the King sitting next to the
candles. There are people in
black robes next to the king,
chanting into the flames.
Around the palace are archers
with bows and arrows. On the
Kings command, the men chant
one final time, the arrows
are shot, and they hurdle in
the direction of Nameless.
As the arrows fly overhead,
they wipe past instantly, and
Nameless is dead.
01:04:29 Cut to shots from
Jauja. MLS of Corto lying on
the desert floor with blood
from his throat. A dark hand
from the right of the frame
grabs at Cortos hat and gun
and takes it off-screen.
Capitan Dinesen walks into
frame and grabs at his neck.
At first, he points a gun to
Cortos head, but instead,
he uses his sword to slice
his head off. Capitan Dinesen
throws the body to the side
and walks away.
11
AUDIO
(Sync sound from Hero at 40%)
NARRATOR (VO)
The climax of Hero comes as the truth
of what happens to Flying Snow and
Broken Snow are revealed. In this
scene, the anamorphic aspect ratio
accentuates the desolation that Broken
Sword feels after Flying Snow kills
himself. The extreme long shot of the
two kneeling in the desert is used to
accentuate the ideas of chivalry and
battle within this wu xia pian.
(Sync sound from Hero at 40%)
NARRATOR (VO)
In Nameless final hour, he stands
against a wall, waiting for archers to
release arrows towards him. The shot of
the thousands of arrows shot into the
sky directly above Nameless accentuate
the psychological and intellectual war
of the time period. As a result, the
2.35:1 aspect ratio highlights the idea
of wu xia films while also prompting
the question regarding truth within
this narrative.
(Sync sound from Jauja at 40%)
NARRATOR (VO)
There are two scenes that are of great
importance in Jauja. The first is this
scene, in which Capitan Dinesen cuts
off Cortos head after he receives
severe injuries to his throat. This act
of murder is depicted as savage through
the framing of the scene. There is an
extreme lengthy shot held on Corto.
Once Dinesen severs the head, the
frame cuts to a long shot of Capitan
underneath a tree. It is a this point
in the narrative that Capitan Dinesen
descends into the savage and primitive
nature of the wilderness.

VIDEO
01:42:00 Cut to girl in
Danish castle. She walks
with her dog beyond the gate
and into the woods. In the
forest she walks aimlessly
until she hears a crack
underneath her feet. She
spots a Russian doll of a
British guard. She looks at
this for a while then walks
towards the dock of a lake.
She throws the doll into
the lake. The ripples cross
dissolve into the landscape
of the Patagonian Desert.
02:12:58 Cut to shots from
Mommy. Three men walk
down a plain hallway,
dragging Steve along. He
is in a straitjacket. At
the end of the hallway,
a pharmacist waits to
distribute medication.
Steves expression is blank
and emotionless. One of the
men unfastens the restraints
of the straitjacket. Once the
jacket is completely off of
Steve, he dashes away from
the men.
02:14:00 Shot in slow motion,
Steve dashes away from the
men. At first, they are taken
aback by Steves erratic
behavior. Once they realize
he is trying to escape, they
quickly pursue him and try to
detain him. Steve looks out
the window at the setting sun
with a grin on his face as
the men quickly approach him.
12
AUDIO
(Sync sound from Jauja at 40%)
NARRATOR (VO)
The other important scene comes at the
resolution, in which it is revealed
that a young, modern Inge imagined
the whole narrative in her head. In
this scene, the shots in the forest
juxtapose the vastness of the desert,
thus accentuating the importance of
nature within this film. Through
the Academy aspect ratio, the cross
dissolve from a modern setting to an
older setting expresses the dichotomy
between civilization and of the
wilderness.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
This dichotomy between a frame feeling
simultaneously tight and open is
prevalent within all four of these
films, but it is best shown in Mommy.
In this final and moving scene, Steve
tries to break away from the control of
the psychiatric ward. Shot through the
square aspect ratio, Steve runs away as
the underscoring goes:
LANA DEL REY
Feet dont fail me now. / Take me to
the finish line.
(Sync sound from Mommy at 40%)
NARRATOR (VO)
By the end of the narrative, the aspect
ratio has changed twice to connote
emotions of happiness and joy. The
audience is wishing that the edges
of the square frame expand in order
to bring a sense of happiness and
closure. But because the aspect ratio
does not change, there is ambiguity
within this act of rebellion; however,
the dichotomy between this feeling
of freedom and entrapment is what
perfectly describes the narrative
of Mommy.

VIDEO
Fade out to MS of Narrator
standing in the open field
through a 16:9 aspect ratio.
He is standing in the center
of the frame. As he is
talking, his arms sway up,
down, and all around to
provide emphasis.
Cut to CU of Narrator. The
frame is in the shape of
a circle, like a vignette,
while the outsides of the
circle are completely black.
He is looking directly into
the camera.
Credits.
13
AUDIO
NARRATOR
To finish off, the aspect ratio used
to shoot a film has a direct effect
upon a films mise-en-scene. Depending
on the aspect ratio, a shot can feel
tight, open, or both simultaneously.
The manipulation of aspect ratio also
directly alters the framing, space, and
composition of a certain shot. This,
in turn, directly impacts the tone or
theme of a scene.
NARRATOR
On a final note, its important to know
this: our opinions, perceptions, and
ideas are based upon how we frame them.
Take care, and goodbye.