Mise-en-scène originated in the theater and is used in film to refer to everything that goes into the composition of a shot—framing, movement of the camera and characters, lighting, set design and the visual environment, and sound. (Columbia)
The authenticity of literary originals was not to be politically co-opted or visually truncated, but to be cinematically absorbed and elevated over all the limitations of literature. In this sense, the dichotomy of “auteur vs. metteur-en-scène” may not directly involve the schematic belief whereby the former’s greatness lies in theme and content while the latter’s function remains the formal, stylistic adaptation of a pre-existing text into cinematic codes. Rather, the point was whether or not the transcendent potential of cinematic materiality was excavated in all its aspects. When successful, this experiment established an original outcome of theme-form chemistry whose governing principle is nested as much in narrative structure as in mise-en-scène…. (Jeong)
Caughie, John. Theories of Authorship. 1981.
“Cogito et Histoire de la Folie.” Jacques Derrida.
The Elements of Style. William Strunk.
Grant, Barry Keith. Auteurs & Authorship: Film Reader. 2008.
A Handbook to Literature. William Harmon.
Jeong, Seung-hoon and Jeremy Szaniawski. The Global Auteur: The Politics of Authorship 21st Century Cinema. Bloomsbury Publishing. 2016.
New Oxford American Dictionary. Edited by Angus Stevenson and Christine A. Lindberg.
The Norton Anthology of World Literature. Martin Puchner, et al.
The Norton Introduction to Philosophy. Gideon Rosen and Alex Byrne.
Sellors, C. Film Authorship: Auteurs & Other Myths. 2011.
Woe is I: The Grammarphobe’s Guide to Better English in Plain English. Patricia T. O’Conner
Writing Fiction: A Guide to Narrative Craft. Janet Burroway, Elizabeth Stuckey-French & Ned Stuckey-French.
Writing the Other. Nisi Shawl and Cynthia Ward.