The use of 3 elements of mise-en-scene to depicts and develop central characters who appears in the movie

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The use of Mise-en-scene to depict and develop characters in the film Spirit Away
Introduction
Mise-en-scene refers to the implementation different aspects of a film that focuses on the artistic element of the movie in question. Proper application of mise-en-scene ensures that the film delivers the desired imagery and viewership in conjunction with the characters’ alignment with regards to their personality and role played in the film. This paper focuses on the use of mise-en-scene in the film Spirited Away by Hayao Miyazaki. The film uses mise-en-scene to develop the central characters Chihiro, Haku, and the Stink Spirit. Mise-en-scene is crucial in ensuring that the characters in Spirited Away maintain the role that the producer intended for them by manipulating the setting, costume, and lighting such that the outward appearance reflects the individual’s personality.
Sets and Props
The scene where Chihiro realizes that she is trapped in a spirit world is used to depict the character’s naivety as well as her disposition to fear (Miyazaki et al. 2003). The scene is such that the décor within the room is both spooky to those young at heart. The construction of the room in question provides the viewer with the perception that Chihiro has only one way to go to escape the emerging spirits. This forces her to run away deeper into the spirit world which is both a source of horror for the character but remains to be the only option.

This clearly shows how fearful the character must be.
The first scene where Haku meets Chihiro is used to depict him as being assertive and protective. Haku does not waste time to point out that it is wrong for Chihiro to be in the spirit world. The use of character placement is an aspect of setting that is used to show Haku’s dominance and thus assertion (Bordwell & Kristin 1997). He is placed at the center of the screening with the intention of identifying him as Chihiro’s savior and only option were she to need help. Haku’s assertion is again shown through setting by placing Chihiro behind him as the cross the bridge, asking her to hold her breath.
The stink spirit’s first appearance in the film is where he is approaching the bath house, dragging himself slowly without a care in the world. The initial setting is such that he is the only spirit present in the street, which alludes to the stench he must be releasing upon exploring the vicinity of the bath house (Miyazaki et al. 2003). The setting is such that once the stink spirit enters the bath house, everyone moves away creating space around him. This is shown to develop the character’s tendency to be aloof about everything that is happening around him. The consistency of the setting is shown with no one else being seen in any frame when the spirit begins showering in the tab.
Costume and Makeup
Chihiro’s costume in the entire film not only shows her naivety but also her age range, which must be between eight years and ten years. The production team uses light clothes to depict the free spirit that is common among girls her age. The coloring of the clothing is also brighter in comparison to those of other characters (Miyazaki et al. 2003). This ensures that the perception of Chihiro being susceptible to any source of harm from the spirit is maintained (Bordwell & Kristin 1997). Such a mindset on the part of the viewer continues to reinforce the idea that Chihiro is fearful and should be protected by any means possible, resulting in the captivation created by the character.
Hakus’s attire is one that is worn by traditional samurai. This costume is one that demands respect from the viewers, especially children who have come to associate individuals wearing such attire as being versed in martial arts. Haku’s assertion is then taken seriously by both the viewer and character Chihiro (Miyazaki et al. 2003). The character’s placement in the middle of the screen complements the attire as Haku is observed to be the dominant individual in comparison to Chihiro. Haku’s attire is also seen to flap during flight showing how hard he took flight, which is only part of his assertion in every action he takes.
The stink spirit is not wearing any specific costume, which continues to suggest that he does not care what is happening around him. The general appearance of the spirit is such that there is continued spilling of something that looks disgusting to the eye due to the dark colors as well as the reaction from other spirits when the stink spirit enters the bath hose (Miyazaki et al. 2003). Upon entering the bath house, every other spirit is pulled back dues to the awful stench emanating from the stink spirit (Bordwell & Kristin 1997). The way the attire’s of the other spirits move back in response to his entrance, and his continued demeanor continues to show just how aloof the stink spirit is about any occurrence around him.
Lighting
The choice of lighting used when Chihiro meets with Haku for the first time is meant to shift the viewer from the amazement of the spirit world to the sudden realization of the dangers that Chihiro is about to face (Miyazaki et al. 2003). The film employs attached shadows to show how the characters eye’s immediately Haku points out that she should not be in the spirit world (Bordwell & Kristin 1997). The sudden realization that there is a danger in being at the spirit world goes to show that Chihiro should find a way out and fast. The lighting of this scene shifts from brightness to darkness on the part of Chihiro thus depicting an increase of fear.
The use of both cast shadows and cast shadows on Haku’s ace when he meets Chihiro for the first time is used to depict the dire nature of the situation and thus Haku’s serious attitude. The attached shadow quickly moves across his face when he warns Chihiro of the pending danger resulting from her being in the spirit world (Miyazaki et al. 2003). Despite his insistence that she leaves the spirit world before it becomes dark, the sudden shifting of shadows clearly shows that nothing can be done to avoid the effects of Haku’s stern warnings, which seems to be Chihiro being hurt in one way or another.
The use of lighting to show the stink spirits entrance into the bath house is meant to point out to the way in which the dirt on him should be immense and heavy, leading to the severe stench he seemingly emits. However, this is expected to create a sense of urgency on the part of the spirit. However, the spirit instead strolls around in comfort without a care in the world of what others think (Bordwell & Kristin 1997). Once he gets into the shower, there is the contrast between the darkness of his color and the brightness of the water around him. The use of contrast here goes to show how dirty the spirit must be, and thus his cojones in the fact that he does not hide his dirt in any form of costume.
Conclusion
In conclusion, the depiction and development of the central characters in the film Spirited Away are highly dependent on mise-en-scene. The use of setting, costume, and lighting has allowed for the true embodiment of the individual characters aforementioned to be exposed and emboldened. There have been different ways in which that the film could have employed the key tenets of mis-en-scen, however, the ones mentioned herein provides an all-round effect with regards to a clear delimitation of individual characters.

Works Cited
Bordwell, David, Kristin and Thompson. Film Art: An introduction. Vol. 8. New York: McGraw-Hill, 1997.
Miyazaki, Hayao, Toshio Suzuki, Kirk Wise, Donald W. Ernst, John Lasseter, Cindy D. Hewitt, Donald H. Hewitt, Yasuyoshi Tokuma, Takeyoshi Matsushita, Seiichirō Ujiie, Yutaka Narita, Koji Hoshino, Banjiro Uemura, Hironori Aihara, Daveigh Chase, Suzanne Pleshette, Jason Marsden, Susan Egan, David O. Stiers, Lauren Holly, Michael Chiklis, John Ratzenberger, Tara Strong, Sherry Lynn, Mona Marshall, Candi Milo, Colleen O’Shaughnessy, Philip Proctor, Jim Ward, Joe Hisaishi, Wakako Kaku, Youmi Kimura, Masashi Andō, Kitarō Kōsaka, Megumi Kagawa, Yōji Takeshige, Takeshi Seyama, Linda Hoaglund, Jim Hubbert, and Norobu Yoshida. Spirited Away. , 2003.