The next component we are studying is Component 1b: US Film Since 2005. This section of the course entails two films of study, Winter’s Bone (Debra Granik, 2010), an independent film and No Country for Old Men (Joel and Ethan Coen, 2007), a mainstream film. Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two new specialist study areas – Ideology and Spectatorship. This component also involves a direct comparison between the two studied films, akin to Component 1a.
The next component we are studying is Component 1a: Hollywood 1930-1990. This section of the course entails two films of study, Casablanca (Michael Curtiz, 1942) and Bonnie and Clyde (Arthur Penn, 1967) . Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two specialist study areas – Auteurship and Context. This component also involves a direct comparison between the two studied films, unlike previous two-film components.
Being the french word for ‘author’, the concept of auteurship suggests the that each work of art is produced by a single artist alone. In concept, this auteur possesses full creative and artistic control over the film and thus, their ‘style’ becomes highly distinctive. Auteurs are often defined by specific reoccurring traits and techniques that appear throughout their body of work, placing their name above the film itself.
Context details the relevant cultural, historical, institutional, political, social, and technological background information surrounding the two films we will study.
The third component we are studying is Component 2c: Silent Cinema. This section of the course entails four films of study, each directed by Buster Keaton – a renowned silent filmmaker. These include One Week (1920), The Scarecrow (1920), The High Sign (1921) and Cops (1922). Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as one specialist study area – Realist vs Expressive filmmaking. This specialist area of study focuses on how the emergence of film as a new art form led to filmmakers around the world taking a variety of starkly juxtaposing approaches to filmmaking.
Throughout the divorce sequence of Sisters in Law, Kim Longinotto’s utilisation of digital technology has allowed her to have an indirect impact upon the result of the divorce trial displayed in this sequence, despite the underlying aim to produce a fully unobtrusive observational documentary.
The first portion of the sequence is made up of a long take, in which a wide shot displays children playing football – one of many examples of domestic life presented throughout the documentary within the village of Kumba. Due to the fact that a handheld digital camera is able to record everything as storage is extremely cheap, Longinotto is able to acquire this B-roll footage and select appropriate clips later.
Within the courtroom, it becomes apparent that Longinotto has chosen to utilise a multi-camera setup once again. Due to the cameras being cheap and easy to use, she is able to capture good coverage of the scene. She can also, if needed, fluidly move out of the way as to not interrupt the proceedings, due to the portability of the camera. In this case, one camera is positioned in the corner of the room, whereas the other is stably positioned behind the couple, framing a two-shot.
The camera in the corner of the room continually films in a spontaneous manner – Longinotto pans, zooms and tilts on the fly as she deems appropriate. The camera itself works well in the dimly lit courtroom, meaning that no artificial lights are required, making the process much more unobtrusive. Due to cheap and limitless storage, Longinotto is once again able to film everything with one long take, alongside the fact that the laborious and conspicuous process of swapping film cartridges is not required.
Towards the end of the trial, the court behave in a manner which indicates to the viewer that Longinotto’s presence has been forgotten. Asserting their dominance over Amina, stating that “what we say must be”, Longinotto decides to make an active decision as she realises that Amina is in danger. She chooses to countermand the underlying mode of the film, an observational documentary, by actively stepping closer towards the court with the camera in hand. Afterwards, one of the judges jokingly remarks that “he’ll split you open” to Amina, initiating a change in opinion. Through this, Longinotto has indirectly forced the court to change their originally oppressive ruling.
Throughout the Manka sequence of Sisters in Law, Kim Longinotto’s utilisation of digital technology has allowed her to create a successfully unobtrusive observational documentary.
Firstly, even Manka herself is not fazed by the camera’s presence, demonstrating the subtlety and unobtrusiveness of a small digital camera. Due to the cameras being relatively cheap, Longinotto is once again able to utilise a multi-camera setup during this scene. Alongside this, Longinotto does not need to worry about running out of film, as digital storage is extremely cheap and almost limitless.
The lightweight nature of the camera allows Longinotto to conduct an extremely reactive style of filmmaking, letting her to swiftly move the camera between the two sides of the law. For example, when Manka’s aunt appears later in the sequence, Longinotto is able to initially zoom in on a closeup of the her, and then later zoom out to reveal a three-shot: displaying the aunt, Stephen and Manka. In addition, she is able to ‘favourite’ specific takes as she is filming, allowing her to begin the editing process earlier. Longinotto’s use of long takes makes the documentary feel more authentic, despite the implementation of light editing, used to compress events. Filming each and every event allows her to select the most interesting moments during this process, such as the aunt’s breakdown during this sequence.
The digital camera is able to exhibit the scars on Manka’s back despite the dim lighting of the room – the brutality of the poignant moment is not lost due to digital technology. Finally, Vera’s demeanour is extremely authentic, assuming an austere disposition throughout the sequence. This demonstrates to the viewer that Longinotto’s camera has successfully remained unobtrusive.
The camera is able to discern the scars on Manka’s back
Throughout the opening sequence of Sisters in Law, Kim Longinotto’s utilisation of digital technology has allowed her to create a successfully unobtrusive observational documentary.
The sequence opens on an establishing wide shot of the outskirts of Kumba. Due to the fact that this is filmed using a handheld camera out of a car window, Longinotto is able to make use of automatic digital stabilisation. In effect, this allows the shot to be of a high quality, despite the fact that it was filmed in a moving vehicle. In addition to this, the long take exhibits Longinotto’s journey as she gets closer and closer to Kumba. It is likely that she filmed out of the window for a long period of time, due to digital storage being cheap and practically unlimited. Afterwards, the take was likely edited together in post-production to demonstrate her journey.
Within the village, a number of wide shots display the rural vistas of Kumba. The foreground and background of each shot is in perfect focus, reinforcing the fact that no professional cinematographic skills are required to operate a digital camera. Due to Longinotto’s ability to film everything she encounters, she is able to select appropriate footage in post-production – an example of this can be seen when a man on a bicycle smiles at the camera.
As Longinotto cuts to the office, the portability of the digital camera becomes apparent. Due to the small stature of the camera, Longinotto is able to work in the crowded office. She is able to reposition the camera through zooming, panning and tilting – rather than having to physically move an analogue camera. The fluid camera movements continue to follow the action throughout the film, in an unobtrusive manner. Due to the fact that digital cameras are able to capture footage well in low lighting, no artificial lights are required to be used, preserving the credibility of the film. Longinotto is able to merely film the unfolding events from the corner of the room and the footage will be adequate for a cinema screen. Alongside this, no external sound recorder or boom pole is required to record the sound of the environment. Instead, all the sound is captured and recorded with the camera itself and the requirement to synchronise sound in post-production is nullified – making the editing process much more convenient
Due to cameras themselves being cheap, Longinotto can afford to make use of a multi-camera setup which, in effect, allows her to capture two simultaneously occurring events. This can be seen when a closeup of the wife is overlayed with the audio of a separate clip. In addition to this, a subtle digital camera is much less imposing than a staggering analogue camera, which requires setup. This allows for a much more unobtrusive documentary, as the subjects are bound to act more naturally in the presence of a more unnoticeable camera. In order to preserve authenticity, Longinotto is able to utilise the zoom and autofocus functionalities respectively, which are available on a digital camera. Because of this, the closeup of Vera goes into focus after a brief moment. This further democratises documentary filmmaking, due to zooming being an automatic and intuitive process.
A non-directional microphone is also built into the camera, which allows Longinotto to record all audio at once – albeit at the cost of hearing some voices louder in the mix than others. Finally, due to the fact that Longinotto is able to capture every moment with her digital camera, a number of revealing moments are captured and make it into the final cut. A clear example of this can be seen in the first sequence when Vera shouts “that’s what you men do!” At the husband.
How far does your chosen documentary demonstrate elements of one or more filmmaker’s theories you have studied?
Autumn 2020
Essay plan
Introduction: Defined as a film that uses pictures or interviews with people involved in real events to provide a factual report on a particular subject, it can be difficult to pinpoint what a documentary exactly is. Bill Nichols, a documentary theorist, has argued that all films fall into one of two categories of documentary – being wish fulfilment and social representation. The latter of which can be further categorised into one of Nichols’ six ‘modes’ of documentary, including: expository, observational, participatory, performative, poetic and reflexive.
Even still, the vast majority of documentaries blur the line between modes and can be easily argued to be categorised under more than one. A clear example of this is The War Game (Peter Watkins, 1965) which can be classified in particular as an observational or participatory documentary. These filmmakers such as the aforementioned Peter Watkins, as well as those such as Michael Moore and Nick Brookfield, are attempting to create a wholly unique and intriguing documentary. Therefore, their aims involve preventing their films from being categorised under a flawed, preconceived system created by a single person.
Section 1: Introduce Kim Longinotto and her style. Reference her ideologies and theories.
Observational, Cinema verite, “would like to watch herself”, “feels very uncomfortable asking people to do things”, panning over cuts, Aaton Super-16 camera over digital technology (acts as the cinematographer and camera operator).
Section 2: Introduce Sisters in Law.
Handheld, long-takes, opening score is the only non-diegetic sound, temporal editing, tilts, subtitles, editing compresses events, zooming (Vera and Manka), priorities authenticity over aesthetics, two shots separates the law, reactionary shots, domestic life separations, over-the-shoulder (Amina), gender inequality (observational documentary is successful), playing up to the camera (aunt and council)
Conclusion
Essay – Version 1
Defined as a film that uses pictures or interviews with people involved in real events to provide a factual report on a particular subject, it can be difficult to pinpoint what a documentary exactly is. Bill Nichols, a documentary theorist, has argued that all films fall into one of two categories of documentary: wish fulfilment and social representation. The latter of which can be further categorised into one of Nichols’ six ‘modes’ of documentary, including: expository, observational, participatory, performative, poetic and reflexive.
Even still, the vast majority of documentaries blur the line between modes and can be easily argued to be categorised under more than one. A clear example of this is The War Game (Peter Watkins, 1965) which can be classified in particular as an observational or participatory documentary. These filmmakers such as the aforementioned Peter Watkins, as well as those such as Michael Moore and Nick Broomfield, are attempting to create a wholly unique and intriguing documentary. Therefore, their aims involve preventing their films from being categorised under a flawed, preconceived system created by a single person.
Despite this, a number of documentarians’ work can indeed be categorised under a single mode of documentary, one example being Kim Longinotto. Known for making observational documentaries that spread awareness of discriminatory oppression towards women, Longinotto has stated that “real life is often more surprising and extraordinary than we can imagine”. Incoporating the cinéma vérité style of filmmaking into her films, Longinotto attempts to create films that she “would like to watch” herself. Her films are characterised by an authentic, uninterrupted portrayal of events which supports her ideology of believing that films should not explicitly state what the viewer should think and feel over the course of the film. This juxtaposes the styles of documentarians such as Michael Moore, who establishes an extremely noticeable and cynical presence throughout each of his films.
Throughout her films, Longinotto prefers to pan the camera rather than use cuts when a new person begins to talk. This places the viewer within the “eyes” of the camera and establishes a much more authentic and apparent perspective. Although she can never be seen in her documentaries, Longinotto acts as the cinematographer and camera operator for each of her films. Because of this, she shoots each of her films with an Aaton Super-16 model stating that she “loves the steadiness” of it. Often employing only one other co-director, it is important for her to film with a camera that she is extremely familiar and comfortable with.
One film that best demonstrates the filmmaking theories of Kim Longinotto is Sisters in Law (2005). Throughout the film, Longinotto employs the key elements of film form in a wide variety of ways in order to produce an unobtrusive and authentic observational documentary.
Firstly, Longinotto employs the use of her aforementioned Aaton Super-16 handheld camera throughout the duration of the film. This can initially be seen in the opening shot of the film – a wide shot out of a car window that exhibits the rural, poverty-stricken landscape of Kumba, Cameroon. The use of a handheld camera without a tripod is perhaps used due to the fact that it is less conspicuous than a tripod. In theory, the subjects’ actions portrayed throughout the documentary will be more genuine because of this, demonstrating Longinotto’s theory of authenticity. Throughout this long take, a non-diegetic score is present in the mix – a plucked acoustic guitar that evokes a sense of pastoral imagery. After the score gradually lowers in the mix, the diegetic ambience of Kumba enters.
From this point forward, every sound in the mix is both diegetic and recorded on set. Alongside this, the lighting is all naturally captured and is merely a reflection of reality. All of the mise-en-scène found within each scene is naturally occurring in order to display an entirely authentic depiction of the scenarios. Alongside this, no contextual information is explicitly stated to the viewer – supporting Longinotto’s aforementioned statement about implicit information. After an apt use of temporal editing to demonstrate the journey into the village, Longinotto employs her first of many uses of camera panning. Acting as the proxy for the viewer, the pan exhibits the view of the rural setting. Alongside this, panning is used to focus on each subject as they begin to talk, replicating the notion of eyes following a conversation.
Within the village, Longinotto utilises a number of spontaneous camera movements – tracking subjects by tilting the camera up and down. Scenes are mostly captured with a two camera setup, operated by Longinotto herself, as well as co-director Florence Ayisi. Thus, each scenario can be captured by two opposing angles and cut together by Longinotto in post-production. During a court meeting between Vera Ngassa (the state prosecutor) and a couple, Longinotto employs the zoom feature in real time to focus in on a closeup of Vera. Due to autofocus taking effect, the footage briefly goes out of focus before refocusing on the closeup. This demonstrates to us Longinotto’s ideological priority of accuracy and authenticity over aesthetic perfection.
Each legal case is interspersed with brief, ambient scenes which display domestic life within the village. Throughout these, Longinotto will typically film in a single location and capture each and every event that occurs, even seemingly trivial scenarios. In effect, this implicitly contextualises the setting and cultural characteristics of the Cameroonian village of Kumba. This demonstrates her theory of capturing “real life” throughout her unassuming style of filmmaking.
Zooms are often used throughout the film, another example being during the Manka Sequence in which Longinotto zooms in on a young girl’s wounds. Through this, a high-angle closeup is created which exhibits the scars and wounds she possesses. This subtle example of camera manipulation instills empathy within the viewer and reinforces Manka’s vulnerability. Longinotto also separates the two sides of the law by cutting between a three-shot of Stephen, Manka and the aunt, and a mid-closeup of Vera which is captured by the second camera. This apt use of editing is noticeable to the viewer, but unobtrusive to the portrayal of events. During the confrontation, the camera also occasionally focuses on the reaction of the subject being spoken to, rather than the person speaking. Through this reactionary shot equivalent, the viewer is able to soak in each of the subject’s live reactions to the events that occur. During the aunt’s panic-stricken rebuttal, Longinotto utilises a closeup on her face. Through this, it becomes clear to the viewer that the aunt is playing up to the camera. Her exaggerated crocodile tears and frantic justifications purports a sense of vulnerability, but the viewer is likely able to see through this due to Longinotto’s intelligent camerawork.
This instance of the camera having a direct impact on events can also be seen within the Divorce Sequence. After the divorce is granted to Amina by the council who almost exiled her from the country, the man now noticeably plays up to the camera, stating that “that’s what Cameroon wants! We don’t want problems”. Vera’s prior empowerment over the abusive aunt juxtaposed with the oppression faced by Amina within this sequence epitomises the different roles in society held by women that Longinotto endeavours to bring to light.
In conclusion, Kim Longinotto’s filmmaking theories, employed throughout Sisters in Law, can be characterised at its core, by her proactive avoidance of intervention which is typically found throughout other documentaries. For example, if Nick Broomfield or Louis Theroux had made this film, their respective strong characters would be felt across the duration of the film. In the case of Longinotto, Sisters in Law’s approach allows for a much more subtle and thoughtful viewing experience, in which the viewer is able to draw their own conclusions through Longinotto’s implicit manner of filmmaking.
Essay – Version 2
Defined as a film that uses pictures or interviews with people involved in real events to provide a factual report on a particular subject, it can be difficult to pinpoint what a documentary exactly is. Documentary theorist Bill Nichols’ six ‘modes’ of documentary can be used to categorise each and every documentary under a particular division.
Even still, the vast majority of documentaries blur the line between modes. A clear example of this is The War Game (Peter Watkins, 1965) which could be classified under more than one mode. This is because Watkins and other documentarians such as Michael Moore and Nick Broomfield are attempting to create a wholly unique and intriguing documentary. Their aims involve preventing their films from being categorised under a flawed and narrow-minded system.
Despite this, a number of documentarians’ work can indeed be categorised under a single mode of documentary, one example being Kim Longinotto. Known for making observational documentaries that spread awareness of discriminatory oppression towards women, Longinotto has stated that “real life is often more surprising and extraordinary than we can imagine”. Incoporating the cinéma vérité style of filmmaking into her films, Longinotto attempts to create films that she “would like to watch” herself. Her films are characterised by an uninterrupted portrayal of events which supports her ideology of believing that films should not explicitly state what the viewer should think and feel.
Throughout her films, Longinotto prefers to pan the camera rather than use cuts when a new person begins to talk. This places the viewer within the “eyes” of the camera and establishes a much more authentic and apparent perspective. Although she can never be seen in her documentaries, Longinotto acts as the cinematographer and camera operator for each of her films – often employing another co-director.
One film that best demonstrates the filmmaking theories of Kim Longinotto is Sisters in Law (2005). Throughout the film, Longinotto employs the key elements of film form in a wide variety of ways in order to produce an unobtrusive and authentic observational documentary.
Firstly, Longinotto employs the use of a handheld camera throughout the duration of the film. This can initially be seen in the opening shot of the film – a wide shot out of a car window that exhibits the rural, poverty-stricken landscape of Kumba, Cameroon. The use of a handheld camera without a tripod is perhaps used due to the fact that it is less conspicuous than a tripod. In theory, the subjects’ actions portrayed throughout the documentary will be more genuine because of this, demonstrating Longinotto’s theory of authenticity. Throughout this long take, a non-diegetic score is present in the mix – a plucked acoustic guitar that evokes a sense of pastoral imagery. After the score gradually lowers in the mix, the diegetic ambience of Kumba enters.
From this point forward, every sound in the mix is both diegetic and recorded on set. Alongside this, the lighting is all naturally captured and is merely a reflection of reality. All of the mise-en-scène found within each scene is naturally occurring in order to display an entirely authentic depiction of the scenarios. Alongside this, no contextual information is explicitly stated to the viewer – supporting Longinotto’s aforementioned statement about implicit information. After an apt use of temporal editing to demonstrate the journey into the village, Longinotto employs her first of many uses of camera panning. Acting as the proxy for the viewer, the pan exhibits the view of the rural setting. Alongside this, panning is used to focus on each subject as they begin to talk, replicating the notion of eyes following a conversation.
Within the village, Longinotto utilises a number of spontaneous camera movements – tracking subjects by tilting the camera up and down. Scenes are mostly captured with a two camera setup, operated by Longinotto herself, as well as co-director Florence Ayisi. Thus, each scenario can be captured by two opposing angles and cut together by Longinotto in post-production. During a court meeting between Vera Ngassa (the state prosecutor) and a couple, Longinotto employs the zoom feature in real time to focus in on a closeup of Vera. Due to autofocus taking effect, the footage briefly goes out of focus before refocusing on the closeup. This demonstrates to us Longinotto’s ideological priority of accuracy and authenticity over aesthetic perfection.
Each legal case is interspersed with brief, ambient scenes which display domestic life within the village. Throughout these, Longinotto will typically film in a single location and capture each and every event that occurs, even seemingly trivial scenarios. In effect, this implicitly contextualises the setting and cultural characteristics of the Cameroonian village of Kumba. This demonstrates her theory of capturing “real life” throughout her unassuming style of filmmaking.
Zooms are often used throughout the film, another example being during the Manka Sequence in which Longinotto zooms in on a young girl’s wounds. Through this, a high-angle closeup is created which exhibits the scars and wounds she possesses. This subtle example of camera manipulation instills empathy within the viewer and reinforces Manka’s vulnerability. Longinotto also separates the two sides of the law by cutting between a three-shot of Stephen, Manka and the aunt, and a mid-closeup of Vera which is captured by the second camera. This apt use of editing is noticeable to the viewer, but unobtrusive to the portrayal of events. During the confrontation, the camera also occasionally focuses on the reaction of the subject being spoken to, rather than the person speaking. Through this reactionary shot equivalent, the viewer is able to soak in each of the subject’s live reactions to the events that occur. During the aunt’s panic-stricken rebuttal, Longinotto utilises a closeup on her face. Through this, it becomes clear to the viewer that the aunt is playing up to the camera. Her exaggerated crocodile tears and frantic justifications purports a sense of vulnerability, but the viewer is likely able to see through this due to Longinotto’s intelligent camerawork.
This instance of the camera having a direct impact on events can also be seen within the Divorce Sequence. After the divorce is granted to Amina by the council who almost exiled her from the country, the man now noticeably plays up to the camera, stating that “that’s what Cameroon wants! We don’t want problems”. Vera’s prior empowerment over the abusive aunt juxtaposed with the oppression faced by Amina within this sequence epitomises the different roles in society held by women that Longinotto endeavours to bring to light.
In conclusion, Kim Longinotto’s filmmaking theories, employed throughout Sisters in Law, can be characterised at its core, by her proactive avoidance of intervention which is typically found throughout other documentaries. For example, if Nick Broomfield or Louis Theroux had made this film, their respective strong characters would be felt across the duration of the film. In the case of Longinotto, Sisters in Law’s approach allows for a much more subtle and thoughtful viewing experience, in which the viewer is able to draw their own conclusions through Longinotto’s implicit manner of filmmaking.
We were tasked to analyse the “Divorce Sequence” from Sisters in Law (Kim Longinotto, 2005). Throughout the sequence, Longinotto once again employs the key elements of film form in a variety of naturalistic and unobtrusive ways.
The sequence opens on a wide establishing shot that exhibits a rural vista of Kumba. This exhibition of domestic life within the village is once again utilised by Longinotto to separate the court cases from each other in a subtle and authentic manner. We then cut to a divorce procedure within a small, densely packed room which is framed claustrophobically. By physically moving out of the way, Longinotto attempts to remain as unobtrusive as possible. She does not want the camera’s presence to influence the procedure in any way.
Once again, the two sides of the law are separated by two different two-shots, one exhibiting the court and one displaying the couple. The court initially addresses Amina, the woman seeking divorce, in a commanding and austere manner whereas the man is spoken to politely and formally. After Amina states that she has received legal advice, the council uses harsh phrases such as “you have to do as we say!” and “what we say must be!”, the prevalent gender inequality present throughout the country is reinforced. Longinotto accentuates this hostility by frequently cutting between the two two-shots and additionally implementing the use of an over-the-shoulder shot. Through this, the oppression that Longinotto is seeking to bring to light is epitomised and Amina’s vulnerable position is highlighted. Due to this behaviour, we can infer that at this point, the court is acting in a ‘normal’ manner and Longinotto seems to have no impact on the events unfolding. Because of this, Longinotto’s aims are ultimately achieved, and the observational documentary has been successful.
After the court begin to realise they are on camera, the case takes a complete U-turn. Firstly, the men acknowledge the danger Amina is facing in a light-hearted manner by exclaiming that the man will “split [her] open!’. The divorce is then granted to Amina, despite almost exiling her from the village moments earlier. The man now noticeably plays up to the camera, stating that “that’s what Cameroon wants! We don’t want problems”. This demonstrates that the camera has influenced the outcome of the trial, perhaps due to the fact that Longinotto seems to have stepped closer to the subjects. Finally, a questionably celebratory atmosphere is present within the council, arousing suspicion within the viewer due to the stark juxtaposition of events in such a short span of time.
We were tasked to analyse the “Manka Sequence” from Sisters in Law (Kim Longinotto, 2005). Throughout the sequence, Longinotto once again employs the key elements in a variety of naturalistic and unobtrusive ways.
Once again making apt use of her handheld camera, Longinotto continues to employ panning between each of the subjects depicted – in this case being Manka, Stephen and Vera. Each sound heard throughout the sequence is both diegetic and recorded on location. As Stephen proceeds to detail the brutality of Manka’s wounds, Longinotto zooms into the young girl. Through this, a closeup is created which exhibits the scars and wounds Manka possesses as a result of her aunt’s abusive behaviour. A high angle shot is then implemented – looking down onto Manka. This subtle example of camera manipulation instills empathy within the viewer and is further accentuated when Manka looks up towards the camera.
As the camera zooms out, Manka and Stephen are framed in a two-shot which portrays a significant difference in figure between the two. Manka’s frailty and destitution is reinforced through the use of this carefully constructed frame. Longinotto then utilises another example of temporal editing, in order to smoothly transition the footage to the following day which appropriately compresses the events presented.
During the next day, the aunt, Stephen and Manka a framed together in a single three-shot. We cut between this and a mid-closeup of Vera, captured by the second camera. Through this use of editing, the separation between the two sides of the law are subtly established. In addition, the three-shot allows the viewer to take notice of Stephen’s paternal-like protection of Manka as well as the aunt’s frantic attempts to justify herself. In addition, Stephen occasionally glances into the camera which demonstrates his awareness of the situation and reinforces his protective nature. During the confrontation, the camera occasionally focuses on the reaction of the subject being spoken to. Through this reactionary shot equivalent, the viewer is able to soak in each of the subject’s live reactions to the events that occur.
During the aunt’s panic-stricken rebuttal, Longinotto utilises a closeup on her face. Through this, it becomes clear to the viewer that the aunt is playing up to the camera. Her exaggerated crocodile tears and frantic justifications purports a sense of vulnerability, but the viewer is likely able to see through this due to Longinotto’s intelligent camerawork. She attempts to hide nothing from the viewer and merely display an accurate portrayal of events, despite the aunt’s superficial emotions. This is further reinforced when we return to the three-shot, during which Manka’s stoic reaction to her aunt’s utterly distraught rationalisation for her abusive actions. This shot further displays Manka as an innocent and vulnerable victim.
Throughout the opening sequence of Sisters in Law, Kim Longinotto employs the key elements of film form in a wide variety of ways in order to produce an unobtrusive observational documentary.
Firstly, Longinotto employs the use of a portable handheld camera throughout the duration of the film. The sequence opens with a wide shot out of a car window that exhibits the rural, poverty-stricken landscape. It could be argued that Longinotto has chosen to use a smaller, more portable camera due to the fact that it is less conspicuous than a tripod. Therefore, the subjects’ actions portrayed throughout the documentary will be more genuine in theory. The vistas are lush and the weather is overcast – perhaps challenging the viewer’s preconceived notions of West Africa. Throughout this long take, a non-diegetic score is present in the mix – a plucked acoustic guitar that evokes a sense of pastoral imagery. As the score gradually lowers in the mix, the diegetic ambient street noise of Kumba enters. From this point forward, every sound in the mix is both diegetic and recorded on set. Alongside this, the lighting is all naturally captured and is merely a reflection of reality. All of the mise-en-scène found within each scene is naturally occurring in order to display an entirely authentic depiction of the scenarios. It is also important to make note of the fact that no contextual information is explicitly stated to the viewer.
As Longinotto travels further into the village, it becomes clear that an example of temporal editing is implemented. Longinotto’s use of hard cuts exhibit the passing of time as the village becomes ever closer. As she reaches her destination, Longinotto employs her first of many uses of camera panning – a typically unorthodox technique within filmmaking. In the case of Sisters in Law, panning is used in order to recreate the feeling of a head turning to take in its surroundings. Through this, the camera acts as the proxy for the viewer over the course of the film.
Within the village, Longinotto captures the actions of the documentary subjects in a variety of ways. She utilises a number of spontaneous camera movements – tracking people’s movements by tilting up and down. Alongside this, when a person starts speaking, Longinotto will usually pan the camera in order to focus upon them, reminiscent of eyes following a conversation. Scenes are mostly captured with a two camera setup, operated by Kim Longinotto herself, as well as co-director Florence Ayisi. Through this, each situation can be aptly captured by two opposite angles – Longinotto later cutting between the footage appropriately.
The residents of Kumba mostly speak in a form of Pidgin English. This involves the use of fragmented English phrases which are interspersed with a multitude of African tongues. Due to this, almost all of the events portrayed are accompanied by English subtitles. As we are introduced to Vera Ngassa, the state prosecutor, a subtle title card displays her name – a rare example of explicit information provided to the viewer. The conversation between the prosecutor and the couple ensues, during which Longinotto employs the zoom feature in real time to focus in on a closeup of Vera. Due to autofocus taking effect, the footage briefly goes out of focus before refocusing on the closeup. This demonstrates to us Longinotto’s priority of accuracy and authenticity over aesthetic perfection in the case of this film.
Throughout the sequence, editing is visible and present – but unobtrusive. Used in order to break up the frequent long takes which exhibit the passing of time, Longinotto’s use of editing acts as a compression of events rather than a manipulation. It is clear to see that in the example of this case, the woman reporting her abusive relationship is acting genuinely. She takes no notice of the camera’s presence and her sincere demeanour illustrates that she is exclusively concerned with her serious legal matter. In addition to this, Vera Ngassa’s disposition is strict, impartial and austere. This aids Longinotto’s aim of presenting female strength and empowerment within an oppressed and poverty-stricken environment. Finally, it is important to make note of the fact that each legal case is interspersed with brief, ambient scenes which display domestic life within the village. Throughout these, Longinotto will typically film in a single location and capture each and every event that occurs, even seemingly trivial scenarios. In effect, this contextualises the setting and cultural characteristics of the Cameroonian village of Kumba.
The second component we are studying is Component 2b: Documentary Film. This section of the course entails one film of study, being Sisters in Law (Kim Longinotto, 2005). Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two specialist study areas. These include critical debates, particularly discussing the use of digital technology within documentaries, as well as examples of filmmakers’ theories, such as the ideologies of Bill Nichols.
How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020
Essay plan
Introduction:
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance.
Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.
Cinematography:
Young Romina (frame within frame), various two-shots and long shots of well-dressed guests,
Single shot tracks couple, centrally framed Romina, photo frame, pushes into Romina’s changing expression, zoom in on Lourdes, Romina isolated in frame (harsh lighting), mirror shot
Focus pulls, centrally framed imposing shot
Tight focus on couple, shallow depth of field, shot/reverse shots (unsynchronised), Dutch angle
POV shot of distraught guests, unflattering low-angle, handheld camera, birds-eye-view
Low-angle of Romina (upper hand), wide shot of chef, handheld camera displays unhinged guests, two-shots create desperation
Sound:
Titanium
Ringing phone, dialogue, breathing
Blue Danube juxtaposes Romina’s state of mind, rises as they touch hands
Lighting and wind (pathetic fallacy),
Dramatic score, exclusive diegetic sound later on, gunshot tease
Mise-en-scène:
Red curtain, stereotypical bride and groom outfit, immaculate hair, scruffy Ariel
Lourdes’ dress, Romina disheveled appearance
Green lighting, pathetic fallacy
Romina at most disheveled, blood on dress
Hollow motions, removal of hair extension
Editing:
Parallel editing (couple face opposite directions)
Longer focus on Romina
Shot/reverse shot between Romina and chef, glance object, alternating edit, cross cutting
Performance:
Superficial happiness, over-zealousness foreshadows infidelity, artificial friendly gestures between guests
Women scream, men act boisterously, Ariel looks at camera
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance.
Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.
The sequence begins with a projected closeup of a young Romina, creating a centrally positioned frame within a frame. This establishes Romina as the central protagonist and subtly focuses the viewer‘s attention onto her throughout the duration of the tale. Afterwards, we cut to a two shot of a wealthy couple at a table, displaying the light-heartedness of the event and reinforcing the viewer’s expectations of an opulent wedding. The diegetic compiled score, Titanium, further lightens the mood and pulsates throughout the reception. Being representative of strength and overcoming hardships, the carefully selected song choice ironically foreshadows Romina’s unpredictable actions. This ultimately challenges the viewer’s preconceived expectations of a grand wedding.
Romina and Ariel enter the reception through theatrical red curtain, which subtly suggests to the viewer that their relationship is merely a façade – challenging their expectations. Romina’s current purity is represented by a stereotypical white wedding dress and immaculate, whereas Ariel’s uncaring demeanour is represented through his scruffy, unshaven appearance. This perhaps reinforces the viewer’s expectations of a wedding being a ‘more feminine’ event.
As a single tracking shot follows the couple backwards, Romina is centrally framed which reinforces her as the protagonist. During this, the couple put on an extremely over-zealous façade by smiling and waving at each of the affluent guests they pass by. This suggests and foreshadows the couple’s infidelity towards each other, challenging the viewer’s expectations. As the two separate to join their respective friends and families, an example of parallel editing is implemented, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits. During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously, which reinforces the viewer’s expectations of male and female stereotypes. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.
We then cut to a wide shot of the guests framed like a photo, during which each of the guests smile ostensibly – suggesting that no one truly wishes to attend. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the superficiality the wedding represents.
As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom into the unknown woman as Ariel leans over to flirtatiously converse with Lourdes – foreshadowing their secret relationship. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Lourdes wears a black dress and has a star tattoo, attributing a sense of elegance and mystery to her character. As Romina’s heavy breathing rises in the mix, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. This challenges the viewer’s expectations of what typically occurs at a wedding and raises the tension of the scene.
As Ariel and Romina begin to dance, the camera remains tightly focused on the couple in order to keep the viewer’s attention focused exclusively on the couple. The depth of field is extremely shallow to reinforce this. A sequence of shot/reverse shots occur as one person reacts to what the other is saying, informing the viewer of their respective state of minds. We also spend a longer amount of time focused on Romina, positioning the viewer to empathise with the protagonist to a higher degree. The implementation of a typically romantic complied score, The Blue Danube, ironically juxtaposes Romina’s chaotic state of mind, rising in the mix as the couple touches hands. After the heated conversation concludes, a Dutch angle is used to display Romina angrily storming off – signifying that her world is falling apart. In response to this, Ariel’s eyes dart around the room which implies that he is still attempting to maintain his reputable persona – challenging the viewer’s prior expectation of him as an uncaring groom.
Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests, demonstrating their unfiltered emotions. As Romina heads for the roof, an unflattering low-angle shot of Romina tracks her unpredictable movements, exemplifying her anxiety. Her appearance is extremely disheveled and her makeup is ruined, reinforcing her raw emotions. A handheld camera is also used to illustrate Ariel’s distress as he pursues her.
As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. The pace of editing proceeds to slow to a halt as the chef offers his advice to Romina, incorporating a shot/reverse shot sequence between the pair. Ariel continues to run up the stairs to pursue Romina, during which the walls are illuminated with green lighting which is representative of the characters’ jealousy towards one another. During the confrontation, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel. Romina’s unhinged anger is further accentuated by an edit that alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel.
Afterwards, a low-angle shot of Romina displays her striding into the ballroom as a dramatic score emphatically enters the mix, informing the viewer that she has gained the upper hand. She remains artificially calm in order to maintain her façade of perfection. Alongside this, a wide shot demonstrates the chef’s humiliation as word of the rooftop events begin to spread. Here, Romina is at her most disheveled – her appearance is fully unhinged and the blood on her dress symbolises that her prior purity is eradicated. The removal of her hair extension represents her final stage of degeneration, challenging the viewer’s initial expectation of her. Finally, the sound becomes exclusively diegetic to underpin the sincerity of Ariel’s consoling words towards Romina. He speaks transparently and genuinely, indicating to the viewer that his persona of perfection has finally been abolished.
In conclusion, Damián Szifron aptly utilises the key elements of film form throughout the wedding sequence in order to represent the characters in ways that both challenge and reinforce the viewer’s preconceived expectations. These include the presentation of stereotypical gender roles as well as the exposure of the superficial façades the characters possess.
Discuss how aesthetics are used to communicate themes in your two chosen films. Make detailed reference to particular sequences in your answer.
Summer 2019
Essay plan
Introduction:
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance. The aesthetic of my chosen sequence, The Wedding, is one of opulence and superficiality. Szifron illustrates this to the viewer through a wide variety of techniques, aptly incorporating the key elements of film form to communicate the aforementioned themes.
Sequence: Wedding Sequence
Cinematography:
Various shots of guests (two-shot, crabbing), long shot displays chandeliers, handheld camera, theatrical entryway
Enacting motions of wedding, removal of hair extension
Editing:
Slideshow cut to beat, parallel editing (opposing directions)
Pace of editing quickens, fake camera interface, lower quality stock
Jump cuts, door matches end of score, parallel editing
Slow pace during roof scene, glance object on shoe, alternating edit during anger, cross cutting
Essay – Version 1
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, superficiality and danger. The aesthetic of my chosen sequence, The Wedding, is one of opulence and artifice. Szifron illustrates this to the viewer through a wide variety of techniques, aptly incorporating the key elements of film form to communicate the aforementioned themes.
The opening shot of the sequence displays a projected closeup image of Romina with a red background, signifying the later danger and peril of the wedding. The diegetic compiled score (Titanium) lightens the mood of the wedding and persistently pulsates throughout the reception, matching the speed of the slideshow. The song is representative of strength and overcoming hardships, ironically foreshadowing the later cathartic events of the wedding. The pace of editing quickens as the excitement builds towards the chorus of the song, with the frequency of cuts increasing. The camera then cuts to various two shots and crab shots of a multitude of wealthy guests enjoying themselves, reinforcing the opulent atmosphere the wedding presents to the viewer.
Throughout this, a wide variety of luxurious objects can be seen in the frame. These include flashing lights, smoke machines as well as an array of disco balls and golden chandeliers – all of which purport a sense of superficiality. The bride and groom enter the reception from behind a theatrical red curtain, suggesting that their relationship is merely a façade which reinforces the underlying theme of artificiality. Romina sports a stereotypically designed white wedding dress and veil, symbolising her current purity. Her hair is is also meticulously immaculate – both of these physical aspects become increasingly unkempt as the intensity of the situation increases. Conversely, Ariel’s appearance is relatively scruffy – he is unshaven on his wedding day, implying to the viewer that the wedding is unimportant to him.
A single tracking shot is used to follow the movements of the couple backwards, establishing them as the centre of the viewer’s attention. In addition to this, the camera begins to joyfully glide as the couple begins to dance, keeping Romina centrally framed and reinforcing the luxurious aesthetic of the wedding. Titanium is then interrupted by a live ensemble playing traditional, upbeat music in order to appropriately accompany the energetic atmosphere of the reception. The use of a multitude of cameras to focus on closeups of the instruments emphasises the superficially jovial atmosphere of the wedding. To further reinforce this, a fake camera interface is placed over the screen in tandem with a lower quality film stock in order to purport a sense of authenticity.
As Romina notices a unknown woman within the reception, the camera proceeds to zoom into Lourdes, the mysterious woman. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Lourdes wears a black dress and has a star tattoo – this distinctively elegant appearance hints to the viewer that she holds a great deal of importance to the story. Romina then becomes isolated in the frame as the lighting is harshly distributed upon her, reflecting her uncertain state of mind. To further reinforce this, the camera proceeds to track Romina, coming to rest on a mirror shot which implies a sense of self-questioning. After a variety of aptly implemented focus pulls, Szifron cuts back to a low-angle shot of a centrally-framed Romina which portrays her as extremely imposing.
As the newly wed couple begins to dance, the diegetic compiled score, The Blue Danube, enters the mix. The piece is reminiscent of a traditional wedding atmosphere but is also present in the likes of Kubrick’s 2001: A Space Odyssey, instilling an ominous feeling within the viewer. As the couple touches hands, the dynamics of the score increase to heighten the tension of the situation. Afterwards, a disorienting Dutch angle displays Romina runs away from the reception during which her appearance is extremely disheveled and her makeup is ruined which reinforces the chaotic havoc of the wedding.
As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. A shallow depth of field is implemented during this scene to draw the viewer’s focus onto Romina alone. As the conversation between the chef and Romina ensues, a long shot is used to allow the chef to deliver his advice which slows the pace of the edit to a halt. There is also stark juxtaposition between the typical romantic aesthetic of the setting and the hectic events taking place.
As Ariel runs up the stairs to pursue Romina, the walls are illuminated with green lighting which symbolises the theme jealousy and betrayal presented throughout the sequence. In addition to this, Szifron utilises the narrative device of pathetic fallacy during the rooftop scene, incorporating thunder and lighting into the setting which reflects Romina’s irate feelings towards Ariel.
As we re-enter the ballroom, the camera movements become increasingly shaky to emphasise the chaotic atmosphere. The lighting is also extremely harsh which juxtaposes the previously established opulence of the reception. Alongside this, a multitude of Dutch angle tracking shots are implemented to illustrate the discombobulating chaos that is occurring. Romina then grabs Lourdes and the two begin to rapidly spin in circles. To convey the dizziness to the viewer, a camera rig is attached to the pair’s backs which is reflective of the tumultuous mood of the wedding.
As Romina throws Lourdes into the mirror, the appearance of smashed mirror heightens the utter pandemonium of the wedding. At this point, Romina is at her most disheveled – her appearance is fully unhinged which reinforces that this is the peak of turmoil. The removal of Romina’s hair extension represents her final stage of degeneration, encapsulating the themes of revenge and danger. Blood on her dress symbolises that Romina’s prior purity is abolished. Through this, the initial opulent atmosphere of the wedding is starkly contrasted.
In conclusion, Damián Szifron aptly utilises the key elements of film form throughout the wedding sequence of Wild Tales in order to create an opulent and superficial aesthetic. Through this, the underlying themes of revenge, betrayal and danger are astutely communicated to the viewer and an appropriately memorable experience is created.
We were tasked to analyse the key elements of film form of the “Wedding sequence” of Wild Tales (01:25:10-end). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The tale begins with a projected closeup image of a young Romina, establishing a centrally positioned frame within a frame. The camera then pulls out to reveal a slideshow of images being played in a luxurious wedding reception. Afterwards, we cut to a two shot of a couple at a table, displaying the light-heartedness of the event. The camera then crabs right in order to display a multitude of well-dressed guests which reinforces the opulence of the wedding reception.
A proceeding long shot displays the vast room, exhibiting the luxuriant chandeliers and other grandiose decor. We proceed to cut to various shots of the many guests enjoying themselves. As we cut to a long shot of the DJ, a handheld camera is employed in order to fluidly arc through the smoke to reposition the frame. Through this, the viewer is brought in closer to a newly-created theatrical entryway for the couple to arrive through.
A single shot is used to track the movements of the couple backwards, establishing them as the centre of attention. In addition to this, the camera begins to joyfully glide as the couple begins to dance. Throughout this, Romina is centrally framed which reinforces her as the protagonist of this tale. During the dance sequence, there are closeups of the instruments such as the tuba to emphasises the jovial atmosphere of the wedding. Alongside this, the use of multiple cameras emphasises the artificiality of the event. After an abrupt jump cut, the next shot of the guests is framed like a photo to reinforce the superficiality of the wedding.
As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom in to the unknown woman. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Romina then becomes isolated in frame as the lighting is harshly distributed upon her, which is reflective of her uncertain state of mind. To further reinforce this, the camera then follows Romina and comes to rest on a mirror shot which implies that she is questioning her own identity.
Szifron then implements two focus pulls from Romina to the young woman (Lourdes) as she answers her phone, which appropriately focuses the viewer’s attention. The camera then arcs into an over-the-shoulder shot in order to face Lourdes. Through this, another pair of focus pulls are employed to display Lourdes answering her phone for the second time from both perspectives. We then cut back to a low-angle shot of a centrally-framed Romina which portrays her as imposing.
As Ariel and Romina begin to dance, the camera remains tightly focused on the couple in order to keep the viewer’s attention focused exclusively on the couple. The depth of field is extremely shallow to reinforce this. A sequence of shot/reverse shots occur as the couple converse, however the shots are not synchronised to the dialogue. Instead, we see the respective reactions of the two rather than the speech which appropriately informs the viewer of the couple’s state of minds. After the heated conversation concludes, a Dutch angle is used to display Romina angrily storming off. This signifies her world falling apart after learning that Ariel has cheated on her.
Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests. As he opens the door to the kitchen, the camera is fastened to the door which positions the viewer in a disorienting position. A low-angle shot tracks Romina, underlying her anxiety. This is reinforced when we cut to an unflattering angle of Romina, displaying her from a frontal low angle which exemplifies her raw emotions. As Ariel pursues her, he is filmed with a handheld camera to illustrate his distress.
As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. Another shallow depth of field is implemented during this scene to draw the viewer’s focus onto Romina alone. As the conversation between the chef and Romina ensues, a long shot is used to allow the chef to deliver his advice. There is also stark juxtaposition between the typical romantic lighting of the setting and the hectic events taking place.
As we re-enter the ballroom, the camera movements become increasingly shaky to emphasises the chaotic atmosphere. The lighting is also extremely harsh which juxtaposes the previously established opulence of the reception. A low-angle shot depicts Romina striding towards the camera which informs us that she has regained the upper hand. Alongside this, a wide shot demonstrates the chef’s humiliation as word begins to spread. A multitude of Dutch angle tracking shots are implemented to illustrate the discombobulating chaos that is occurring.
Romina then grabs Lourdes and the two begin to rapidly spin in circles. To convey the dizziness to the viewer, a camera rig is attached to the pair’s backs which is reflective of the tumultuous mood of the wedding. As Lourdes crashes into the mirror a low-angle shot depicts the aftermath, followed by a two shot of Ariel’s parents. At this point, the previously used Steadicam is replaced with an unsteady handheld camera, which proceeds to move around the room and come to rest on Lourdes. Finally, as Ariel confronts Romina, a series of two shots creates a sense of desperation as opposed to the prior romantic tone.
Sound
The tale begins with the implementation of the diegetic compiled score Titanium by David Guetta. The apt use of this upbeat pop song lightens the mood of the wedding and persistently pulsates throughout the reception. The song is representative of strength and overcoming hardships which foreshadows the extremely ironic events of the wedding. The scene is directed with the specific song choice in mind due to the meticulous synchronisation between the action on screen and the phrasing of the song. For example, as the bridge of the song is reached, the guests are waiting in anticipation for the couple to enter through the theatrical red curtain.
Titanium is then interrupted by an ensemble playing traditionally Argentine upbeat music to accompany the dancing. As the lively energy of the reception increases, the diegetic composed score appropriately accompanies the atmosphere. Afterwards, as Romina attempts to phone Lourdes, the ringing phone enters the mix. Alongside this, we see the conversation from Romina’s perspective but hear the diegetic dialogue as if we were close to Lourdes. Romina’s breathing gradually rises in the mix as she realises what her husband has done.
As the newlywed couple begins to dance, The Blue Danube begins to play which is reminiscent of a traditional wedding atmosphere. This specific piece is also present in the likes of Kubrick’s 2001: A Space Odyssey, this ominous connection potentially creates a feeling of unease within the viewer. This romantic score ironically juxtaposes Romina’s chaotic state of mind. Additionally, the score rises in the mix as the couple touches hands which heightens the tension.
During the rooftop scene with Romina and the chef, the muted city ambience can be heard during the pensive conversation between the two. In stark juxtaposition, the dynamic diegetic sounds of lighting and wind loudly enters the mix as Romina unleashes her anger upon Ariel.
A dramatic score is layered in the mix as Romina storms back into the reception, reflecting her exasperated state of mind. The sound also becomes exclusively diegetic to accentuate the emotion of the poignant scenes later on. Finally, a theatrical ‘gunshot-like’ sound play as Ariel opens the champagne bottle which teases the viewer into believing a gun has been fired until the bottle is revealed.
Mise-en-scène
During the initial projected closeup of young Romina, the background of the image is red – signifying the later danger and peril of the wedding. A variety of luxurious objects reinforce the opulence of the wedding, including the flashing lights and smoke machines. A number of large, golden chandeliers as well as an array of disco balls reinforce the superficial happiness and extravagance the wedding purports.
The bride and groom enter the reception from behind a theatrical red curtain, suggesting that their relationship is merely a façade. Romina sports a stereotypically designed white wedding dress and veil, implying Romina’s current purity. Romina’s hair is also meticulously immaculate – both of which become increasingly unkempt as the intensity of the situation increases. Ariel’s appearance is relatively scruffy, being unshaven which implies that the wedding is unimportant to him.
Lourdes wears a black dress and has a star tattoo. Her distinctive appearance hints to the viewer that she holds a great deal of importance to the story. Her black dress attributes a sense of elegance and prestigiousness to her character. As Romina runs away from the reception, her appearance is extremely disheveled and her makeup is ruined, reinforcing the chaotic havoc of the wedding
As Ariel runs up the stairs to pursue Romina, the walls are illuminated with green lighting which is symbolic of Romina’s jealousy. During the rooftop scene, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel.
As Romina throws Lourdes into the mirror, the appearance of smashed mirror heightens the utter pandemonium of the wedding. At this point, Romina is at her most disheveled – her appearance is fully unhinged which reinforces that this is the peak of turmoil. The blood on her dress suggests that her prior purity is abolished. The initial opulent atmosphere is contrasted by a multitude of unkempt guests and broken glass.
During the final moments of the tale, Romina attempts to enact the motions of a traditional Argentine wedding ceremony. However, there is a sense of hollowness and superficiality as the rings are pulled from the wedding cake, suggesting that Romina can never return to normality. Finally Romina removes her hair extension, which is representative of her final stage of degeneration.
Editing
The initial slideshow of the wedding is cut to the beat of Titanium, suggesting that the wedding has been meticulously planned beforehand. An example of parallel editing is incorporated between Ariel and Romina as they separate to join their respective friends and families, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits.
The pace of editing quickens as the excitement builds and the chorus of the song is reached with more frequent cuts being implemented throughout. A wide variety of cameras are used to reinforce the superficiality of the wedding. A fake camera interface is placed over the screen, alongside the utilisation of a lower quality film stock to purport a sense of authenticity.
A pair of jump cuts are used to display the passage of time between the Titanium sequence and the traditional Argentine ensemble, as well as to the photograph being taken afterwards. As the confrontation between the couple occurs, we spend a longer amount of time focused on Romina than Ariel, which positions the viewer to empathise with her to a higher degree. Romina then runs away from the scene, during which the sound of door closing aptly matches the cadence of the score. Another example of parallel editing is used as the couple separate.
The pace of editing slows as the chef offers his advice to Romina, the only cuts are part of a shot/reverse shot sequence between the pair. During Ariel’s pursuit, there is a glance object between him and Romina’s lone shoe which appropriately focuses the viewer’s attention towards it. As Romina unleashes her anger upon Ariel, the edit alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel. As we re-enter the reception, Szifron cross cuts to portray Romina’s enjoyment of the party and Ariel’s discontentment. Finally, another example of cross cutting is implemented to display a passage of time after the mirror is smashed.
Performance
As the couple initially enters the reception, they appear to be superficially happy. Both put on an extremely over-zealous performance by smiling and waving at each guest they pass by without looking at each other. This suggests and foreshadows their infidelity towards one another. Each of the guests are smiling and make friendly gestures towards each other, establishing an uncomfortably positive atmosphere.
During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.
As we cut to the scene of the photo being taken, each of the guests smile ostensibly which suggests that no one truly wants to be there. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the theme of superficiality presented throughout the tale. In response to this, the woman attempts to initiate a conflict by sowing the seed of jealousy within Romina by making subtle reference to the many other guests in the reception.
As Romina scrutinises Lourdes’ behaviour, Ariel leans over the young woman and addresses her flirtatiously which foreshadows their secret relationship to the viewer. During Romina’s scheme to discern Lourdes’ identity, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. During the confrontation between the couple as they dance, Ariel’s eyes dart around the room which emphasises to the viewer that he is still attempting to maintain his untarnished persona.
During the roof scene, Romina’s voice begins to tremble as she confides within the cook which informs the viewer of her vulnerability. In stark juxtaposition, Romina unleashes the full force of her anger upon Ariel, who reacts by throwing up. This emphasises his utter shock and disgust towards the situation.
As she re-enters the ballroom, Romina remains artificially calm in order to maintain her façade. She addresses Lourdes in a sarcastic, over-friendly manner to reinforce her suppressed rage towards her husband. She remains in complete control of the situation, commanding the DJ and disorienting Ariel off of his feet. Through this, Ariel’s true emotions are displayed to the viewer – his priority of maintaining a reputable appearance is lost. Finally, as Ariel attempts to console Romina for the final time, he speaks transparently and genuinely – indicating to the viewer that the persona of perfection is finally abolished.
How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020
Essay plan
Introduction
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
Characters such as Ofelia and Mercedes are representative of the hope and disobedience initiated by the Maquis rebel force. Conversely, Captain Vidal is the figurehead of the Falangist fascist regime and he is represented in ways reflective of an authoritarian society throughout the film.
Sequence 1 – Fig Tree Sequence
Cinematography:
Wide shots of soldiers, panning left to right, tracking (eye-level), tree framing (dwarfing Ofelia, shrouded in darkness), shoe closeup.
Low-angle long shot, central framing – obscured by lighting, silhouette is juxtaposed by particle fairies, mid shots push into Ofelia, crabs right to transition.
Tilt up from Vidal’s shoes, camera arcs as he shouts, lowering crane shot displays the rebellion.
Closeups of Ofelia, pushes in on key, closeup of Ofelia holding it focuses attention, pedestals up as she retrieves clothes, centrally framed during rain.
Juxtaposition between palette and uniform, traditional fairytale clothing and book, uterine tree, decorated uniform, hidden rebels less well-dressed (framing and posture)
Ofelia heavy breathing, addresses toad as human, doesn’t cower
Sequence 2 – First Shaving Sequence
Cinematography:
Tracks Vidal as he picks up blade, tilt to face, mid to long shot, arcs around to mid-closeup of shaving cream, uncomfortable closeup, mechanical lair, warmer lighting during Mercedes scene, pedestal up to portray Vidal’s power, claustrophobia
Luxury items, razor blade reflects Vidal, cluttered desk, mechanical imagery, decorated uniform, Pale Man room
Editing:
Glance object focuses on razor, fast pacing matches the tempo of music
Performance:
Precise + fluid movements, ritualistic, moves meticulously, unnecessary shaving, Mercedes acts as a mother figure
Essay – Version 1
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
It could be stated that Ofelia’s character is formed from the typical ‘protagonist archetype’ established through storytelling, reinforcing the viewer’s expectations. Conversely, Ofelia is also representative of the hope and disobedience initiated by the Maquis rebel force, which ultimately challenges the viewer’s expectations. Captain Vidal is the antagonistic figurehead of the Falangist fascist regime and he is represented in ways reflective of an oppressive, authoritarian society throughout the film which reinforces the viewer’s expectations. To demonstrate this, my two chosen key sequences are the Fig Tree Sequence and the First Shaving Sequence.
The initial opening wide shot of the Fig Tree Sequence depicts the Falangist soldiers on horseback, in order to pursue the Maquis rebels. The non-diegetic composed score is extremely grandiose and patriotic, which is layered in tandem with the diegetic rhythmic galloping of the horses and the soldiers shouting ardently. Through this, del Toro represents the fascist regime as an elite domineering force which is reflective of the viewer’s expectations. The camera pans from left to right, signifying the treacherous journey the soldiers are embarking upon. We then cross cut between the soldiers and Ofelia through the use of a hidden cut – this example of parallel editing aptly informs the audience that these events are occurring simultaneously.
Another pan from left to right, displays Ofelia’s adventurous journey which creates a sense of duality between the forces of good and evil. As the camera rests on Ofelia, a tracking shot follows her movements as the viewer’s focus is appropriately converged upon her. The camera is at eye-level which encourages the viewer to empathise with our protagonist. At this point, the score becomes more playful and bucolic which represents her naturalistic demeanour. The soldiers’ faint chanting can also be heard low in the mix which reminds the viewer of their omnipresence. Ofelia sports traditional fairytale clothing which is extremely reminiscent of Alice in Wonderland, another archetypical protagonist presented to us in a fairytale.
As the camera continues to smoothly glide to track Ofelia, we push back in order to reveal the fig tree in its entirety which is reminiscent of uterine imagery in its design. This is perhaps representative of Ofelia’s maturity as she continues to persevere through her daring adventure – this example of metaphorical imagery potentially challenges the viewer’s preconceived expectations. Ofelia’s narration is naturally layered alongside the soldiers’ pursuit of the rebels which emphasises to the viewer that this is her fairytale. A variety of long takes are implemented to slow the pace of the film to a halt while keeping the focus on Ofelia.
As Ofelia enters the tree, a low angle long shot displays her standing at the entranced. She is centrally framed and partially obscured by the lighting in order to converge the viewer’s attention on her silhouette. The darkness of the silhouette is juxtaposed by the vibrant particle fairies, which suggests that a foreign entity is entering the realm. This challenges the viewer’s expectations of a stereotypical weak, female protagonist by exemplifying the theme of disobedience and rebellion. The implementation of woodwind instrumentation throughout the tree scenes further reinforces Ofelia as the protagonist.
Afterwards, we cross cut back to Vidal’s army – the captain’s stern expression and measured demeanour in tandem with his highly decorated uniform reinforces his authoritative position to the viewer. The two soldiers that accompany him act subserviently. For example, Vidal’s hand gesture immediately silences them, which informs us that the captain is used to being obeyed. In effect, this cements the sociopolitical hierarchy within the regime, which perhaps challenges the viewer’s expectations. Vidal proceeds to shout into the forest, during which his booming voice is extremely high in the mix. This emphatically represents his masculinity, which ultimately instills fear in the viewer. As the soldiers ride back home, a lowering crane shot displays the hidden rebels in a position of power through the meticulous use of framing and blocking. They have successfully outsmarted Vidal and this represents the rebel force in a powerful state of being.
As we cut back to Ofelia in the tree, the camera arcs around her as she crawls and eventually pushes in on a closeup of her face. Her face is extremely muddied, illustrating her character as adventurous and daring, reinforcing the viewer’s expectations. The mud itself has also dried in order to signify the passage of time, displaying Ofelia’s heroic resilience. She persistently breathes heavily which implies that she is extremely nervous about exploring the foreign realm. This informs the viewer that Ofelia isn’t perfect, which challenges the viewer’s expectations.
During Ofelia’s exchange with the toad, she addresses it as if it were a human in order to reassure herself that she isn’t afraid of it. As the toad begins to growl at her, Ofelia continues to stand her ground in the face of danger – she doesn’t cower or show weakness in any way. Alongside this, the score becomes more hopeful as Ofelia hatches her plan to outsmart the toad. Ofelia smirks as a glance object is implemented between Ofelia and a cockroach in her hand, informing the viewer of her cunning plan. After the toad dies, we cut to a closeup of Ofelia holding a mysterious key which displays her utter encapsulation towards it, signifying its valuableness.
As Ofelia exits the tree, a sudden storm ensues causing Ofelia to become completely drenched by the rain. During this, she is centrally framed in order to completely focus the viewer’s attention on our protagonist in order to encourage the viewer to empathise with her. The oppressive rain vigorously enters the soundscape, establishing the narrative device of pathetic fallacy which is reflective of Ofelia’s miserable state of mind, juxtaposing her prior confidence. This emotional development in Ofelia’s character is perhaps surprising to the viewer, due to her aforementioned confident demeanour presented throughout the sequence.
The First Shaving Sequence opens with the diegetic audio of the gramophone emphatically entering the mix – the chosen piece being written by Antonio Molina. This specific piece is extremely evocative of the 1940s time period and oozes Spanish patriotism. A fluid tracking shot follows the movements of Vidal’s hand as he gingerly picks up his cutthroat blade. This deluxe razor blade reinforces the fact that the captain rules the sociopolitical hierarchy which includes overseeing the distribution of luxury items. This reinforces the viewer’s expectations of a fascist figurehead.
Vidal’s movements are extremely precise and meticulous as he selects the blade, moving precisely to the specifically selected music. It becomes clear to the viewer that Vidal treats the act of shaving as a sort of divine ritual, emphasising his masculinity. The captain’s ritualistic attitude towards shaving potentially challenges the viewer’s expectations due to Vidal’s prior representation as a stoic, emotionless leader. As Vidal begins to pensively walk to the mirror, the camera transitions from a mid shot to a long shot – displaying the surroundings of the room. The desk on which the shaving equipment lies is extremely cluttered, informing the viewer that this is the centre of Vidal’s command. The cog-like water wheels that make up the background of Vidal’s lair reinforce his mechanical demeanour towards the pursuit of the rebels.
After a glance object between Vidal and the razor, we cut to an uncomfortably claustrophobic closeup of Vidal shaving his face with temporal focus. The diegetic exaggerated ‘sharp’ sounds of the blade against his face are layered in the mix alongside the score. The razor blade itself is an accurate reflection of Vidal’s personality, requiring acute precision and diligence. It can also be noted that Vidal is shaving unnecessarily – he appears to already be clean shaven. Through this, it is potentially implied that the captain views shaving as a form of detoxing in order to separate himself from the arduous pursuit of the rebels. As the score ascends to a fanfare-like crescendo, Vidal’s posture is reminiscent of a matador, which further reinforces his macho disposition.
After an abrupt jump cut, the lighting of the scene becomes much warmer, informing the viewer that we are now in the presence of Mercedes. As the conversation between the two ensues, the camera pedestals up to portray Vidal as holding an authoritative power over her. This is reflective of the current opposition between the rebels and the fascists. The room the two converse in is extremely reminiscent of the Pale Man’s room, which is presented to the viewer later in the film. This example of foreshadowing establishes the evil parallels between Vidal and the Pale Man later in the film. Mercedes appears to act defiantly against Vidal, instructing him not to cook the rabbit. This foreshadows Mercedes’ disobedience against the Falangists later in the film which is representative of the ultimate triumph of good overcoming evil.
In conclusion, del Toro aptly implements the key elements of film in ways that appropriately represent the powerful forces of good and evil. This is achieved through the characterisation of Ofelia as a protagonist, as well as Vidal as an authoritarian antagonist.
In order to structure an appropriate answer for the following question, the following will act as a plan for my answer:
Discuss how aesthetics are used to communicate themes in your two chosen films. Make detailed reference to particular sequences in your answer.
Summer 2019
Essay plan
Introduction
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
The key themes presented throughout the film are rebellion, gender, reality vs fantasy and authoritarian order which emanate throughout the film in a variety of ways.
The key aesthetics conveyed throughout are the juxtaposing colour palettes to define the realms, typical fairytale imagery, subjective shots (Ofelia’s POV) and GdT trademark violence.
Three key sequences chosen are First Bedtime Sequence, Fig Tree Sequence and Pale Man Sequence.
Sequence 1 – First Bedtime Sequence
Cinematography:
Blue colour palette juxtaposed by warmth of fire, tracking shots, closeups of Ofelia and Carmen (intimacy), long takes, camera pushes in until they fill the frame, pedestal down into CGI, hellish colour palette, gliding camera, insect appears again, colour palette changes to greens and browns, camera arcs back to show Ofelia and Carmen.
Cut to Vidal in lair, low-angle shot reinforces authority, closeup of pocket watch for the second time, doctor enters with out of focus soldiers, shot/reverse shots depict the doctor holding authority, low-angle shot used as Captain rises to establish that he now holds the power.
Dark moonlit exterior setting accentuates blues and greys, claustrophobia created as camera pushes in, low-angle shot of Vidal, camera swings round as Vidal smashes farmer’s face, alternating between low-angle and closeup.
Wide shot as Vidal shoots farmers – soldiers remain emotionlesss, camera tracks Vidal – centrally framed.
Mise-en-scène:
Blue colour palette, gothic interior design – dark wood and fireplace, soft lighting – purity, horn design on bed frame (uterine), Ofelia’s humble fabrics juxtapose Carmen’s silk, naturalistic makeup.
Foetus evokes fantasy, CGI, crimson palette (GdT trademark), purple rose signifies royalty, foreboding branches, now-familiar insect transitions back to reality,
Mechanical imagery in lair, cog-like water wheel, decorated uniform, ‘over-realistic’ set design, well-dressed doctor, Vidal smokes.
Homogenous soldiers, harsh lighting, farmers are raggedly dressed, GdT graphic blood (aesthetic of facial harm is established), rabbit reveal.
Editing:
Long takes, slow pace, hidden cut transition into CGI, more hidden cuts – unnoticeable change (dream-like).
Crossfade into Vidal’s lair (simultaneous), glance object between Vidal and the watch (subjectivity), shot/reverse shot – continuity editing, J cut.
More shot/reverse shots, long take builds tension, contrast between the prior slow pacing and the fast-paced violence, reactionary shots, pacing sedates once the violence is over.
Sequence 2 – Fig Tree Sequence
Cinematography:
Wide shots of soldiers, panning left to right, tracking (eye-level), tree framing (dwarfing Ofelia, shrouded in darkness), shoe closeup.
Low-angle long shot, central framing – obscured by lighting, silhouette is juxtaposed by particle fairies, wide shots of tree, mid shots push into Ofelia, crabs right to transition.
Tilt up from Vidal’s shoes, closeup of illuminated antibiotic, camera arcs as he shouts, lowering crane shot emphasises the rebellion.
Closeups of Ofelia, wide shot of never-ending cave, crab right to reveal toad, quick pan (right to left), reactionary closeups.
Pushes in on key, closeup of Ofelia holding it focuses attention, pedestals up as she retrieves clothes, centrally framed during rain.
Mise-en-scène:
Juxtaposition between palette and uniform, forest palette, traditional fairytale clothing, particle fairies, uterine tree, magic stones.
Dim lighting, overgrown, dark brown palette, mud + cockroaches.
Tactile antibiotic bottle, rebels are less well-dressed but exert power.
Muddy face, animatronic toad, toad’s death metaphor, mysterious key, return to blue palette, pathetic fallacy.
Over-the-shoulder closeup of storybook (immersion), cut to illustration that matches narration
Wide shot existing between two realms, camera pull, extreme long shot, lighting and colour palette
Hourglass closeup, two-shot of Ofelia and Pale Man
Gliding worms-eye-view of children paintings, pedestal up to reveal shoes,
Tracking shot of fairies, closeup of key, closeup of hourglass (camera push in)
Closeup of blade, push in slowly to Pale Man, his dormancy juxtaposed by fairies
Pushes into forbidden grapes, focus pull to Pale Man, high angle shot depicts Pale Man dwarfing Ofelia
Rapid crab shot initiates chase sequence, handheld camera creates disorientation
Hellish colour palette contrasted with steely blue, distinctive gateway defined
Mise-en-scène:
Holocaust clothes, imprisonment, traditional fairy tale book, uterine drawings, pastel colours, palettes
Rabbit hole crawl (Alice in Wonderland), hellish colour palette, blood-painted wall, medieval resemblance, hourglass represents time and Pale Man
Green clothes juxtapose hellish realm, forbidding fireplace, tantalising food (Alice in Wonderland) – what a child might imagine,
Pale Man symbolic of greed, ghoulish eyes, Goya paintings, Holocaust shoes, key (hope),
Ornamental dagger, Macbeth, appealing grapes,
Vidal and Pale Man parallels, bloodstained hands, GdT violence (fairy deaths), shoe motif
Editing:
Glance object between Ofelia and book (subjectivity), slow paced, fade transition
Heavy colour grading, glance object, alternating between subjective shots and objective
Parallel editing, visualised mental thought process, long takes
Pace quickens during chase, reactionary shot shows Ofelia POV, pacing slows as the danger is over
Essay – Version 1
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Maquis rebel force through which constant guerrilla warfare is initiated.
Throughout the film, a multitude of aesthetics are used to convey specific themes. The themes of rebellion against authoritarian order and child-like innocence are presented over the course of the film. My two chosen key sequences are the ‘First Bedtime Sequence’ and the ‘Pale Man Sequence’.
During the First Bedtime Sequence, del Toro immediately establishes the theme of authoritarian order through the use of extremely distinctive colour palettes. As Ofelia and Carmen lie in the bed, the incorporation of a foreboding, steely blue colour palette emphasises that this room is owned by the leader of the Falangists – Captain Vidal. The only warmth of the room lies in the fireplace which is representative of the small but omnipresent Maquis rebellion. During the ensuing CGI sequence of the foetus, the colour palette is juxtaposed with a hellish, crimson palette to reinforce the evil that persists within reality and the Underground Realm. The appearance of the familiar insect within the branches signals another change in colour palette to the comforting greens and browns of the forest which is exemplary of the theme of rebellion.
During the next scene, Vidal is seen silently working away in his gloomy lair. Del Toro utilises a low-angle shot and Vidal dons an extremely decorated uniform to reinforce his power and authority over the Falangists. Vidal’s spyglass is an example of ‘over-realistic set design’, an extremely characteristic aesthetic of del Toro’s filmography. This spyglass, as well as other objects such as the cog-like water wheels emphasises Vidal’s mechanical demeanour. The soldiers that accompany the doctor as he enters the room are out of focus, suggesting to the viewer that they are at Vidal’s immediate beck and call. More low-angle shot/reverse shots are used during the captain’s conversation with the doctor to emphasise that he is the authoritative figurehead.
The next scene takes place in a dark, moonlit setting which accentuates the blues and greys of the colour palette. This, alongside the use of a long take immediately establishes a sense of apprehension within the viewer. The camera then proceeds to push in closer to the fascists, creating a sense of claustrophobia. The lighting is harshly distributed onto the rebel farmers, focusing the viewer’s attention upon them and pinpointing the rebellion as the Falangists’ prime target. The farmers themselves are dressed raggedly, re-emphasising their position in post-civil war society. The camera then rapidly swings round as Vidal proceeds to smash the farmer’s face with a bottle, during which we rapidly alternate between low-angle shots of Vidal’s stoic expression and closeups of the farmer’s beaten face. Through this, the pace of the edit drastically increases in order to reiterate the domineering force of the Falangists. The incorporation of extremely graphic violence is another typical aesthetic of del Toro’s work and this introduces the motif of facial violence which reoccurs throughout the film. After the brutality is over, the pacing becomes sedate once again to inform the viewer that the storm is over. A wide shot is used as Vidal remains centrally framed as he proceeds to shoot the two farmers, during which the homogeneously dressed soldiers remain emotionless which emphasises their loyalty to the authoritative order of the regime.
The theme of child-like innocence is presented throughout the First Bedtime Sequence in a number of ways. Firstly, tracking shots are used to follow Ofelia towards Carmen’s bed which establishes her importance as an innocent protagonist to the viewer. The camera then rests on a two-shot long take of Carmen and Ofelia in the bed, through which the camera proceeds to periodically push in and out unnoticeably. The lighting is soft on Ofelia who wears humble fabrics, which is reflective of her purity. As the conversation between them continues, the shot becomes increasingly tighter to the point where the two fit the entire frame. Emphasising the intimacy between the two characters, this implies to the viewer that Ofelia is reliant on her mother’s warmth and comfort which reinforces her innocence. The appearance of Ofelia’s unborn brother as a foetus through the use of CGI also reinforces the theme of child-like innocence.
Throughout the Pale Man sequence, the theme of authoritarian order continues to preside throughout. Firstly, an opening wide shot contextualises the location of the scene initially taking place in the bedroom of Vidal’s territory. This is further exemplified through the reuse of the aforementioned icy blue colour palette to reinforce Ofelia’s state of imprisonment within the confines of the fascist-ruled reality. Her traditional clothing is resemblant of Anne Frank as well as many other Holocaust victims, representative of the aftermath of a totalitarian regime, such as the Falangists.
As she enters the realm of the Pale Man, another wide shot depicts Ofelia existing between the two realms. The previous colour palette is juxtaposed with a colour-graded hellish palette, which incorporates reds and crimsons into a monstrous visual spectacle. The interior is resemblant of a medieval dungeon, reminiscent of the Falangists’ traditional rule of authority over the rebels. Ofelia’s green clothing starkly juxtaposes the hellish realm, suggesting that she is acting as the rebellious force within the institutional evil of the Pale Man.
The Pale Man’s design is symbolic of greed – his loose skin in tandem with his malnourished body represents his gluttonous tendencies which he has not indulged in for a long time. Furthermore, the camera then pedestals up to reveal a colossal pile of shoes that lies beside the Pale Man’s table which is once again symbolic of the many victims of the Holocaust. The shoes represent a potential future that exists in Ofelia’s world which exposes the dangers of a fascist, authoritarian regime such as the Falangists.
Ofelia then retrieves an ornamentally designed dagger from behind a locked door. Receiving a closeup, the dagger is extremely shiny and polished, which reinforces its authenticity and uniqueness. The dagger also has iconographically symbolic relations to the theme of betrayal and rebellion towards the fascists. Alongside this, the key which Ofelia bears during this sequence is exemplary of the rebellious force that will overcome the fascist regime. Later in the film, Mercedes utilises a key to free the peasants from the wrath of the soldiers, reshaping the future of Spain forever.
There are potential parallels between the antagonistic forces of Vidal and the Pale Man respectively. While the captain consumes baby rabbits, the Pale Man devours children which reinforces them both as demonic and remorseless. The Pale Man’s hands are also bloodstained, once again linking to the act of betrayal and rebellion. The fairies’ deaths are extremely brutal and graphic (a typical aesthetic of del Toro’s work) – blood gushes into the Pale Man’s mouth. This symbolises the death of fantasy and whimsicality the fascists enforce.
The theme of child-like innocence is also presented throughout the Pale Man Sequence in a number of ways. Through the use of an over-the-shoulder shot, the drawings within Ofelia’s traditional storybook are portrayed. A glance object is implemented between Ofelia and the book which places the viewer in Ofelia’s virtuous perspective. This emphasises her innocent immersion within her own fairytale. Moreover, the drawings are reminiscent of uterine imagery which suggests Ofelia’s maturity. The use of pastel colours further exemplifies the whimsicality of her fairytale.
As Ofelia crawls through the mysterious gateway to the Pale Man’s lair, the action of ‘crawling through the rabbit hole’ is extremely reminiscent of Alice in Wonderland. Del Toro’s aesthetic reference to this traditional fairytale acutely portrays Ofelia as an innocent fairytale protagonist.
Ofelia then reaches the Pale Man’s table, during which the camera crabs from left to right in order to track her movements from the opposite side of the table. Her trance-like state is displayed to the viewer as she observes the tantalising forbidden feast that lies on the table, reinforcing her innocence and vulnerability. The food is predominantly made up of sweet, luxurious delicacies such as fruits and jellies which is representative of what an innocent child might imagine a feast to be like. The camera then rests on a two shot of Ofelia looking intently at the Pale Man to present him as an antagonistic force.
We then cut to a gliding worms-eye-view shot looking up at the ceiling which depict paintings that display the Pale Man’s visceral brutality towards a countless amount of helpless children. These paintings are resemblant of the works of Goya, a Spanish romantic artist known for extremely graphic depictions of violence towards defenceless children. As Ofelia becomes tempted by the grapes, the camera cuts between closeups of Ofelia, the grapes and the Pale Man in order to subtly visualise her mental thought process and emphasise her innocent inability to resist the tantalising temptation the forbidden fruit emits. A high angle shot is used to depict the Pale Man dwarfing Ofelia, reinforcing the looming danger he radiates towards the vulnerable protagonist.
In conclusion, an abundance of aesthetics are used to communicate the themes of rebellion vs authoritarian order and child-like innocence in a wide variety of ways over the course of the film. Del Toro masterfully employs his characteristic aesthetics as an auteur, such as brutal violence and stark colour palettes to persistently reinforce key thematic concepts and motifs throughout Pan’s Labyrinth.
We were tasked to analyse the key elements of film form of the “Pale Man sequence” of Pan’s Labyrinth (00:55:21-01:02:19). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The scene begins on a wide shot which arcs around, depicting Ofelia taking out her storybook. First and foremost, this contextualises the location of the scene being Vidal’s bedroom but this shot also informs the viewer that Ofelia is alone. We then cut to an over-the-shoulder closeup of her storybook depicting the pictures coming to life. This emphasises her complete immersion within her own fairytale. Subsequently, as Ofelia narrates the story, we cut to an appropriate picture in order to appropriately guide the viewer through the fairytale.
As Ofelia climbs into the mysterious gateway, a wide shot depicts her existing between the two realms. The camera then pulls back in order to provide the viewer with a sense of scale. After a transition which implies a passage of time, we shift into an extreme long shot which portrays Ofelia peering into the ominous lair. At this point, there is a notable change in lighting and colour palette from one shot to the other which clearly defines the other-worldliness of the hellish realm from reality. We persistently cut between the two worlds in order to make this distinction perspicuous.
The next shot is a closeup of an hourglass which indicates its importance. The idea of a ‘race against time’ is planted in the viewer’s mind which builds suspense. We then cut to a wide shot from behind Ofelia that reveals the new, unseen area that she is entering. The camera crabs from left to right, tracking Ofelia’s movements from the opposite side of the table. Her trance-like state is portrayed as she observes the tantalising food that lies on the table. The camera then comes to rest on a two shot of Ofelia looking at the Pale Man, it lingers for a while in order to let the viewer observe this enigmatic humanoid creature. The camera then slightly rises to emphasises the Pale Man’s oppressive and imposing nature.
An ensuing informatory shot depicts a mysterious pair of eyes on a plate as well as the Pale Man himself without any eyes. Through this, the viewer can infer that the eyes belong to the Pale Man. We then cut to a reactionary shot as Ofelia picks the eyes up, as her disgusted expression is displayed. During this shot, the doors of the lair are present in the background, foreshadowing their later significance.
After this, we cut over-the-shoulder shot which instills a sense of revulsion within the viewer. This is due to the fact that the Pale Man must receive an appropriate amount of screen time in order to appear menacing. We then cut to a gliding worms-eye-view shot looking up at the ceiling which depicts a series of pictures of the Pale Man slaughtering children. The camera then pedestals up to reveal a pile of shoes which informs the viewer of the sheer amount of victims slaughtered by the Pale Man, the focus is then pulled from Ofelia’s stunned expression to the shoes themselves.
As Ofelia lets the fairies free out of the bag, a tracking shot trails their movements which focus our attention upon them. There is then a closeup reactionary shot of Ofelia as she holds the key which portrays her coming to the realisation of what she must do. We then cut to a closeup of the hourglass during which the camera pushes in to emphasise the fact that Ofelia doesn’t have much time remaining.
As we cut to an angle that is behind the keyhole, a frame within a frame is created. Ofelia’s determined expression is focused upon as she reaches further within to claim the blade. The blade in question receives a closeup, signifying its importance. We then cut to a wide shot of Ofelia and the Pale Man, which pushes in slowly. Through this, anticipation is created as he remains motionless. His dormancy is juxtaposed by the fairies who are energetically darting around the area.
The camera then tracks back, pushes in and pans to the right in order to reveal the forbidden plum-sized grapes. There is a focus pull from Ofelia to the Pale Man in order to signify that danger is still present. The temptation of the grapes is contrasted by the imminent danger of the Pale Man. During the closeup of Ofelia eating a grape, the camera moves over her shoulder as the focus is pulled towards the Pale Man. As the camera pushes in, the viewer can surmise that he is about to awaken.
An ensuing closeup depicts the Pale Man placing his eyes in his hands, during which the prior visual information presented to the viewer is connected in the their mind. There is another closeup of Ofelia as she is unable to resist another grape, through which the Pale Man is visibly rising behind her in the background. At this point, the viewer’s focus is converged on Ofelia, emphasising her fixation on the grape. We then cut to a high angle shot depicting the Pale Man dwarfing Ofelia, reinforcing the looming danger he emits. Afterwards, an extreme closeup forces the viewer to observe the Pale Man graphically devouring the fairies. We alternate between shots of this and closeups of Ofelia’s reaction.
A chase sequence is ensued by a closeup of the Pale Man, the camera proceeds to track Ofelia’s movements in a rapid crab shot. We then quickly cut between Ofelia (the fleer) and the Pale Man (the pursuer). As Ofelia dashes through the corridor, the distance remaining to the real world is contextualised by alternating between fast tracking shots portraying her movements with shots of reality. During the chase, a handheld camera is utilised in order to create disorientation, reflecting Ofelia’s panicked state of mind. A closeup of the Pale Man’s hand informs the viewer that he is able to see her
To further build tension, a series of closeups are displayed focusing on specific objects such as the broken chalk, the wobbly chair and the Pale Man’s legs. Rapid alternating shots depict the Pale Man getting ever closer to Ofelia as she finally escapes through the ceiling. As Ofelia re-enters the real world, the hellish colour palette of the Pale Man’s realm is juxtaposed with the steely blue colour palette of Vidal’s territory. This distinctively defines the gateway between the two worlds.
Sound
The first sounds heard are the scrawling diegetic sounds of a pencil as the mystical drawings appear on the pages of Ofelia’s fairytale book. As this occurs, an artificial fantasy-esque sound reminiscent of the Underground Realm enters the mix in order to emphasise the whimsicality of the drawings. Ofelia’s non-diegetic narration is layered in the mix with the non-diegetic composed score, through which the use of soft instrumentation – such as a piano – evokes imagery of the fantasy world within the viewer’s mind.
As Ofelia uses the chalk on the wall, an appropriate ‘scraping’ sound accompanies this action, which is expected by the viewer. Conversely, this sound evolves into an unexpected ‘fizziness’ which diverges our attention towards the melting wall. Ofelia then scrapes her hand against the impossible gateway which has a hinge-like heaviness to it, expressed through appropriate sound design. As Ofelia enters the Pale Man’s lair, her narration bridges the narrative between the real world and the hellish lair. Alongside this, a non-diegetic fanfare signifies the Princess’ arrival in the realm.
The soundscape of the hellish realm is extremely ambient and foreboding – incorporating the diegetic ominous breathing of the Pale Man which echoes throughout the corridor. Sharp, high-pitched violins are present in the mix, illustrating Ofelia’s vast uncertainty towards this foreign realm. Important objects also receive a sound, including the chair, doorway as well as the suspenseful sound of sand slowly falling through the hourglass. The ambient soundscape of the realm gradually rises in the mix as Ofelia approaches the Pale Man, signifying the danger that will unfold.
As Ofelia encounters the Pale Man, there is an appropriately utilised ‘swoosh’ sound in order to reinforce Ofelia’s anxious premonition. Ofelia then picks up the eyes on the plate, during which a repulsive ‘squelch’ sound enters the mix in order to disgust the viewer as well as signify their later importance. As the images displaying the various victims of the Pale Man are displayed, the harrowing cries of children are subtly incorporated into the mix. This informs the viewer of the Pale Man’s potential brutality.
As the fairies are released from their confinement by Ofelia, the diegetic chirping of their cries are promptly raised in the mix. At this point, the fairies appear excited and liberated in order to later juxtapose the fairies’ conflicting emotions. Ofelia then holds the fantastical key in her hand during which a jarring, piercing is attributed to it. This drastically emphasises its impending importance. As Ofelia unlocks and opens the door, the dramatic score gradually creeps into the mix which signifies that something new is about to be unleashed. Alongside this, Ofelia’s laboured breaths reinforce her distressed state of mind.
Ofelia then unsheathes the blade from its resting place, during which an artificial diegetic ‘sharp sound’ is added to the mix to emphasise its precision and deadliness. At this point, the score becomes much more dissonant in order to foreshadow the fact that something bad is about to occur. The fairies continue to flutter around the Pale Man, their cackling implies their arrogance. As Ofelia spots the luscious grapes, an appropriate harp enters the mix connoting heavenly imagery – perhaps referencing Adam and Eve. Ofelia is unable to resist the temptation of the grapes, during which the fairies vehemently attempt to prevent Ofelia from eating them. The viewer is able to fully understand the fairies’ communications through the use of sound alone.
As the Pale Man awakens from his dormancy, an emphatic ‘cracking’ sound is extremely loud in the mix, informing the viewer that he has been dormant for a prolonged period of time. In order to further repulse the viewer, another squelching sound is added to the mix as the Pale Man places his eyes in his hands. Piercing and squealing cries can be heard which is reminiscent of a baby’s feeble, infantile cries. The texture of the score then thickens as the tempo begins to increase, indicating the imminent danger. At this point, the soundscape is extremely overwhelming – layering the dramatic score with the shrieking fairies and the growling Pale Man. Ofelia’s breathing begins to quicken, accentuating the rising tension. As the Pale Man begins to devour the fairies, the visceral crunching of the fairies’ bones are excruciatingly loud in the mix.
As the chase ensues, the Pale Man makes skeletal noises as he pursues Ofelia, his rattling bones are prominently featured in the mix. We then cut to a closeup of the hourglass, during which the sound of the sand falling rises in the mix, emphasising that she is running out of time. The objects of importance at a specific moment additionally spikes in the mix for a split second in order divulge the viewer’s attention. The score itself continues to become more urgent as Ofelia frantically scrawls the chalk on the wall. The chalk itself has a piercing and grating sound attributed to it, making the viewer extremely uncomfortable and uneasy.
As Ofelia finally escapes the diabolical realm, the Pale Man’s frustrated noises slowly lower in the mix, informing the viewer that the danger is over for now. Once again, the door ‘fizzes’ as it closes to reinforce its fantastical nature. Finally, the pounding of the floorboards is incorporated into the mix to reiterate to the viewer that danger still lurks beneath.
Mise-en-scène
Ofelia’s traditional clothing is resemblant of Anne Frank as well as many other Holocaust victims. This links to the theme of imprisonment that echoes throughout the film, reflecting Ofelia’s state of mind in the real world. The relation to the Holocaust also foreshadows the later appearance of shoes in the Pale Man’s lair. Ofelia’s fairy book is traditionally designed as the drawings are reminiscent of uterine imagery, emphasising Ofelia’s maturity. The use of pastel colours further exemplifies the fantastical atmosphere of the fairy tale. The steely blue colour palette of the room once again reinforces that Ofelia is imprisoned within Vidal’s territory.
Ofelia then proceeds to crawl through the mysterious gateway to the Pale Man’s lair, this action of ‘crawling through the rabbit hole’ is extremely reminiscent of Alice in Wonderland, portraying Ofelia as a typical fairytale protagonist. The lair of the Pale Man has an extremely hellish colour palette, incorporating reds and crimsons into a monstrous visual spectacle. The wall is painted with blood, foreshadowing the Pale Man’s brutality towards his victims. The interior of the lair resembles a medieval dungeon, the pillars being reminiscent of a cathedral. This implies that the Pale Man is an ancient being, who has resided in this cavern for eternity. The appearance of the hourglass is symbolic of the theme of time that echoes throughout the film. It not only represents Ofelia’s time limit but it also is representative of Carmen’s numbered days. The hourglass’ design also resembles the yet to be seen Pale Man’s decrepit hand, emphasising that this realm is ruled by him.
Ofelia’s green clothing juxtaposes the devilish colour palette of the realm, symbolising her allegiance to the Faun. The large fireplace in the background appears forbidding, connoting further imagery of hell. The large table of tantalising food is once again resemblant of Alice in Wonderland. The food is predominantly sweet, luxury delicacies such as fruits and jellies which is representative of what a child might imagine a feast might entail.
The Pale Man’s design is symbolic of greed – his loose skin in tandem with his malnourished body represents his gluttonous tendencies which he has not indulged in for a long time. His eyes which lie on the plate are strikingly evil and ghoulish. The paintings which depicts the Pale Man’s brutality towards children is resemblant of the works of Goya, a Spanish romantic artist known for visceral paintings such as “Saturn Devouring His Son”.
The colossal pile of shoes which lies beside the Pale Man’s table can once again be linked to the Holocaust. The shoes represent a potential future that exists in Ofelia’s world which is symbolic of the dangers of a fascist, totalitarian regime. Conversely, the key which Ofelia bears represents the hope of overcoming the Falangists. Later in the film, Mercedes utilises a key to free the rebels from the wrath of the soldiers, reshaping the future of Spain forever.
Ofelia then retrieves the dagger from behind the locked door, which is extremely ornamental and polished in design reinforcing its authenticity and uniqueness. The dagger also has potential symbolic relations to Macbeth, representing the theme of treason and betrayal against Vidal. The grapes that Ofelia eats are extremely appealing and voluptuously designed, further reinforcing the temptation they represent.
There are potential parallels between the antagonistic forces of Vidal and the Pale Man respectively. While the captain consumes baby rabbits, the Pale Man devours children which reinforces them as demonic and remorseless. The Pale Man’s hands are also bloodstained, once again linking to Macbeth and the act of betrayal. The fairies’ deaths are extremely brutal and graphic, their blood gushes into the Pale Man’s mouth. This symbolises the death of innocence and whimsicality the fascists enforce. Finally, during the chase sequence, Ofelia’s shoes are focused upon which is a key motif throughout the film.
Editing
The opening scene utilises continuity editing, incorporating a glance object as we cut between Ofelia’s face and her book. At this point, the editing is slow paced which is representative of the calm before the storm. Ofelia’s narration is layered over the edit as a fade transition is incorporated in order to signify the passage of time. There is another glance object between Ofelia and the hourglass, directing the viewer’s attention towards it.
The lair itself has been heavily colour graded in post production, which attributes a hellish quality it. As the camera crabs left to display the copious amount of food, there is another glance object between Ofelia and the feast. As Ofelia observes her surroundings, we alternate between shots that imitate Ofelia’s perspective and objective shots through which we maintain focus on Ofelia.
An example of parallel editing is utilised as we cut between Ofelia adventuring through the lair and the hourglass which ominously displays the amount of time she has left. As Ofelia becomes tempted by the grapes, the camera cuts between Ofelia, the grapes and the Pale Man in order to visualise her mental thought process. After this, the Pale Man begins to place his eyes in his hands during which the pace of the edit is slowed through the use of long takes, which build appropriate anticipation.
As the chase sequence ensues, another instance of parallel editing is implemented to portray the two perspectives of the chase sequence, being the fleeing Ofelia and the pursuing Pale Man. During the chase, the pace of the edit quicks through the use of frequent cuts in order to create a sense of urgency. As the door to the real world closes, there is a reactionary shot which depicts Ofelia’s hopeless expression. One more example of parallel editing alternates between Ofelia running away and the hourglass to further build tension during the chase. Finally, as the door to the lair closes, the pacing of the edit becomes sedate once again in order to signify that the danger is finally over.
Performance
During the opening scene, Ofelia appears to be completely immersed within her fairytale, becoming entranced by the moving illustrations. She also becomes rightly surprised as the chalk astoundingly melts the wall, pushing the door open with ease. These action imply that the normal laws of physics do not apply to the fantasy world.
As Ofelia enters the realm of the Pale Man, her explorative and curious nature is reinforced as she wonders through the corridor. She places the chair down ahead of time which emphasises Ofelia’s forward-thinking attitude. As she reaches the table, Ofelia is mesmerised by the feast and stunned by the motionless Pale Man. The viewer experiences these events at the same time as Ofelia which creates reason for empathy between the viewer and Ofelia.
Ofelia then becomes unnerved by the artistic depictions of violence between the Pale Man and the children, her breathing gradually quickens. She then proceeds to dextrously open the lock, demonstrating her resourceful disposition. Ofelia’s innocence and vulnerability is hinted towards when she is easily tempted by the forbidden grapes. She brashly brushes away the fairies, suggesting that she will happily dismiss the fantasy for a brief moment in order to indulge in a rare luxury. She proceeds to close her eyes as she devours the grape, savouring every morsel which reinforces the harsh conditions that she is forced to live under.
As the Pale Man awakens, it moves slowly and unsteadily which is characteristic of stereotypical fantasy monsters. Doug Jones is an actor typically known for playing monstrous creatures. Through his authentically unnatural performance, the viewer becomes fully immersed within the realm of the Pale Man.
During the chase sequence, Ofelia breathes rapidly which indicates that this is the peak of the tension. She desperately shouts into the corridor as the gateway to reality closes, emphasising her hopeless state of mind. Finally, Ofelia pragmatically seizes the chalk which reinforces her quick-thinking in dire situations.
We were tasked to analyse the key elements of film form of the “fig tree sequence” of Pan’s Labyrinth (00:30:50-00:38:18). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The initial opening wide shot depicts the soldiers travelling on horseback in order to pursue the rebels. The camera pans from left to right, signifying a journey. As we cut to Ofelia’s side, the camera also pans from left to right, implying that she is simultaneously setting out on her own journey. The camera then rests on Ofelia, tracking her movements through the forest as our focused is converged onto her. At this point, the camera is at eye-level with Ofelia which encourages the viewer to empathise with her.
As the camera continues to smoothly glide to track Ofelia, we push back to reveal the fig tree in its entirety – it is reminiscent of uterine imagery. The tree is framed in a manner which makes it appear menacing – it dwarfs Ofelia and the interior is shrouded in darkness, creating mystery. There is then an interesting closeup of Ofelia’s muddied shoes, this being a motif which emanates throughout the film. The fact that her shoes are tarnished implies that Ofelia does not care about how others perceive her, which distances herself from Captain Vidal. There is then a closeup of a nearby tree branch, which signifies its importance to the viewer. This is then confirmed as Ofelia places her clothes on it.
As Ofelia enters the tree, there is a low angle long shot of her standing at the entrance. She is centrally framed and partially obscured by the lighting in order to converge the viewer’s attention onto her silhouette. The darkness of Ofelia’s silhouette is juxtaposed by the vibrant particle fairies which suggests that she is entering the Underground Realm. We then cut back to the exterior, the camera proceeds to pan up and tilt to the right to display a closeup of her abandoned clothes, we can infer that something will happen to it later. As we cut back to the tree’s interior, we alternate between wide shots to showcase the tree’s whimsically designed interior and mid shots that push in closer to Ofelia to display her arduous crawl through the tree. The camera then crabs right to smoothly transition to Vidal and the soldiers.
The camera tilts up to show Vidal dismounting his horse, an ensuing closeup of his shoes opposes the aforementioned Ofelia shoe closeup, which further reinforces him as the main antagonist force Ofelia must overcome. A closeup of the fireplace emphasises its importance to the viewer as Vidal places his hand over it, confirming his suspicions. The camera then arcs into a two shot displaying Vidal and another soldier investigating the area.
As Vidal proceeds to hold up the antibiotic, we cut to a closeup of the bottle being held in his hand. It is perfectly illuminated by the lighting of the forest to emphasises its importance to the viewer. Vidal then proceeds to shout into the forest, during which the camera arcs around him from a variety of angles. An ensuing wide shot tracks the soldiers on horseback attempting to pursue the soldiers, this time panning from right to left. A lowering crane shot pulls our focus towards a group of rebels who are powerfully framed as they have outsmarted the captain.
We then cut back to Ofelia within the tree, during which the camera arcs around her crawling and eventually pushes in on a closeup of her anxious face. It then cuts to a wide shot of the mesmerising cave tunnel which appears to be never-ending. As Ofelia begins to hear grunting, the camera crabs right in order to reveal the giant toad. During the exchange between Ofelia and the toad, there is a quick pan from right to left in order to accurately display the sheer speed of the toad’s tongue. We then cut between a closeup of the toad and a closeup of Ofelia’s reaction as it begins to shed its skin.
The camera then pushes in on the mysterious key which lies upon the frog’s remains. We then cut to a closeup of Ofelia holding it as our focus in diverted towards it, which signifies its valuableness. As we cut back to the outside, there is a closeup of Ofelia’s abandoned clothes, during which the camera pedestals down and then tilts up to reveal Ofelia emerging from the tree. We then pedestal back up as she picks up her clothes. Finally, as the storm ensues and Ofelia is drenched by the rain, she is centrally framed in order to completely focus our attention on her so the viewer can fully empathise with her.
Sound
During the opening shot, the grandiose, patriotic non-diegetic composed score enters the mix. Layered in tandem with the rhythmic galloping of the horses and the soldiers shouting, this emphasises them as an elite domineering force. As we cut to Ofelia, the score becomes more playful and bucolic which reflects her adventurous character. The faint chanting of the soldiers can also be heard low in the mix, reminding the viewer of their omnipresence. As we cross cut between Ofelia and the horses, the score appropriately underscores what is on screen.
The score then lowers in the mix as Ofelia’s diegetic narration begins to rise. Chirping birds and other diegetic forest sounds can also be heard as Ofelia navigates her way through the forest. In addition to this, woodwind instrumentation is added to the score in order to fully immerse the viewer within the setting. As Ofelia arrives at the tree, the score becomes more dramatic by implementing strings to the mix. During the closeup of Ofelia’s clothes, a storm can be heard brewing outside which foreshadows the later torrential downpour. As Ofelia enters the tree, the soundscape is exclusively diegetic. Ominous cave ambience is layered with the sounds of Ofelia crawling and the scuttling of cockroaches.
As we cut to Vidal and the soldiers, a diegetic conversation ensues between them, juxtaposing the dense soundscape of the tree. As Vidal realises that the rebels have recently been in the area, a dissonant non-diegetic stab chord suddenly enters the mix as he lowers his hand in order to reflect his distraught emotions. Vidal then begins to shout, his booming voices is extremely high in the mix and emphatically echoes throughout the forest. This presents him to the viewer as extremely threatening and authoritative.
We then cut back to Ofelia in the cave, during which the ambient cave sounds continue to be heard low in the mix. We then hear a mysterious growl, through which the viewer begins to wonder who or what it might belong to. This enters the mix to juxtapose the subdued ambience of the cave. After the camera crabs to reveal the toad, its distinctive grunts are layered in mix alongside the scuttling of the cockroaches.
As the toad sticks its tongue out, its ensuing grotesque snarls enter the mix at an extreme volume to severely intimidate the viewer. Here, Guillermo del Toro makes apt use of walrus growls and alligator hisses in order to appear menacing. Afterwards, the score becomes more hopeful as Ofelia hatches her plan to outsmart the toad. As the toad’s gelatinous insides begin to exit its body, an overwhelming repulsive sound enters the mix.
The key that lies on top of the toad’s remains receives a distinctive, high pitched fantastical sound in order to emphasises its uniqueness and importance to the viewer. During the proceeding exterior scene after Ofelia picks up her clothes, rain vigorously enters the mix which fills the soundscape. This emphatic use of pathetic fallacy makes us empathise with Ofelia.
Mise-en-scène
During the opening shot, there is an initial stark juxtaposition between the colour palette of the lush, green forest and the steely blue uniforms that are donned by Vidal’s soldiers. This implies that the authoritative Falangist regime is infiltrating the whimsical Underground Realm. Alongside this, the soldiers themselves are all homogeneously dressed, suggesting that they are merely an extension of the captain and have no personality themselves.
The colour palette of the forest is made up of greens and browns, illustrating a fantastical atmosphere. Once again, Ofelia sports traditional fairytale clothing which is extremely reminiscent of Alice in Wonderland. Her green hair bow and dress compliments the lush greens of the forest. As Ofelia opens her traditionally designed fairytale book, the previously seen particle fairies populate the forest, further reinforcing its fanciful atmosphere. The sunlight is harsh, it blazes down onto the abundant leaves which populate the forest.
As we focus in on the fig tree, it is distinctively modelled and extremely reminiscent of uterine imagery. This could potentially represent Ofelia’s maturity as she continues to persevere through her daring adventure. The magic stones that Ofelia bears are bespoke and distinctively shaped in order to appear important. Ofelia enters the tree wearing her green dress which matches the tree, implying to the viewer that this is her natural habitat.
As we cut to the interior of the tree, the aforementioned particle fairies reside within which emphasises the whimsicality of the area. The tree is also dimly lit, overgrown with branches and covered with mud and cockroaches which implies that it is completely uncharted territory. In addition, the colour palette is made up of darker browns and is much less green than the forest signifying that we are now in the territory of the Underground Realm.
During the ensuing scene with Vidal and the soldiers, the captain’s uniform is once again extremely decorated which reinforces the fact that he holds the authority. When Vidal discovers the antibiotic bottle, it is designed in an extremely tactile and distinctive way and alongside the previously mentioned lighting, this emphasises its importance. Conversely, the lottery ticket held by the soldier is crumpled and deteriorated, implying it is a less important finding than the antibiotic bottle. As the soldiers ride back home, the hidden rebels are less well-dressed than the soldiers in order to reinforce the Falangists’ dominance. However, they still exert a sense of power over the soldiers due to their framing and posture and the fact that they successfully remained hidden from Vidal’s eagle-eyed scrutiny.
As we cut back to Ofelia in the cave, her muddy face makes her appear both adventurous and daring. Additionally, the mud has dried to signify the passing of time. The pathway of the tree appears to be never-ending, which is reflective of Ofelia’s sense of disorientation. The giant toad itself is a physical animatronic, del Toro’s use of a practical effect makes the toad appear more authentic and lifelike.
The toad persistently pulses as Ofelia attempts to console it – this creature is entirely unfamiliar to the viewer. The toad’s death could potentially serve as a metaphor for Ofelia’s dying mother. The regurgitation that exits the frog’s body is reminiscent of afterbirth and this use of visceral imagery to foreshadow later events in the film is extremely typical of del Toro. The mysterious key that lies on top of the frog’s remains is uniquely designed in order to appear significant. As we return outside, the steely blue colour palette returns to accentuate the ongoing storm. The vigorous rain then begins to occur, this classic example of pathetic fallacy reflecting Ofelia’s miserable state of mind.
Editing
The opening scene is graded in a way which accents the sun-drenched forest, as well as the vibrant leaves and trees. Del Toro then implements cross cutting between the soldiers and Ofelia through the use of a hidden cut after a pan to the right. This example of parallel editing informs the audience that these events are occurring simultaneously.
Ofelia’s narration is layered alongside the soldiers’ pursuit of the rebels to emphasise her perspective of the narrative – this is her story. There is another sequence of alternating seamless transitions between the soldiers and Ofelia. These parallel edits are extremely unnoticeable and fully immerse is within both sides of the story. When we see Ofelia next, she stands in a different position to signify the passing of time. As Ofelia solemnly walks towards the fig tree, del Toro implements a variety of long takes from a number of angles which slows the pace of the film to a halt.
As Ofelia enters the cave, the intimate colour grading is maintained, however grittier browns are included to separate the Underground Realm from the forest. There is another hidden cut as the camera crabs right while tracking Ofelia crawling. We transition back to Vidal and the soldiers dismounting their horses.
As Vidal begins to search around for any clues of rebel presence, there is a glance object between the captain and the antibiotics in order to focus the viewer’s attention on this object. During the sequence, the pacing is initially slow but gradually rises as we frequently cut to a number of angles as Vidal’s booming voice echoes throughout the forest. There is another hidden cut to transition back to the tree, the camera movement remains identical as it crabs left.
During the exchange between Ofelia and the toad, there is a shot reverse shot sequence in order to maintain continuity editing. Although the toad itself is an animatronic, its tongue is created through the use of CGI in post-production. This genre staple creates fluidity within the frog’s agile tongue movements. There is a glance object between Ofelia and the cockroach in her hand to inform the viewer of her cunning plan to overcome the toad.
Performance
The Falangist soldiers ardently ride out into the forest on horseback, loudly commanding the horses. As we transition to Ofelia in the forest, she carefully opens the fairy tale book and instantaneously becomes immersed within it, emphasising her imaginative nature. As she pensively walks towards the fig tree, Ofelia’s explorative nature is reinforced as she confidently narrates the fairy tale making the viewer question whether the fantasy is real or if it just a figment of her imagination.
As we transition to Vidal, his stern expression and measured demeanour reinforces his position of power. The two soldiers he is accompanied by act subserviently – they do not speak unless they are spoken to. For example, the solider immediately takes the bag from Vidal as he is handed it. As the captain is informed of the forgotten lottery ticket, he appears to act obliviously towards it, reinforcing his uncaring attitude.
His ensuing hand gesture immediately silences the soldiers, informing the viewer that he is used to being obeyed. Vidal’s booming, masculine voice echoes throughout the woods emphatically, instilling fear in the viewer. As the fascists ride away, the rebel group stand majestically silently informing the viewer that they have outsmarted the captain.
As we cut back to Ofelia in the cave, her persistent heavy breathing implies that she is extremely nervous about exploring the tree. During her exchange with the toad, she addresses it as she would a human in order to reassure herself that she isn’t afraid of it. As the toad begins to growl at her, Ofelia continues to stand her ground in the face of danger – she doesn’t cower or show fear in any way. As Ofelia realises how to outsmart the toad, she smirks which reinforces her quick thinking and pragmatic nature to the viewer. She grimaces as the toad eats the insect out of her hand, although there is a sense of accomplishment in her facial expression, highlighting the fact she has outsmarted the toad.
Ofelia nervously reaches out to pick up the enigmatic key, she appears to be completely mystified by it. As she steps outside, her heavy breathing continues implying that she hasn’t overcome every challenge just yet. Finally, rain then begins to fall, during which a look of utter despair is inscribed onto Ofelia’s face. The viewer can fully empathise her at this point as they have followed her entire journey up to this point.
We were tasked to analyse the key elements of film form of the “first shaving sequence” of Pan’s Labyrinth (00:24:36-00:26:13). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The scene opens on a closeup of the gramophone, silently informing us that music is about to start playing. The camera then fluidly tracks the movement of Vidal’s hand as he gingerly picks up his cutthroat blade. As the camera tilts upwards, our attention is pulled from the record player and is now focused on the captain’s face. As Vidal begins to walk towards the mirror, the camera transitions from a mid shot to a long shot, in order to display the surroundings. After a transition, the camera proceeds to arc around the captain and eventually pushes in on his face to present a mid-closeup of him meticulously applying shaving cream to his face. We then cut to an uncomfortable closeup of the captain shaving precisely with temporal focus. The final shot of the scene is a long shot, depicting the full scale of Vidal’s mechanically designed lair.
During the proceeding scene, the lighting becomes warmer which emphasises the fact that we are now in the presence of Mercedes. During the ensuing conversation between Vidal and Mercedes, the camera pedestals up to portray Vidal as having a more powerful position over her. As the captain reaches out to touch her shoulder, the two are framed claustrophobically which presents the captain as extremely threatening.
Sound
The first sound heard is the diegetic audio of the gramophone which is high in the mix. The chosen piece is “Soy un pobre presidiario” by Antonio Molina, a piece extremely evocative of the time period and one which oozes Spanish patriotism.
The song continues to play as Vidal applies shaving foam to his face, to which a diegetic brushstroke-like sound is layered in the mix. He then picks up the cutthroat razor, during which a universally recognisable “sharp metallic object” sound plays to emphasise to the viewer the precision with which the captain exerts during shaving. As the music ascends to fanfare-like crescendo, Vidal’s posture is reminiscent of a matador, further reinforcing his macho demeanour.
Mise-en-scène
At the beginning of the scene, we are greeted to a number of luxury items owned by Vidal. These include the gramophone, cigarettes and a deluxe cutthroat razor blade. These items reinforce the fact that the captain rules the hierarchy and therefore, the distribution of goods.
The razor blade itself is an accurate reflection of Vidal’s personality, requiring acute precision and diligence. The desk on which the shaving equipment lies is extremely cluttered, informing the viewer that this is the centre of Vidal’s command. The surroundings presented are reflective of Vidal’s mechanical disposition, the cog-like water wheels implying that he is a moving part of a bigger machine.
The surroundings presented are reflective of Vidal’s mechanical disposition, the cog-like water wheels implying that he is a moving part of a bigger machine. After we cut to a new scene, Vidal’s uniform is neatly presented and buttoned up as he addresses Mercedes. In addition to this, the interior is designed in a way which is extremely reminiscent of the “Pale Man room” which appears later in the film. This is one of many examples of subtle foreshadowing implemented by Guillermo del Toro throughout the film.
Editing
The scene opens on an initial long take as the captain picks up the cutthroat blade and walks towards the mirror. There is then an example of temporal editing, as the hidden cut signifies that an amount of time has passed between the transitions. After the transition, the camera is positioned in front of Vidal which is physically impossible if the camera kept moving in the same direction which it appears to be doing. As the captain dips his razor in the water, there is a glance object to focus our attention on the razor itself. The pacing throughout this sequence is relatively fast, matching the tempo of the music. As Vidal finishes shaving, there is an abrupt jump cut as the music comes to a final climax.
During the next scene, there is another glance object as Vidal looks at his boot while scrubbing it. During the conversation between Vidal and Mercedes, del Toro employs standard continuity editing techniques. These include shot/reverse shot sequences between the two characters as well as an eye line match. Additionally, the pace of the edit slows during their conversation in order to create a calmer atmosphere after the lively shaving sequence.
Performance
As the scene begins, Vidal’s movements are extremely precise and fluid as he glides his hand towards the razor. He moves meticulously to the carefully selected music and it becomes clear to the viewer that he treats the act of shaving as a divine ritual, emphasising his masculinity. It could also be noted that Vidal is shaving unnecessarily as he appears to be clean shaven. This potentially implies that Vidal views shaving as a form of detoxing to separate himself from his arduous pursuit of the rebels. It is also worth noting that a significant amount of time has passed during the process of shaving, due to the fact that his cigarette has become a stub by the time he has completed his shaving ritual.
During Vidal and Mercedes’ conversation, she appears to act as a mother figure towards Vidal, as she seems to be the only character to oppose him. In turn, this foreshadows her future defiance against Vidal later in the film. As Mercedes steps into the kitchen, each character seems to be more relaxed outside of the captain’s presence, which ultimately creates an untroubled atmosphere.
We were tasked to analyse the key elements of film form of the “first bedtime sequence” of Pan’s Labyrinth (00:11:14-00:17:52). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The first scene of this sequence takes place in Carmen’s bedroom. The colour palette of the room is overbearingly grey and blue, emphasising the fact that this room is in fact owned by Captain Vidal. The only warmth of the room lies in the invitingly orange fire, juxtaposing the oppressive gloom of the greys and blues. This fire represents a small glimmer of hope in Ofelia’s seemingly hopeless life.
The camera then tracks Ofelia’s movements towards the bed, establishing her importance to the narrative. It then rests on a two shot of Carmen and Ofelia in the bed. This is followed by a long take throughout which the camera periodically pushes in and out unnoticeably. This emphasises the intimacy between the two characters. As the conversation continues, the shot becomes increasingly tighter and eventually the two characters fit the entire frame which reinforces their profound affinity for one another.
As we pedestal down, there is a transition into a CGI sequence featuring the foetus of Ofelia’s unborn brother. The imagery throughout is hellish and diabolical, perhaps referencing the evil that lies in both reality and the Underground Realm. The camera then glides, depicting the large scale of a peculiarly designed rose. Afterwards, the reappearance of the strange insect Ofelia spotted in the woods signals a change in colour palette from the devilish crimson to the familiar greens and browns of the forest. As we transition back to live action, the camera arcs around the bed to show Ofelia and Carmen are still lying in the bed.
We then cut to Vidal silently working away in his gloomy lair. Here, Guillermo del Toro utilises a low-angle shot to reinforce his power and authority over the Falangist army. We cut to a closeup of his pocket watch for the second time in the film, reiterating its vital importance to Vidal. As the doctor enters the room, he is accompanied by a number of soldiers that are out of focus. Through this, the viewer can surmise that they at Vidal’s beck and call if need be. As the conversation ensues between Vidal and the doctor, shot/reverse shots are implemented to depict the doctor as holding a higher power over the captain. This is done to imply that the doctor holds the answers to Vidal’s persistent line of questioning. As the captain stands up, a low-angle shot is used to establish he is now the authoritative figurehead in the conversation – we look up at Vidal and down on the doctor.
We then cut to a dark, moonlit exterior setting which accentuates the blues and greys of the colour palette which emphasises that this is the captain’s territory. A feeling of claustrophobia is created as the camera proceeds to push in towards the Falangists and the two rebels which further builds tension and suspense. The camera cuts to a low-angle shot looking up at Vidal, the camera then swings round during which the captain smashes the farmer’s nose with the bottle. We alternate between this low angle shot of the captain, portraying his stoic expression and a closeup of the farmer’s bloody face.
We cut to a wide shot as Vidal calmly shoots the two rebel farmers, during which the soldiers remain emotionless. The camera’s movements proceed to exclusively follow Vidal, keeping him centrally framed. This reinforces the fact that he is the centre of attention during this scene.
Sound
The first sounds heard are the subtle diegetic sounds of Ofelia’s footsteps on the creaking floorboards. In addition to this, we hear the comforting sounds of the fireplace crackling as well as the shuffling of bed sheets. The characters initiate in hushed dialogue which is ironically high in the mix. This emphasises the intimate bond the characters share. Afterwards, Carmen struggles to breathe, through which the viewer can infer that this is due to the previously established pregnancy.
The fantastical non-diegetic composed score then begins to slowly rise in the mix, foreshadowing the fact that we are about to enter the Underground Realm. As we enter the CGI sequence, the subtle diegetic heartbeat sounds emphasise the profound affinity Ofelia is developing with her unborn brother. Ambient wind noises are gradually added to the mix which have an ominous quality to them as the camera proceeds to glide around mystically. As the previously seen insect appears, the skittering sound is initially high in the mix but gradually fades out as it moves further away from the screen. As Ofelia continues to tell her story, a choral religious score rises in the mix, making her story seem important and authentic.
As we cut to Vidal in his lair fixing his watch, a rhythmic diegetic ticking sound rises in the mix. This reinforces its importance to Vidal and can also be attributed to his mechanical and measured approach. As the doctor and the captains’s conversation concerning his unborn child ensues, a ticking sound can be heard low in the mix which foreshadows that Carmen doesn’t have much time remaining. As the soldiers enters, their footsteps can be heard lower in the mix than the captain’s which reinforces his authority and power over them.
During the exterior scene, the important objects receive a distinctive sound – for example the the bottle and watch. As Vidal begins to smash the farmer’s face in, we hear the audible shattering and crunching of his nose. Moreover, the sounds get increasingly wet as Vidal persistently smashes the bottle on his nose. The score then rises in the mix as the situation becomes increasingly distressing. Finally, the emphatic gun shot used to kill the second farmer instills fear in the viewer.
Mise-en-scène
The opening sequence utilises a cold, blue colour palette with the interior design consisting of gothic materials, such as dark wood and a traditional fireplace. The lighting is soft on Ofelia and Carmen which is reflective of their warmth and purity towards each other. Carmen’s bed frame depicts the faun’s horns which suggests to the viewer that we will soon enter the Underground Realm. Ofelia wears humble fabrics which emphasises her innocence whereas Carmen dons expensive silks – suggesting that she is relatively materialistic. Both characters also wear naturalistic makeup.
As we descend into Carmen’s womb, the appearance of the foetus is extremely evocative of the fantasy genre. In addition, the distinctive use of CGI and a crimson, devilish colour palette is a Guillermo del Toro trademark. The depiction of the purple rose signifies royalty which perhaps links to Ofelia being the Princess Moanna. The presence of thorny, foreboding branches instills apprehension in the viewer and the sudden appearance of the insect signals the transition back to reality, this also gives us a sense of familiarity as we have already seen this creature before in the forest.
As we cut to Vidal’s lair, we are greeted to a visual spectacle of mechanical imagery. The captain is meticulously fixing his watch in the foreground, while a cog-like water wheel churns in the background. Once again, the captain’s uniform is extremely decorated which emphasises his position at the top of the regime. In addition to this, the ‘over-realistic’ set design (such as Vidal’s spyglass) in this scene exemplifies del Toro as an auteur.
The doctor who subsequently enters is well-dressed, making him appear professional. He is, however, less extravagantly dressed than Vidal. During their conversation, the captain smokes which is a typical antagonistic trope but this also symbolises his control over the distribution of resources throughout the area.
During the exterior scene, Vidal’s accompanying soldiers are all homogeneously dressed, sporting dull, grey uniforms. This suggests that they are fully compliant to Vidal’s commanding orders and have no personality of their own. The lighting is additionally harsh, juxtaposing the warmness of Ofelia’s room. The farmers wear ragged, dirty clothing which emphasises the fact that they are poor.
After an intense conversation between the characters, del Toro utilises an extremely graphic use of blood, in order to repulse the viewer on a visceral level. Through this, the captain is given a psychopathic quality – showing no empathy. Finally, the shocking reveal of the rabbit reinforces Vidal’s apathetic attitude towards the rebels’ lives, he shows no remorse for the fact that he has brutally murdered two farmers.
Editing
The opening scene of the sequence utilises a long take depicting Ofelia and Carmen in the bed, illustrating their intimate relationship. Through this, our attention is focused exclusively on the two characters’ conversation and any distractions are kept out of frame. The long take slows the pace of the film to a halt and readies the viewer for Ofelia’s story.
As Ofelia begins to tell the story, a hidden cut is aptly used to transition into the CGI sequence. Afterwards, there is another hidden cut to transition from the womb to the purple rose. The fact that we have changed locations is almost unnoticeable to the viewer and this creates a dream-like effect. The motion of the CGI is the same speed as the ensuing camera movement which naturally transitions us back into live action.
Del Toro then uses a crossfade to transition to Vidal’s lair, informing the viewer that both events are occurring simultaneously. As Vidal continues to fix his pocket watch, there is a glance object between Vidal and a closeup of the watch which further reinforces its importance to him. During the captain and doctor’s conversation, a shot/reverse shot sequence is implemented for the purpose of continuity editing. At the end of the scene, a J cut is used as we hear Vidal instructing the troops outside before we see it. This is done to inform the viewer that little time has passed between the two scenes.
During the exterior scene, another shot/reverse shot sequence is utilised between the captain and the farmers. Through another use of a long take, del Toro intelligently builds tension and suspense during the characters’ dialogue. The viewer can surmise that this is the calm before the storm. As the brutal violence ensues, there is a stark juxtaposition between the previous slow paced long take and the fast-paced editing of the violence. There is a series of reactionary shots, alternating between a low-angle shot of the captain’s uncaring face and a closeup of the farmer’s destroyed face. Afterwards, the pacing becomes sedate again, implying to the viewer that the storm is over.
Performance
During the bedtime scene, Ofelia begins by habitually climbing into Carmen’s bed. Through this, the viewer can infer that they can only have this bond when the captain isn’t present. Ofelia silently expresses that she is terrified of the outside world through her persistently anxious facial expressions.
The two characters speak quietly to one another to emphasises the fact it is night as well as to emphasises their affinity for each other. Throughout the conversation, Carmen shows some discomfort both gesturally and audibly. The viewer instinctively realises that this is due to the previously established fact that she is pregnant with the captain’s unborn child. Ofelia tells her story very eloquently and confidently, suggesting that she has done this many times before.
We cut to Vidal meticulously fixing his watch at night, perhaps implying that he is a workaholic. His scrupulous focus is only broken by the entry of the doctor, who nervously awaits the captain’s approval before he starts talking. During their conversation, it becomes clear that Vidal is used to being obeyed due to his subtle hand gestures which signal the doctor to immediately become silent. As the doctor challenges the captain about his child’s gender, the viewer can surmise that he is unused to being opposed. Vidal sneers, emphasising the fact he is unimpressed with his opinion. This dismissiveness could potentially imply that the captain is concealing a number of insecurities.
During the exterior scene, the farmers breathe heavily and tremble in fear as they are spoken to Vidal, reinforcing his position of authority. Conversely, Vidal expressively emphasises his enjoyment of power he possesses over the farmers through his dismissive manner of speaking. As Vidal begins to brutally murder the farmer, his facial expression is strikingly stoic. Furthermore, his emotionless demeanour remains during the aftermath of the murders which suggests he holds no remorse whatsoever.
We were tasked to analyse the key elements of film form of the opening sequence of Pan’s Labyrinth (00:00:00-00:05:52). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
After the credits, the film opens on a crab shot of Ofelia dying in reverse – this could be considered to be a circular narrative seeing as this scene also appears in the final act. The film uses a blue colour palette to emphasise the harsh reality of the real world. The camera then pushes into her eye and into the Underground Realm. In actuality, this entire sequence is in reverse. This means that the film actually opens on an extreme closeup of Ofelia’s iris, through which the camera then pulls out and then pedestals down.
The camera then glides in an ethereal and mystical manner, crabbing right and pushing in through the entrance. Through the use of tilting, a free-flowing camera movement is created which emphasises the fantastical nature of the realm. At the surface of the tower, overexposure is utilised to create a bright, overwhelming light to represent Ofelia’s erased memory.
It is here that the three main colour palettes used throughout the film are established. The sun kissed gold, the steely blue palette and the green forest palette. Each of these palettes truly encapsulates the atmospheres created by each respective setting and Guillermo del Toro meticulously emphasises the use of visual storytelling throughout Pan’s Labyrinth.
After the time period shift, the camera then continues to glide – specifically tracking the movement of the cars. Through a sequence of selected shots, we are immersed into the story. After an establishing shot, we cut to a closeup of Ofelia’s fairy tale book, specifically Alice in Wonderland. This specific fairy tale is often referenced throughout the film and this shot establishes it. We then cut between a two-shot of Ofelia and Carmen and various closeups of both characters. Ofelia is always positioned closer to the camera to emphasise her greater importance to the story.
We then cut to a long shot of the cars coming to a halt, in which the particle-like fairies make an appearance. These sparkling pixies have connotations of the underground realm and are visually intriguing to the viewer. The camera proceeds to track Ofelia’s curious movements which further establishes her as the central character. We then focus in on the mysteriously shaped rock and through the use of an over-the-shoulder shot we learn that it is emblazoned with an eye. The camera continues to track Ofelia’s movements as she stumbles upon the overgrown statue. It then cuts to a two-shot of Ofelia and the statue, suggesting that the statue is in fact a character itself.
As Ofelia places the mysteriously emblazoned rock in the eyehole, the camera focuses in on the mouth. Through this, del Toro focuses the viewer’s attention on this specific area for the mild jumpscare that follows as the skittery insect makes its appearance. The camera positions itself at Ofelia’s eye level, which once again reiterates her great importance as a character. Del Toro then utilises a focus pull as our attention is diverged from Ofelia to the insect. An ensuing arc shot then tracks the erratic movements of this enigmatic insect as we view the Falangist vehicles from its perspective.
Finally, we are introduced to the main antagonist of the film, Captain Vidal, through a closeup of his cracked watch – yet another reference to Alice in Wonderland. His meticulous and mechanical demeanour is first established through this closeup. It is interesting to make note of the fact that both Ofelia and Vidal are introduced to the viewer through the use of a closeup of an inanimate object, being the fairy tale book and watch respectively.
Sound
The opening credits begin with silence, immediately focusing the audience’s attention. Afterwards, there is a gradual rise in the mix of natural diegetic wind ambience. This ambience is then layered with a peaceful humming lullaby, a reoccurring motif throughout the film. This juxtaposes Ofelia’s ominous dying breaths which are also gradually layered into the mix. As the reverse sequence ensues, an accompanying piano is gradually added to the mix. Through this, an eerie and pensive attitude is created by del Toro.
As we witness Ofelia brutally dying in reverse, non-diegetic narration enters the mix. This explains to the viewer the required expositional information involving the lost princess’ connection to Ofelia. A subtle non-diegetic whoosh sound plays as we push into Ofelia’s eye, which marks the transition into the Underground Realm. The non-diegetic orchestral score throughout the following sequence establishes an angelic and ethereal atmosphere. The jarring squawk of the crows juxtapose this, implying a sense of dissonance throughout the realm.
A subtle non-diegetic swoosh distinguishes the return to reality as a choral score is gradually layered in the mix. As the cars drive past, we hear the diegetic engines as we cut to Ofelia and Carmen within one of the Falangist vehicles. During the closeup of Ofelia’s book, a diegetic page turn focuses our attention towards this. The sound is entirely diegetic throughout the car scene.
As Ofelia steps out of the car, the background dialogue lowers in the mix as Ofelia moves further away from the soldiers. The viewer only hears sound that is relevant to Ofelia, the protagonist, to highlight her importance. During Ofelia’s curious exploration, she stumbles upon a rock which receives extremely distinctive and recognisable sounds. A gentle non-diegetic piano score enters the mix as Ofelia picks the rock up, emphasising the significance it holds to the Underground Realm. Here, del Toro establishes a recognisable sonic link between the use of piano and the labyrinth realm.
As Ofelia inspects the rock, a diegetic ominous wind enters the mix in combination with more sombre and lower instrumentation – specifically the use of a cello. The low strings of the cello represents a tonal shift as the mysterious rock continues to provoke questions in Ofelia’s mind. As Ofelia places the rock in the statue, we hear a tactile noise that confirms its placement.
When the insect appears out of the statue’s mouth, diegetic skittering sounds enters the mix which implies to the viewer that the insect could potentially pose a threat to Ofelia. Afterwards, Ofelia is dragged back to reality and subsequently, the soundscape of the Underground Realm gradually lowers in the mix. The sound of the insect is layered with the vehicles which remains at a constant level as the diegetic sound of the vehicles gradually lower in the mix. Subsequently, the sound bridge connects the vehicles to Vidal through the use of a J cut as we hear the ticking of the captain’s watch before we cut to it.
Mise-en-scène
The film opens with credits presented in a ancient-looking font, which establishes the film’s tone. As Ofelia dies in reverse, the crimson blood flowing backwards creates an initial enigma for the viewer. The Underground Realm is depicted as behind Ofelia’s eye which emphasises her importance to it.
The Underground Realm itself has an extremely cold colour palette, predominantly steely dark blues. The realm contains lots of ancient architecture, illustrating a gothic and mystical vista. As the camera tilts up, the sunlight glares from above which is relatively jarring – representative the time shift. The surface is illuminated in gold and we can clearly see that the area has been destroyed by the ongoing guerrilla warfare.
As we cut to Ofelia in the car, the initial shot is a closeup of a traditionally designed fairy tale book. Ofelia and her mother both wear traditional 1940s clothing, consisting of a beret and a waistcoat. The forest that the vehicles enter is extremely lush and luxuriant – it also matches Ofelia’s green clothing. The Falangist vehicles are also appropriately selected to match the time period.
The aforementioned eye rock is meticulously shaped and framed to fully capture the viewer’s attention. Moreover, the previously discussed particle fairies surround the mysterious statue, which suggests that it holds great significance to the labyrinth realm. The statue itself is overgrown which implies that it has been untouched for many years. The “key and lock motif” which features prominently throughout the film is first established here when Ofelia places the rock into the statue.
As we enter the mill, the soldiers each wear historically accurate uniforms embossed with the Falangist insignia which reflects the presence of the fascist regime during this time period. The object of shoes are also first mentioned here – yet another key motif featured throughout the film. The mill itself is architecturally run down and exposed, emphasising the Falangists’ authoritative control of the area. It is also surrounded by an abundance of militaristic equipment which further reinforces this, as well as the fact that Ofelia is entering an area of violence.
The object of Vidal’s watch is closely focused upon, emphasising its importance to him. The fact that it is extremely distinctive and cracked suggests its significance, it is also reflective of his character. Captain Vidal’s clothing is extremely decorated, signifying his authority. He also dons black leather gloves which make him appear menacing.
Editing
After the credits, the film opens on a title card containing the contextual information of the Spanish Civil War which is required for the full enjoyment of the film. We then fade from black into the opening crab shot. As the sequence plays in reverse, the underground realm matches the graphic of Ofelia’s iris. During the Underground Realm sequence, the Princess is superimposed while running across the landscape which attributes a floaty, mystical quality to her movement. Through the use of meticulous colour grading, the employed steely blues illustrate a cold and moody atmosphere.
Del Toro then uses a fade to white transition followed by a frame from white transition to indicate the transportation to the real world. The subsequent golden, sun kissed colour grading juxtaposes the previous palette which emphasises the change in location. In addition, the implementation of a cross-fade establishes the time period shift. During the car scene, continuity editing is used during Ofelia and Carmen’s conversation. Throughout this sequence, multiple shot/reverse shots are employed and the 180º rule is obeyed.
The particle fairies featured in the woods are theatrical as well as genre-appropriate. During the forest scene Del Toro uses long takes to establish a slow pace throughout. There is a glance object when Ofelia picks up the rock, which is then followed by a closeup of said rock. Alongside this, there is a reactionary shot of Ofelia after she witness the appearance of the insect
We transition to the captain at the mill through the use of a J cut. We hear the ticking of the watch before we cut to it. At this point, there is a reverse glance object as we see Vidal’s watch followed by the captain himself. Afterwards, there is an establishing wide shot which allows the viewer to get a sense of their surroundings.
Performance
As the viewer witness Ofelia dying in reverse, we hear her feeble dying breaths which make her appear vulnerable and weak. Through this, Ofelia immediately receives the viewer’s sympathy. Afterwards, the expositional narration is sincere and measured – aptly informing the viewer of the backstory involving the Princess Moanna and the Underground Realm.
During the car sequence, both actors give naturalistic performances. Ofelia keeps a firm grip on the book, implying that she has a profound affinity for the many fairy tales she reads. As Carmen experiences pregnancy sickness, her emotional performance causes the viewer to empathise with her pain.
Ofelia’s explorative and fearless nature is emphasised through her immediate initiative to explore the forest. Her curious expression reiterates this. During the insect’s appearance, Ofelia’s nonchalant expressions shifts to one of wonder and intrigue. This suggests that she is not afraid of the insect but mystified by its enigmatic presence.
As we are introduced to Captain Vidal, his precise and calculated movements suggest he is a malicious presence. His upright posture and stern demeanour reinforce this.
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film starring Ivana Baquero, Ariadna Gil and Sergi López. The film is set in the summer of 1944, five years after the Spanish Civil War. The presence of the Falangist fascists still emanates throughout Spain as well as the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
We follow Ofelia, the stepdaughter of the malicious Captain Vidal who is violently hunting the rebel Maquis. She stumbles upon a mythical world in which an abandoned labyrinth lies, which seems to belong to an enigmatic faun. It is through this that Ofelia becomes desperate to save her unborn brother from a life of anguish and rid Spain of all conflict.
Interaction between Ofelia and the faun
Del Toro utilises a variety of interesting techniques throughout the film in order to tell a compelling story. Firstly, del Toro’s signature use of ultra-graphic injury detail is ever present throughout the duration of Pan’s Labyrinth. Akin to his previous works such as The Devil’s Backbone and Crimson Peak, countless people are mercilessly tortured and maimed and through this, del Toro instills a sense of enervation within the viewer.
In addition to this, del Toro makes apt use of lighting to differentiate between the fantasy world and the gritty reality. High-key lighting is implemented during scenes when Ofelia is immersed within the labyrinth and this is used to represent a sense of unadulterated bliss. Conversely, during the majority of the film, low-key lighting is used to emphasise the sombre and harsh reality of the war-ridden world.
Use of lighting in Pan’s Labyrinth
The film does not follow a typical linear narrative structure. The film opens with the final scene of the film, which depicts Ofelia dying in reverse. This establishes an initial enigma, which is then resolved at the end of the film. Del Toro’s striking use of nonlinear narrative structure further intrigues the viewer and makes for one shocking opening scene.
The film holds an extremely important place within Guillermo del Toro’s filmography due to the fact that it is considered by many to be his magnum opus. Winning a bountiful number of academy awards such as Best Cinematography and Best Makeup, Pan’s Labyrinth is a profound drama which astutely blends two seemingly dissonant genres, being fantasy and war.
Del Toro receives his Oscars
Personally, I thoroughly enjoyed Pan’s Labyrinth from beginning to end. Del Toro successfully created an enthralling tale making intelligent and calculated use of the elements of film form throughout. I enjoyed each witnessing the struggles and hardships of each of the characters, particularly Captain Vidal who acted as an extremely effective antagonist.
My personal favourite sequence has to be the Pale Man sequence due to how enigmatic and intriguing the creature is. Through the use of no dialogue, the scene is extremely effective in the way of building tension and mystery.
The Pale Man
Through the use of symbolism, characterisation and fantasy, I think that the main message told throughout Pan’s Labyrinth is the terror of war and the capability for humankind to perform malicious and abhorrent actions. The contextual implication of the humans in the real world being just as malicious as the savage monsters of the labyrinth rings true throughout the duration of the film.
The first component we are studying is Component 2a: Global Film. This section of the course entails two films of study, being Pan’s Labyrinth (Guillermo del Toro, 2006) and Wild Tales (Damián Szifron, 2014). These two specific films have been chosen due to the fact that both originate outside of the UK and are in a subtitled foreign language.One film is required to be European and the other must originate from a continent outside of Europe. Pan’s Labyrinth is a Spanish film (Europe) and Wild Tales is an Argentinian film (outside of Europe).
The core study areas of this unit are the key elements of film form, as well as context, aesthetics and representation. We are required to use these areas of study to construct and communicate meaning for a comprehensive analysis. We are not required to compare the two films but merely write about them separately, discussing the techniques used throughout.
We were tasked to analyse the performances from the 4th and 5th chapters of The Grand Budapest Hotel. In class, we discussed the expressive use of voice, intonation, movement and physicality throughout.
The scene opens on a silhouette of M. Gustave (Ralph Fiennes) standing by a balcony. Through a diligent use of posture, he is depicted as a reflective and insightful person.
Throughout this sequence, Ralph Fiennes gives an extremely expressive performance as M. Gustave. He uses lots of hand gestures and other precise motions to oversee and instruct the hotel workers.
His performance can be described as instructive and clear, as well as naturalistic. Fiennes utilises a very particular way of speaking, which illustrates his character as a member of aristocracy. Gustave additionally establishes a tone of authority, through which he asserts himself as a self-assertive figurehead. His words are chosen conscientiously in order to meticulously instruct the members of the working class.
During the conversation with Madame D, Fiennes uses subtle gestures such as a smile in order to feign intrigue. Interestingly, his measured demeanour is shattered when he makes notice of her nail varnish. Gustave’s precise movements are abandoned during this revelation which gives the viewer an invaluable insight into Gustave’s true colours.
Fiennes’ movements throughout are choreographed and precise and are meticulously timed to Anderson’s predetermined camera movements. As the camera crabs left, Fiennes naturalistically glides left. Anderson additionally makes use of blocking throughout this sequence, Gustave is always centrally framed in order to emphasise his authority.
We were tasked to analyse the mise-en-scène from the 5th chapter of The Grand Budapest Hotel. In class, we discussed the partial and complete control of environment throughout the chapter.
Chapter 5: Lobby
It is important to establish the two key intentions the director attempted to achieve through the use of mise-en-scène throughout this sequence. Firstly, Wes Anderson’s first intended aim is to illustrate the opulence and grandeur of the hotel itself, emphasising the upper-class society of the time period. Secondly, Anderson attempts to present Gustave as an authoritative and self-assured figurehead through the use of mise-en-scène throughout.
From the very start, Gustave can be described as well-presented, well-groomed and polished. He dons an extravagant purple suit and bow tie and sports a meticulously slicked hairstyle, as well as a prominent moustache. All of this contributes to Gustave being perceived as a well-respected concierge in addition to being a member of aristocratic society. On the other hand, Zero dons a similar – albeit slightly askew – outfit, this is exemplified by a lop-sided “Lobby Boy” hat, as well as a fake moustache.
During the first scene of this chapter, Anderson utilises a range of flamboyant colours to reiterate the lavishness of the hotel itself. These include cremes, pinks and beiges as well as a generally snowy environment. Moreover, the lettering of the hotel sign is emblazoned in a flashy gold trimming which captures the audience’s attention.
Our first look at Gustave and Zero
During Gustave and Zero’s conversation, we cut to an appropriately dressed upper-class man having his shoes shined by a crippled working class boy, who is pictured as having scraggy clothes and dirty shoes. This emphasises the social divide presented to the viewer throughout the film. Moreover, the wagons parked outside the hotel contain a bountiful amount of luggage which purports a sense of immense popularity within the hotel.
Social hierarchy in The Grand Budapest Hotel
Inside the hotel, the interior is furnished with a vast array of luxurious decor, examples of which include crimson carpets and imported exotic plants. In addition, the entire lobby is grandly illuminated and every guest is well-presented and respectably dressed. There is a juxtaposition created between the wealth of the hotel and the mundanity of the workers’ duties.
During Zero’s interview, Gustave immediately deals with the multitude of interruptions by the hotel staff. Each staff member immediately moves out of Gustave’s way and astutely answers to his beck and call. This contextualises Gustave as a well-respected concierge and a force to be reckoned with.
Lavish costume and set design within The Grand Budapest Hotel
We were tasked to analyse the editing from the 28th and 29th chapter of The Grand Budapest Hotel. In class, we discussed the deliberate and considered pacing and sequencing throughout the chapters.
Chapters 28-29: Second Copy of the Second Will
Anderson begins the chapter with an exterior extreme long shot of the hotel, in order to establish the setting. From this establishing shot, the viewer is informed of the fact that the rest of the scene will take place from within the hotel. After this, we enter a sequence of rapid straight cuts of items such as a bell, a pigeon hole and a shaker, all of which are embossed with the “ZZ” insignia. This montage-like sequence informs us that the fascist group are indeed present within the hotel.
We then cut to a sequence of fairly short continuity cuts during which Agatha presents the hotel guard with a Mendl’s cake. Simultaneously, the scene with M. Chuck is taking place, through which the two sequences of continuity editing become a parallel edit. Anderson then cuts to a single sequence of continuity editing of Agatha walking up the stairs and into the storeroom.
Anderson then makes use of a glance object shot, having Agatha glance at the note and subsequently cutting to a closeup of the note. This allows the viewer to read the note for themselves and understand the important details written upon it. We then cut to another two sequences of continuity editing (Agatha upstairs, Dimitri and M. Chuck downstairs) which converges in another sequence of parallel editing.
During the conversation between Dimitri and M. Chuck, Anderson makes use of an editorial technique known as an “insert”. We are shown the mugshot of Agatha to inform us of the fact that Dimitri is aware of her existence, however the characters on-screen are unable to see this. Afterwards, an unconventional chase sequence ensues between Dimitri and Agatha during which Wes chooses to avoid the use of edits and instead decides to implement longer takes, as well as camera movements. For example, Anderson uses a two-shot in place of a shot/reverse shot sequence to avoid editing.
After utilising two reaction shots for Dimitri and Agatha respectively, the viewer can empathise with the both of them. We then cut to another slow chase sequence in the hotel hallway in which Anderson employs long takes and infrequent edits. It is interesting to make note of the fact that the few cuts used are in time with the music. During this, parallel editing is present between the chase and the other ZZ soldiers pursuing Gustave and Zero.
Anderson then makes use of a zoom honing in on Gustave and Zero, during which the pace of editing quickens for chaotic effect. Afterwards, a shot/reverse shot sequence between Dimitri and Gustave takes place to establish continuity. A satisfying rhythm is created during this sequence when the men with guns enter through the expert use of cuts and sound design choices.
When the shooting ends, the pacing of the editing slows as the camera pans 90º between each of the characters. Another sequence of parallel editing takes then occurs depicting Zero running around the hotel as well as Agatha outside hanging on the ledge. Through this, Anderson makes use of cross cutting to emphasise the concurrency of the scene.
We were tasked to analyse the sound from the 25th and 26th chapter of The Grand Budapest Hotel. In class, we discussed the deliberate and considered use of diegetic and non-diegetic sound throughout.
Chapters 25-26: The Remote Foothills
The first use of sound featured in the chapter is the implementation of Alexandre Desplat’s non-diegetic composed score. Featured throughout the entire duration of the two chapters, Desplat’s score can be described as dark in nature as well as layered. For example, the pulsing rhythm employed in the first scene perfectly matches the on-screen visuals. Furthermore, the utilisation of particular instrumentation such as a pipe organ foreshadows Gustave and Zero’s later visit to a church.
Anderson expertly makes use of layered diegetic wind sounds, as well as subtle ambient sound effects in order to attract the audience’s attention. The first scene also uses diegetic dialogue as well as emphasised diegetic sound effects attributed to Joplin’s character. Examples including the brandy bottle and the coat poppers attribute a sense of menace to his character.
It is also important to make note of the fact that only the objects of diegetic significance receive sounds, such as the coins as well as the crunching snow. During the startup of the motorbike engine, Anderson interestingly cuts off the sound as the shot cuts to the jarring train whistle. This is then followed by the non-diegetic narration from Zero, during which the other sounds decrease in the mix.
As the train comes to a halt, the diegetic sounds of hissing steam and brakes increase in the mix. During which, the repeated rhythmic pulsing score give the film a playful pace. The score reduces in the mix as the train door opens to reveal Henckels’s character. The emphasised diegetic sniffs inform the viewer that the ZZ is now aware of Gustave’s presence.
As we cut to an extreme long shot of the observatory, the mix becomes more echoey. The movement temporarily stops, during which the diegetic wind ambience is attributed. Due to the fact that the characters are far away, the dialogue decreases in the mix and increases as we move in closer. As a new character enters, the diegetic footsteps become gradually louder to focus our attention.
As our characters are instructed towards their next goal, the non-diegetic composed score rises in the mix to create a loud and dramatic atmosphere. Anderson then interestingly makes the stylistic choice to make the screeching of the cable car occur in time with the score. This exemplifies the rhythmic flow of the film and instills satisfaction within the viewer.
The score rises in the mix as the characters approach their destination. It also illustrates a sense of playfulness to perfectly match the cartoon-like nature of the characters. As the characters enter the church, the timbre of the now diegetic score becomes echoed a capella voices. As the characters sit down, the score lowers in the mix to a single voice to focus the viewer’s attention on the ensuing conversation between the characters.
The movement stops as we cut to the confession booth, in doing so the dominant sound that can be heard is the diegetic dialogue which is accompanied by a very low, mournful score. The score then slowly rises in the mix as Gustave makes the revolution that there is a second will. As the scene cuts to black, we are forced to picture the scene as we hear the diegetic sound of the body falling . As the chase ensues, the driving percussive elements of the score increase and proceeds to stop as the movement stops.
We were tasked to analyse the cinematography from the 21st chapter of The Grand Budapest Hotel. We discussed each individual shot in class and analysed the employed cinematographic techniques throughout.
Chapter 21: Check-Point 19 Supply Depot
In the first long shot, Anderson establishes a symmetrical frame with in a frame. The ratio is 4:3 to inform the audience of the time period (1932). Our attention is then focused on a car which enters the frame towards the centre. The camera then pans 90º to the right, through which our attention is now drawn towards the manhole cover illuminated from above. The camera then dollies forward to allow the viewer to read the text on the manhole cover. Zero then enters the frame to the left and peers into the manhole.
Anderson then cuts to a symmetrically framed long shot of the prison cell interior, in which more frames within frames are featured. The lights then go out while the actors perform highly choreographed movements in order to escape. As the lantern is lit, the viewer’s attention is focused towards the hole in the ground. The camera then pedestals down, following the centrally framed lantern through the floor and into the tunnel.
We then cut to a centrally framed, symmetrically composed closeup of a conveniently illuminated and labelled button, expertly focusing our attention.
The camera then crabs right to reveal the labelled dumbwaiter, through which another frame within a frame is composed. The viewer’s eyes are drawn directly to this specific location, as a character then enters the frame through the dumbwaiter. The camera then crabs back left, resting on the symmetrically framed door. As the camera continues to crab left, we follow the running men as we come to rest on the ladder.
It then cuts to a symmetrically composed frame of the prison gallery, through which our attention is directed to the centre. The long ladder then descends through the established frame. We then cut to a different view of the ladder, which presents us with a labelled wall, in order to inform the viewer of the location.
Anderson cuts to the opposite 180º angle, breaking the 180º rule in the process. Through a symmetrically constructed frame within a frame, our attention is focused on the smaller frame through which a character appears. A shot/reverse shot sequence then takes place, between the escapees and the prisoner, in which the characters are framed appropriately.
We then cut to a wide shot through which the characters enter the frame. The camera pans 90º and rests on a labelled lift door. We then dolly forward into the guard bunk room. The frame is dimly lit and the shadows are meticulously framed as the characters nimbly navigate their way through the bunk room. The film then cuts to a low angle shot of the men crawling under the bunks.
We cut to a frame within a frame of the characters cutting the prison bars in sync. It then cuts to a wider shot in order to show the frame in the larger context of the prison wall. The characters then throw the long ladder outside.
Anderson cuts to a birds-eye-view shot which shows the colossal height of the building as well as the length of the ladder. The frame is conveniently lit to show the path. We then cut to an extreme long shot which shows the men climbing down the side of the building, emphasising the sheer size of the prison.
It cuts to a shot depicting the windows as the escapees climb along the edge, the camera then crabs right to show the progress. The frame within a frame features a conveniently labelled steam vent.
A wide shot is established to portray the laundry basket landing point, our attention is focused on this centrally framed area. The men enter the frame downwards through the vent which is lit from above. As the characters land, they are symmetrically placed. We then pedestal down to reveal a centrally framed trapdoor.
We then cut to a worms-eye view frame within a frame of the prisoners looking down the trapdoor. A sequence which alternates between birds-eye and worms-eye shots then occurs. The trapdoor remains consistent and the characters are symmetrically positioned.
The film cuts to a wide shot, through which a prisoner armed with a knife enters. We cut to a worms-eye view portraying the other characters’ reactions in which they are all still symmetrically placed. Finally, a birds-eye shot displays the aftermath of the stabbings.
The Grand Budapest Hotel(Wes Anderson, 2014)is a crime/comedy detailing the adventure of an eccentric concierge and his newly befriended lobby boy protégé. The film contains an ensemble cast containing the likes of Ralph Fiennes, Bill Murray, Edward Norton and Saoirse Ronan to name but a few.
Grand Budapest poster
We follow an unnamed author (Jude Law) who is interviewing Zero – the owner of the prestigious Grand Budapest. We learn the story of M. Gustave (Ralph Fiennes), the famed concierge of the hotel and a young Zero (Gustave’s newly appointed protégé) in a daring and adventurous rags to riches quest.
Wes Anderson uses many interesting techniques throughout the film. Firstly, the narrative structure of the film is nonlinear as we flick back and forth between three key time periods: 1932, 1968 and 1985. Anderson expertly makes use of three different aspect ratios for each time period in order to subtly inform the viewer when each on-screen event is taking place.
Use of aspect ratios in The Grand Budapest Hotel
The film’s aesthetics are enchanting throughout. Anderson makes full use of the key elements of film form, predominantly the cinematography and mise-en-scène to produce a emphatic and flamboyant impact.
Use of cinematography, framing and mise-en-scène
Being only 7 years old at the time of writing, The Grand Budapest Hotel will surely become a cult classic in the future. The filmmaking is nothing short of masterclass and each shot of the film could be a framed piece of artwork. Wes Anderson’s legacy will surely inspire aspiring auteurs to shape the future of cinema.
The film explores themes of class and wealth throughout, emphasising the occupants of the hotel as being members of upper-class society and illustrating the employees as subservient.
Personally, I thoroughly enjoyed The Grand Budapest Hotel from start to finish. Each shot was visually breathtaking and the all-star ensemble cast were a joy to witness on-screen. However, I do personally believe that the plot at some points delved into the realm of being ‘convoluted for the sake of complexity’. Additionally, in my opinion, a large part of the film’s selling point is the eclectic cast and I think it would not be as critically acclaimed without it. In saying that, I would highly recommend the film to anyone purely from the aesthetics alone.
My favourite sequence would perhaps be the fantastic ski chase scene. Anderson intelligently makes use of many filmic elements – particularly editing and special effects to construct a tense and enthralling sequence.
Ski chase scene
Overall, I would rate The Grand Budapest Hotel ★★★★.
We were tasked to rewatch the opening scene of City of God and in small groups were assigned to comment on one particular element of film form. In my group, we were assigned the element of mise-en-scène.
After sharing our ideas with the rest of the class, we compiled the ideas into a mind map.
The Silence of the Lambs (Demme, 1991) is a psychological horror/thriller starring Jodie Foster and Anthony Hopkins. The film, based on a 1988 novel of the same name, revolves around Clarice Starling, an FBI trainee who must acquire information from Dr Hannibal Lecter, a psychopathic criminal and former psychiatrist to locate and apprehend another serial killer known only as Buffalo Bill.
Hannibal Lecter (Anthony Hopkins)
Clarice works in a male-dominated field of occupation and director Jonathan Demme makes this evident from the very start. Use of diligent cinematography emphasises the patriarchal society of the FBI and the theme of gender reoccurs throughout the duration of the film.
Use of colour, mise-en-scène and framing to differentiate Clarice
The film’s plot remains engaging and enthralling throughout, with intelligent use of tension and terror to illustrate a looming, hopeless atmosphere at the forefront of it all. Hannibal within the confines of his cell remains an extremely iconic image of cinema and is the most likely the first image you picture when discussing The Silence of the Lambs.
Hannibal within the confines of his cell
The performances throughout the film are magnificent – specifically Anthony Hopkins as Hannibal. It’s no wonder that his mere sixteen minutes of screen time awarded him the prestigious Best Actor award at the Oscars. Hopkins’ cold, psychopathic demeanour can be perceived throughout the entire film, despite not featuring in the majority of scenes.
Additionally, Foster’s ruthless and fearless attitude instills courage within the audience, and the question of whether the killer will finally be caught keeps you engaged throughout.
Clarice Starling (Jodie Foster)
The incredible cinematography of The Silence of the Lambs was shot by Tak Fujimoto. The film never feels the need to use cheap tricks such as jump-scares to terrify the audience, but instead, relies on much more nuanced and effective means to do so.
For example, the film uses a multitude of POV shots as well as close-ups to emphasise Lecter’s dominating presence. Fujimoto’s cinematography primarily accentuates characters’ eyes; this is done to induce fear within the audience, as well as show how fear has been induced within other characters. Furthermore, multiple shots use an interesting choice of lighting to illustrate an unsettling atmosphere.
Lighting and cinematography within The Silence of the Lambs
The 180º rule is a general guideline regarding the on-screen spatial relationship between two characters within a scene. The rule involves keeping the camera on one side of an imaginary axis between the two characters.
In effect, the first character is always frame right of the second character. If you were to cross the imaginary axis with the camera, this is known as “breaking the 180º rule” and it visually confuses the audience as to where the characters are standing in relation to each other.
A shot/reverse shot is a film technique where one character is shown looking at another character (usually offscreen). The second character is then shown looking back at the first character. This leads the viewer to believe that the characters are facing each other.
A shot/reverse shot from The Wolf of Wall Street (2013)
I am studying the Eduqas A-Level Film Studies course. This specification is made up of two examined components, as well as a third coursework component.
Component 1 is entitled Varieties of Film and Filmmaking and is worth 35% of the A-Level qualification.
Component 2 is entitled Global Filmmaking Perspectives and is also worth 35%.
Component 3 (Production), requires independent work and is worth 30%.
The two exams assess knowledge on 14 films; ranging from many categories. Three assessment objectives are measured here, these include:
AO1 – demonstrate knowledge and understanding of elements of film.
AO2 – apply knowledge and understanding of elements of film to:
analyse and compare films, including through the use of critical approaches.
evaluate the significance of critical approaches
analyse and evaluate own work in relation to other professionally produced work
AO3 – apply knowledge and understanding of elements of film to the production of a film or screenplay.
Throughout the course, the key elements of film form will be assessed. These include:
Cinematography – deliberate and considered use of photography and lighting
Editing – deliberate and considered pacing and sequencing
Sound – deliberate and considered balance of diegetic and non-diegetic sound
Mise-en-scène – partial or complete control of environment
Performance – expressive use of voice, intonation, movement and physicality
The final component of the course is the filmmaking coursework aspect. This will entail the production of a 5 minute short film in which every aspect will be overseen by me alone. These aspects include:
Otis Morley’s A-Level Film Studies Blog 
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