Mise en Scène :)

Mise-en-scène is generated by the construction of shots and the ways that they lead to visual coherence, across the edits from shot to shot. It includes all the elements in front of the camera that compose a shot: lighting; use of black and white or color; placement of characters in the scene; design of elements within the shot (part of the process of production design); placement of camera characters in the set; movement of camera and/or actors; composition of the shot as a whole how it is framed and what is in the frame. Even music may be considered part of mise-en-scène. While not seen, at its best music enhances the visual and narrative construction of the shot.

Cinematic mise-en-scène refers to how directors, working in concert with their cinematographers and production designers, articulate indeed, create the spatial elements and coordinates in the shot and succeed in composing well-defined, coherent, fictional worlds. Composition and the articulation of space within a film carry as much narrative power and meaning as its characters' dialogue. Mise en scène is thus part of a film's narrative, but it can tell a larger story, indicating things about the events and characters that go beyond any words they utter.

Mise en scène can also be an evaluative term. Critics may claim a film does or does not possess mise en scène. For example, if a film depends entirely on dialogue to tell its story, if its visual structure is made up primarily of a static camera held at eye level on characters who are speaking in any given scene, if its lighting is bright, even, and shadowless, it lacks mise en scène. On a more subjective level, if a viewer's eyes drift away from the screen because there isn't much of interest to look at, the film lacks mise-en-scène. Such a film may succeed on other levels, but not visually; it is constructed not in the camera but in the editing room, where the process is much cheaper because actors are absent. Films with good dialogue, well-constructed narrative, and scant mise en scène can still be quite effective.

Film makers of Mise en Scène
Mise-en-scène has preoccupied filmmakers in several countries and periods. German expressionism developed immediately following World War I. In painting, writing, and filmmaking, expressionism was a mise-en-scène cinema, expressing the psychological turmoil of the characters in terms of the space inhabited by its characters. Major representatives of German expressionism in film include Robert Wiene's Das Kabinett des Doktor Caligari ( The Cabinet of Dr. Caligari , 1920) and F. W. Murnau's Nosferatu, eine Symphonie des Grauens , the first Dracula movie (1922). These and many others created a dark and anxious visual field, uneasy and frightening. German expressionism had enormous influence when its practitioners moved to the United States: Murnau's Sunrise (1927); Universal Studio's horror films of the early 1930s such as Frankenstein (1931), Dracula (1931), and their sequels; Citizen Kane (1941); the film noir genre of the 1940s; Psycho (1960); and Taxi Driver (1976). These, among others, borrowed their idea of mise-en-scène from German expressionism, though it was not the only influence on these films.