The Role of Mise-en-Scène and Lighting in Creating Mystery and Enigma in David Fincher’s Crime Cinema: A Study of Gone Girl and The Girl with the Dragon Tattoo

Abstract

The objective of this study is to examine how lighting and mise-en-scène contribute to audience perception of mystery and spatial fear in two of David Fincher’s crime films. This quantitative survey-based study utilized a researcher-designed questionnaire consisting of 20 items across five constructs: direct lighting, indirect lighting, shadow intensity, spatial composition, and frame balance. Using Cochran’s formula, a sample of 384 participants was selected, all of whom had previously viewed both films. Data were collected using a five-point Likert scale and analyzed through descriptive statistics, Cronbach’s alpha reliability testing, exploratory factor analysis (EFA), Pearson correlation, and ANOVA using SPSS software. Results showed high reliability for all constructs (α = 0.81–0.87). Factor analysis confirmed four strong factors, supported by a KMO value of 0.873. Correlation tests revealed significant relationships between perceived spatial fear and shadow intensity, direct lighting, and spatial composition, while indirect lighting showed weaker associations. ANOVA indicated significant group differences across expertise areas for direct lighting and spatial composition, with architecture participants exhibiting higher sensitivity to these constructs. The findings indicate that controlled lighting, shadow intensity, and spatial architecture play critical roles in producing mysterious and enigmatic atmospheres in Fincher’s films, demonstrating that audience perception of fear and ambiguity is strongly shaped by lighting design and mise-en-scène.