Generally, 3D is used in certain expressions such as 3D cinema and 3D TV. However, the exact term for these is ‘stereoscopy.’ As the prefix ‘stereo-’ implies, stereoscopy indicates a phenomenon that a left screen with horizontal parallax and a right screen with frame work simultaneously to our eyes, subsequently forming sense of depth and perspective. Mise-en-scène and montage have been known as two major codes to generate meanings and emotional effects in monocular movies, not in the stereoscopy. These codes are equally applied to binocular movies based on stereoscopy as well. Mse-en-scène refers to choice and placement of visual elements composing a scene, that is to say, meanings and esthetic effect caused by space organization based on a correlation between moving or still objects and cameras. On the contrary, montage refers to an effect appearing when cutting the space time of reality into shot unit and arranging those in order. In other words, montage is re-organized selectively or subjectively after the space time of reality are broken down while mise-en-scène preserves continuity of space time. Screen organization with a deep focus and maintenance of long-shot duration is not only effect, but also result of mise-en-scène. In terms of making movies, mise-en-scène and montage are codes which work eclectically. Subsequently, a reproducing mode or style appears contradictorily depending on choice or preference. The fact that mise-en-scène should be more considered than montage when making movies based on stereoscopy is a prerequisite and also result of this study. It becomes definite when contemplate the ultimate value of stereoscopy. The real life is 3-dimensional and continuative with respect to space time. Against this backdrop, it is contradictory to count on montage, not on mise-en-scène, when choosing stereoscopy for 3D movie. For montage which destroys 3-dimension and continuity of reality by breaking down and reorganizing space time offsets original values of stereoscopy which reproduce space time realistically. This paper aims to establish a touchstone for theories about stereoscopic 3D movie making, which are not specified or systematized yet, and to predict possibility and limits of stereoscopy in reproducing 3D reality by considering stereoscopic 3D movie making and mise-en-scène as a corresponding reproduction code.