In film theory, mise-en-scène [mizA~sEn] refers to everything that is to appear before the camera and its arrangement -- sets, props, actors, costumes, camera movements and performances. The term was coined by early Frenchfilm critics and means literally "put into the scene" or "setting in scene." In auteur theory, less creative directors are sometimes disparagingly called "metteurs en scène".
German filmmaking in the 1920s excelled at conveying tone, meaning, and information through mise en scene. Perhaps the most famous example of this was The Cabinet of Dr. Caligari where the doctor's internal state of mind was represented in the sets and lighting.
It has also come to represent a style of conveying the information of a scene primarily through a single shot--often accompanied by camera movement. It is to be contrasted with multiple angles pieced together through editing.
External link
The Straight Dope: What do artsy film critics mean by "mise-en-scene"? (http://www.straightdope.com/classics/a1_372a.html)
Miseenscene is not simply the staging of the dramatic text as a repetition in time and space of the written text.
Miseenscene is not the stage equivalent of the dramatic text because it employs different signifying systems such as the corporeal, visual, aural, proxemic and kinesic systems that do not exist in the dramatic text.
With every new miseenscene, the text is placed in a situation of enunciation according to the new Social Context of its reception, which allows or facilitates a new analysis of the text and so on, ad finitum.
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