Mise-en-scene can be defined as an arrangement of actors and elements of the film throughout the production. Everything that is in front of the camera and, therefore, will be seen by the viewer is a part of the mise-en-scene, making it the most important element of the filmmaking process. This paper will focus on comparing the mise-en-scene of the movies “Cops” and “The Gold Rush.”
In the movie “Cops,” released in 1922, the mise-en-scene is set in a city, with the majority of the scenes filmed in the streets. In some cases, the viewer can see close-up shots of the characters, which have minimal details around them. However, the main focus of the mise-en-scene is the city and its common attributes, such as shops, buildings, vehicles, and others. In contrast to this, “The Gold Rush,” released in 1925, has a mise-en-scene that is primarily set in a wooden hut. In some cases, the director shows shots of the scenery outside of the hut and the building itself. However, for the most part, the actions happen within this building, which means that the audience’s attention is directed to the dialogue and the actions of the characters, as opposed to focusing on the scenery.
The difference in the mise-en-scene of these movies reflects that they have different narratives. In “Cops,” the main character is chased by the police department all over the city, starting from the town’s parade. In “The Gold Rush,” the character is trapped in a house during a blizzard and stays in the hut to take refuge and survive. The two distinct narratives reflect the fact that mise-en-scene plays a vital role in helping the director tell the story they want to portray more accurately. Thus, the mise-en-scene of the films “Cops” and “The Golden Rush” is distinctly different. On the other hand, the narrative is similar because both films follow the journey of the main character as they hide from unfavorable circumstances.
Works Cited
Cops. Directed by Buster Keaton. First National Pictures, 1922.
The Gold Rush. Directed by Charlie Chaplin. United Artists, 1925.