Film critics differ on a working definition of mise en scène. The foremost issues are whether to include camera movement, film stock and sound.
Camera movement changes the way we see space and draws attention to itself; we split our attention between what is in the frame and how the camera transforms what we see. But sometimes camera movement is an important signifier, as when a director uses hand-held cameras to simulate the immediacy of the video journalist.
Filmstock is considered exterior to the scene, but again, in some movies, the type of film used is central to how we see things. For example, in La battaglia di Algeri (1966), director Gillo Pontecorvo used black-and-white film stock that would match the news footage taken in the 1950s.
Notice the use of the zoom lens, a standard tool of the photojournalist. It adds to the “authentic” look of the film.