Discuss how both mise-en-scéne and performance are used to establish important character information in key sequences from the films you have studied.
Mise-en-scĂ©ne and performance are incredibly important in establishing character information, such as personal ideologies, both explicitly and in-explicitly in Trainspotting (Danny Boyle, 1996) and This Is England (Shane Meadows, 2006). Mise-en-scĂ©ne and performance doesnât only allow for important character information to be understood once, but also outlines character progression as the narrative of each film evolves.
Throughout Trainspotting, mise-en-scĂ©ne and perfromance work together, to show how Renton promotes and then begins to question and reject his nihilistic ideology, the idea that everything is pointless, and that there is no need for a purpose. Throughout the opening sequence, Rentonâs performance act as a subversion of societal norms and middle-class aspirations. This is undeniably seen through Rentonâs opening monologue, and then continuous narration thoughout the remainder of the film.
Through his narration, Renton explains that what we are told to aspire to is a hollow promise, its an existence, not a life. Rentonâs perfromance in the opening sequence tells us everything we need to know about him. His direct address to the audience is maniacal, his breakage of the fourth wall doesnât only tell us more about his character, but also the film in general; itâs post-modern and self-aware of its own limitations. Rentonâs constant  interaction with the audience allows them to form a deeper connection, and thus understanding of him as a character. His playful and charismatic persona make it easy for the audience to forget about the dingy, dirty and rundown mise-en-scĂ©ne we are currently being confronted with. In other films, audiences would potentially find it harder to attach and empathise with characters like Renton; heâs an unemployed, drug-addicted low-life, who spends the majority of his time causing bother for others.
Following on from the opening sequence, Renton uses a very expressive performance to highlight his plan for sobriety. He dramatically takes planks of wood, nailing them to his bedroom door, keeping himself in captivity, until he manages sobriety. He comedically takes his ridiculous shopping items out of their bag, which continues to position this section of the film as comedic. But this inability to take himself serious in such an important movement in his life (an attempt of sobriety), further roots itself into his nihilistic ideologies. It is later in the film, when he rejects this ideology, that the film loses this expressive performance, and becomes much more realist.
Later, in the film, after a discussion with Dianne, Renton decides to move to London, for a new start, away from his friends and drugs. But unfortunate for Renton, his mise-en-scéne during this era, suggests that his relationship with drugs is not over, as parts of the old Renton have followed him into this new location. Although he is now employed, with a new dress code which consists of a suit, he still wears his earring, which is arguably inappropriate for such a work environment, and his top button remains undone, still portraying the character as slightly scruffy and improper. This suggests, that at this point of the film, Renton is struggling to fully reject his nihilistic lifestyle, and he is still vulnerable to falling back into his dug dependency, which he ultimately does.
However, an alternative interpretation, is that this use of mise-en-scĂ©ne is an example of Renton continuing the resist the trappings of stereotypical, 9-5, middle class life. His resistance to such a livelihood can only be taken in small steps, such as rejections of typical associated costumes. Heâs made progress is weaning himself out of his heroin addiction, but he just canât bring himself to the point of total conformity. His character finds solace in seeing how far he can push the expected boundaries of this new lifestyle.
Finally, performance works at the end of the film, to show the audience, that his character has fully and undoubtedly rejected his once nihilistic ideology and it has now been reversed. He takes moments for self-reflection, both explicitly, by staring at himself in the hotel roomâs mirror, and metaphorically, by walking over a bridge in London, during his closing monologue. He finalises his monologue with, âI am going to be just like youâ, whilst simultaneously breaking the fourth wall. This allows the audience to know more about the character, as not only do we experience closure on Rentonâs journey of passing ideologies, but it allows us to take a personal reflection on our own lifestyle, and how it may appear to Renton.
During This Is England, the protagonist Shawn, also begins a journey of development. However, unlike Renton in Trainspotting, he finishes the film regressing to how he had started as a character (albeit with a more advanced and mature understanding on political issues and the consequences of far-right ideologies).
Mise-en-scĂ©ne distinctly shows the shift in Shaunâs character development. During his time with his original group of friends, the changes to his mise-en-scĂ©ne are arguably small and wholly reversible. He has doc marten boots, a ben spearman shirt and shaven head, all very harmless, which reflects the simple, light-hearted feel associated with his new friendship. However, once Combo infiltrates the group, he manages to manipulate and mould Shaun into something new, something with ugly ideologies and twisted views. Combo gives Shaun a tattoo, something completely permanent. Additionally, a tattoo carries with it symbolism of branding, marking and ownership. No matter how remorseful Shaun may feel in the future, he will be stuck with a constant reminder of his abhorrent behaviour.
The performance of both Combo and Shaun during the sequence where they spread racist hate throughout the town, shows them to be immature and naĂŻve. Shaun asks what to vandalise onto the underpass, as he is new to such behaviour, however Combo doesnât even know what to tell him. These characters have nothing, they are cross and frustrated, who cling onto a ârightâ they believe they were born with.
However, by the final sequence, Shaun is more reminiscent of the little boy we met at the beginning of the film. He no longer walks with the same air of confidence he had with Combo, he appears very much feeble, lost and much less imposing. Shaun takes the Union Jack Combo had given, a piece of mise-en-scéne which had symbolised all the racist beliefs Combo had spread, and throws it into the waves. It symbolises now that the best place for this far-right persepctive, is to be chucked away  and lost. Shaun, just like Renton in Trainspotting, turns to break the fourth wall. This personal movement, forces the audience to not only confront their own opinions on the matter, but also further builds their connection with Shaun.
In conclusion, both of my chosen films use mise-en-scéne and performance to a very large extent in an attempt to show character meaning and consequential development. Trainspotting use it to show quite a linear path of development, whilst This Is England shows a circular development, where the protagonist borderline reverts back to his original state.
This is very good answer, Chloe, and it is furiously knocking at the door of Band 5. But Band 5 is saying, ânot by the hairs on my chinny-chin-chinâ becauseâŠ
1) Remember that every Film Studies essay is a key elements essay. You have to make frequent and precise use of the key elements to flag to the examiner than you are, indeed, talking about mise-en-scĂšne and performance.
Performance in particular is difficult to define â you must make constant reference to Rentonâs tone, delivery, expression, etc.
2) You havenât proof-read. There are loads of mistakes in here!
3) Your This Is England bit is shorter and less deeeep than your Trainspotting bit. It needs a touch more, some extra spice, and a twist of limeâŠ