Mise-en-scène is in its simplest terms, visual story telling. The way of conveying narrative information without words or dialogue, but with techniques such as compensation and editing. In essence it’s everything presented in front of the camera. In fact the literal translation of mise-en-scène is “placing on stage”. An example of this is in the film adaption of “The Comfort of Strangers” of the same name. The translation of the books narration to the films cinematography, “… the main function of the narrator in film is to show moving images… a display of a sequence of photographic sign.” (Film Narratology, 2009, p.51). Mise-en-scène is very often, very difficult. It needs to incorporate every visual aspect presented within the…show more content… What is it? Well it can be defined into two categories. Diegetic and Non-Diegetic. Diegetic sound is audio that comes from within the world of that film. Such as voices from characters interacting with each other. Or from objects, within the film. Such as explosion. Then there’s Non-Diegetic sound. It’s audio that doesn’t come from the world of the film. This can include narration, or a score. Dr. Daniel Yacavone, preposed the idea of merging the two; stating where “diegetic and non-diegetic elements overlap or fuse into a single experiential Gestalt… the score of The Third Man, typically classified as non-diegetic is likely apprehended as something as internal to the fictional world the film creates as any diegetic feature” (Spaces, Gaps, and Levels, 2012, para. 6). On the same topic of the mingling of diegetic and non-diegetic sounds, a point of interest is score. In “Indiana Jones and the Kingdom of the Crystal Skull” commentary track “the director asserts Indiana Jones cannot exist without his theme. [and the opposite can be true.] what would be called the film's non-diegetic music: in other words, it is considered an instance of sound, 'whose supposed source is not only absent from the image but is also external to the story world”. (THE NON-DIEGETIC FALLACY: FILM, MUSIC, AND NARRATIVE SPACE, 2010,…show more content… More widely known as the “Aestheticization of violence”. Many filmmakers have used aestheticized depictions of violence. “It’s not blood, It’s red” is something famously said by French auteur Jean-Luc Godard. First and foremost, it’s appropriate to talk about “cathartic” violence. The pure exploitation and celebration of (of what some might say, “fun”) violence and how it appeals to the most primal, animalistic part of our nature. “The element level of physical violence, of bodies inflicting damage on bodies - the rawest of experience - becomes the ultimate source of spectacle, consumed as entertainment” (Violence and the Media, 2007, p. 61). From a slightly angled perspective, violence is a necessity. Violence is intrinsic in (close too) all storytelling. It is what initiates, proceeds, and climax’s a film (or any story for that matter). “Violent action has always figured heavily into the narrative arts, both on the level one content (violence movies plot forward; it also resolves plot sometimes)” (Nicolas Winding Refn and the Violence of Art, 2014, p.