The arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – is called mise-en-scène, a French term that means “placing on stage.” The frame and camerawork are also considered part of the mise-en-scène of a movie. In cinema, placing on the stage really means placing on the screen, and the director is in charge of deciding what goes where, when, and how. David A. Cook, in his book A History of Narrative Film , points out how a mise-en-scène is formed by all the elements that appear “within a shot itself, as opposed to the effects created by cutting.” In other words, if it’s on the screen and if it’s a physical object recorded by the camera, then it’s part of the mise-en-scène

Even though many professionals are involved in its creation, the director is the one who oversees the entire mise-en-scène and all of its elements. Not just that, but during the early stages of pre-production, the director or his AD sits down with set designers, prop masters, location managers, costume designers, and scenic artists to determine the look and feel intended.

In some instances, the mise-en- scène is designed to evoke emotions that permeate the whole movie. For example in the German expressionist film The Cabinet of Dr. Caligari (1920), distorted shapes and claustrophobic scenery are implemented to disturb the audience and enhance the horror.
Mike Nichols’ The Graduate (1967) has been praised by its amazing, colourful, and multi-layered