Overview
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Mise en scène, in the literal sense, means "placing on stage", however, in film it means everything that the director puts in front of the camera. In the podcast, it is described as "a secret visual language hidden in movies", or a "visual shorthand". I interpret it as something more intense than that. I see mise en scène as being the singular visual language in film that comprises all other visual languages. Lighting, aspect ratio, blocking, setting, objects, color, actor movement, all of these are visual languages in their own right, but mise en scène is all of them together. I see mise en scène as a large umbrella term for other visual languages of a film.
The fixed frame of a movie screen affects the way a director shoots a particular object or scene in how the viewer can only see what is in the frame. Meaning that information can be omitted and hidden from the viewer by taking it out of the frame, or explicitly shown to the viewer by putting it into frame. The frame is the window the viewers look into to see the movie. Directors can adjust aspect ratio, masking, and frame geography to add more depth, specificity, and intent within their frame.
The main challenges presented by the constant size of the movie frame are often related to its fixed borders. Directors are restricted to showing everything within the limited space of the frame. This can make it difficult to present the feeling of a larger, more open world, and can force directors to choose and sacrifice what they might want to add to the frame depending on the space provided. Not only that, but the aspect ratio is essentially fixed within a scene or film, it is difficult to decide a feeling depicted by the aspect ratio that a director is willing to keep for an extended time.