A Quote by Jacques Lacan

The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible. — © Jacques Lacan
The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.
No 'mise en scène' has the right to be repeated, just as no two personalities are ever the same. As soon as a 'mise en scène' turns into a sign, a cliché, a concept however original it may be, then the whole thing - characters, situation, psychology - become schematic and false.
The landscape is a reflection of the inner life. Since I can't shoot the inner life, all I can shoot is the exterior but I know that when I'm filming outside, I'm filming inside. I can only really touch the inside through the mise-en-scene. So through the mise-en-scene of the outside we can explore the inside
I stopped playing mixed doubles and there is no result in mixed doubles. I was world number six. People who are talking about me and my performance and questioning my career and my achievements, where is the next mixed doubles pair, please show it to me. I would like to know.
Obviously, when you do something with drama and comedy in it - and by that, I mean a scene that has drama and comedy in it - you know the minute you introduce music, you're either scoring the drama or you're scoring the comedy, and therefore the scene becomes either dramatic or comedic.
If more people knew about it, followed the teams, they would really enjoy watching mixed doubles and doubles.
Being a doubles player, without any support, we don't have any godfathers in doubles.
It's funny how it reads like a Kubrick-inspired moment, a filmmaker controlling one's mise en scène. What it truly is is a documentary moment.
When I first started to do fashion shows I didn't have the budget to hire top models so I would cast women who inspired me, and ask them to walk how they walked. I was doing a mise en scène, which for me was normal. I love for people to see my clothes, but it was more about the attitude of the girls. The revues of the late 19th century/early 20th century were very much a reflection of what was happening in society and politics, and for me that is also the role of the fashion designer.
This progressive effacement of human relationships is not without certain problems for the novel. How, in point of fact, would one handle the narration of those unbridled passions, stretching over many years, and at times making their effect felt on several generations? We’re a long way from Wuthering Heights, to say the least. The novel form is not conceived for depicting indifference or nothingness; a flatter, more terse, and dreary discourse would need to be invented.
...let the emotional weight of a scene rest on the dialogue wherever possible. This is the easy way to avoid overinterpretation, which seems to be what turns a scene from sympathetic to sentimental.
For me, the ideal job as an actor would be something that is intrinsically a drama but to which I could bring in as much humor as possible.
There's no set designer like your own self; you furnish the mise-en-scène, the wardrobe, the physical proportions of the actor, and the setting. Then radio is doing something that television very rarely achieves.
Doubles is exciting. Especially in the U.S. a lot of elite players play. They want to learn more about doubles, recreationally play and enjoy. When you see doubles live, you see how fast it is.
The great majority of modern third-person narration is "I" narration very thinly disguised.
The desire for narration keeps on reasserting itself, so that since modernism and fiction brought narration to an end, it is sought in memoirs.
If you find that a point cannot be made without narration, it is virtually certain that the point is unimportant to the story (which is to say, to the audience).
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