pan’s labyrinth – Otis Morley’s A-Level Film Studies Blog

Pulp Fiction: Narrative Nonconformity

The concept of narrative involves the discussion of a variety of collective ideas that link to how the story of a film is presented to the viewer, alongiside how the story is internalised. This blog will explain the key narrative functions, as well as how Pulp Fiction (Quentin Tarantino, 1994), in many cases, does not conform to these narrative conventions.

Story, plot, and narrative

The overall concept of narrative can be subdivided into three ideas: story, plot, and narrative.

Story is defined as “everything that happens in the fictional world between the beginning and the end, including events that viewers infer or presume to have happened”. In essence, this means that story is the collection of narrative events that both occur and are implied throughout the film.

Plot is defined as “what viewers see on screen and hear on the soundtrack to allow them to construct a story in their heads. Plots can begin anywhere on the chain of story events and can leap backwards and forwards in time and space.” Plot expands upon the initial concept of ‘story’ by introducing the idea of the viewer’s internal contextualisation of narrative events. Plot also hints at the idea of nonlinearity, which suggests that not all stories must be told in a rigidly chronological order.

Narrative is defined as “the flow of story information constructed by the plot at any given moment. Narrative implies a point of view, which may be that of one of the characters or of an omniscient, all-seeing narrator.” Narrative introduces the idea of using different character perspectives in order to enrich the meaning of a film. Switching perspectives often gives the viewer new insight into the characters’ motivations, as well as the meaning behind the events occurring onscreen.

In the case of Pulp Fiction, Tarantino utilises each of these narrative elements in order to create a unique and satisfying experience. The story of the film is relatively simple, with the film containing four episodic chapters with intertwining characters and events. On the other hand, the plot of the film is constructed in a highly nonlinear and convoluted manner. Although each chapter itself has a linear structure, the order in which it is shown to the viewer is non-chronological. This fragmentation of the plot creates an underlying sense of anticipation. Due to the fact that the viewer is witnessing events out of order, we expect to see the repercussions of these events later in the film.

Pulp Fiction also uses the aforementioned multi-character perspective idea, affecting the narrative of the film. For example, the restaurant robbery scene is displayed to us initially from the perspectives of Pumpkin and Honey Bunny, thus diverting our attention towards the pair as characters. We are engaged by their conversation suggesting a potential robbery and are subsequently teased by the very start of it. Tarantino provides closure on this event at the very end of the film, during which Jules and Vincent are the central focus. We now root for them, as the narrative focus has been shifted, affecting the viewer’s perception of events. On the surface, Pulp Fiction’s multiple storylines could be considered ‘clichéd’ or archetypal, due to each event that occurs being nothing that is wholly original. The predominant pleasure that the film provides is ultimately the meticulously crafted narrative structure.

The Three Act Structure

Another touchstone of storytelling is the three act structure – a model widely utilised throughout fiction. Dividing a narrative into three clear-cut sections, the typical structure involves three acts (setup, confrontation, resolution). In the case of Pulp Fiction, each chapter of the film loosely follows this structure. For example, during Butch’s story: Act 1 displays Butch being paid by Marsellus to throw his next fight, Act 2 is the sequence in which Butch returns to his apartment through to the pawn shop scene, finally concluding with Act 3 in which Butch saves Marsellus and returns to Fabienne.

By only displaying fragmented acts of the multiple storylines in quick succession, Tarantino subverts the viewer’s preconceived expectations of what a typical narrative structure entails.

Types of Narrative

There are three main types of narrative, being: linear, circular, and episodic.

Linear narrative “starts at the beginning, and continues in the order that events happen up to the end.” This is the most conventional and simple narrative structure, displaying events in a straight forward and chronological order.

Circular narrative “starts at the end, then goes back in time to return to this point later on.” This is an interesting story structure, creating an immediate narrative hook to reel in the viewer’s attention. Over the course of the film, this memory of this event will linger in the viewer’s mind and a sense of satisfaction will be provided when the event is finally reprised. A example of this can be seen in Pan’s Labyrinth (Guillermo del Toro, 2006). Ofelia’s death is initially displayed to the viewer in reverse at the very start of the film, and is later returned to at the end, by which point we understand the context surrounding the previously shocking and unexpected event.

Episodic narrative “has clearly separated sections, often broken up by a title, date, or a cutback to a narrator.” This allows a film to tell more than one story, perhaps in a portmanteau style. An example of this can be seen in Wild Tales (Damián Szifron, 2014) in which five stories are told, each connected by the theme of revenge.

In the case of Pulp Fiction, Tarantino utilises elements of all three modes of narrative throughout the film. For example, large chunks of the film are displayed in a wholly linear fashion, such as Vincent and Mia’s date, during which Tarantino employs techniques such as continuity editing. The narrative of the film could also be considered circular, due to the fact that the the robbery scene in the diner acts as both a prologue and epilogue section. Pulp Fiction could also be considered episodic too, seeing as the film is broken down into chapters that are signalled by intertitles.

Prolepsis (flash-forward) and Analepsis (flashback)

A pair of techniques that are often utilised within storytelling are prolepsis and analepsis.

Prolepsis (often referred to as a flash-forward) is a “temporal edit to a later point in time”. This dramatic device can be used to foreshadow and tease future events to the viewer.

Conversely, analepsis (often referred to as a flashback) is a “temporal edit to an earlier point in time”. Analepsis can be utilised to perhaps provide contextual information, displaying past events that will become relevant to the current narrative at a later point.

Tarantino uses both prolepsis and analepsis at specific points throughout Pulp Fiction. Namely, a flash-forward sequence occurs during The Bonnie Situation. This hypothetical sequence displays Bonnie returning home from work to find the gangsters handling a body in the living room. A flashback is used as a preface to Butch’s story – Captain Koons monologues to a young Butch, explaining the importance of the titular gold watch. This later contextualises Butch’s return to the apartment in order to reclaim this watch.

Ellipsis

This narrative device is defined as “the emission of a section of the story that is either obvious enough for the audience to fill in, or concealed for a narrative purpose, such as suspense or mystery”. Ellipsis is widely used throughout film, leaving the viewer to frequently assume that events have occurred. For example, unless it possesses significant importance, a character’s physical journey from point A to point B is not usually displayed to the viewer due to the fact that we can safely assume how they reached this destination. Ellipsis is also used for much more dramatic purposes, such as in 2001: A Space Odyssey (Stanley Kubrick, 1968) in which Kubrick famously match cuts from a spinning bone to a spaceship, effectively fast-forwarding the entire evolution of humankind.

Pulp Fiction uses ellipses to withhold important information from the viewer at specific points in the film, ultimately providing a sense of gratification when the viewer pieces the events together. A clear example of this is during the shared prologue and epilogue of the film – the diner scene. During the prologue, we are only aware of Pumpkin and Honey Bunny’s presence and only later learn during the epilogue that Jules and Vincent are in fact sitting in the same location.

*Kubrick’s famous bone-to-spaceship match cut*

Narrative Viewpoint

Narrative viewpoint is the lens through which we view the plot. There are three main types of narrative, being: restricted, unrestricted/omniscient, and voiceover/narrative.

A restricted narrative viewpoint is when “the audience only know as much as the main character.” This viewpoint is often used to create a sense of mystery; due to the viewer only having the knowledge of the protagonist they are also encouraged to connect with them on a deeper level.

An unrestricted/omniscient viewpoint is when “the audience sees aspects of the narrative that the main character does not.” This type of viewpoint often creates dramatic irony – a useful narrative device that creates tension and suspense.

Voiceover/narration is “an omniscient or subjective non diegetic verbal commentary.” Narration is often used in films such as Fight Club (David Fincher, 1999) and GoodFellas (Martin Scorsese, 1990) to provide a direct line of communication between the characters and the viewer. However, voiceover often provides a biased perspective on events. Despite this, the two aforementioned films utilise this to their advantage.

Tarantino combines both restricted and unrestricted viewpoints throughout Pulp Fiction, providing a sense of satisfaction for the viewer in both cases. An example of a restricted viewpoint in the film is during the scene where Jules and Vincent collect the briefcase from the apartment. During this scene, the viewer is unaware that there is a man in the bathroom with a gun and we only learn this fact once we return to the scene later in the film.

An unrestricted viewpoint used in the film is the scene where Mia overdoses on heroin. Earlier in the film, Vincent is displayed buying powered heroin from Lance. At Mia’s apartment, Vincent leaves this heroin on the table, prompting Mia to snort a line after getting back from Jack Rabbit Slim’s, as she assumes that it is cocaine. With the use of an omnipotent narrative viewpoint, Tarantino creates dramatic irony during this scene, establishing suspense and drama.

Narrative Devices

These are an assortment of techniques used frequently throughout storytelling for a variety of intended effects. These include title cards, intertitles, chaptering, and audience positioning.

Title cards are “printed contextual text at the start of the film”. Pulp Fiction opens with a dictionary definition of “pulp”, displaying the two meanings to the viewer. The first meaning is “a soft, moist, shapeless mass of matter” which perhaps hints at the overall narrative structure of the film. The second definition, “a magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper” is suggestive of the “Pulp Fiction” present throughout. The events and characters are both highly archetypal and cliched, and this idea is immediately suggested by the dictionary title card.

The second narrative devices is intertiles, which are instances of “printed text or narration shown between scenes”. Popularised by silent filmmakers such as Buster Keaton, this technique was to convey expositional information that could not be told through silent action. As such, intertiles are not present throughout Pulp Fiction.

Chaptering is the “division of a narrative into distinct, labelled units.” Linking to the aforementioned episodic narrative structure, this narrative device allows filmmakers to present multiple, clear-cut storylines. Tarantino employs chaptering to divide the three interconnected storylines into distinct episodes of the film. These chapters include “Vincent Vega and Marcellus Wallace’s Wife”, “The Gold Watch”, and “The Bonnie Situation”.

Audience positioning is a nuanced and engaging narrative device that involves “how the narrative encourages or discourages audience sympathies and reactions.” In Pulp Fiction, this causes the viewer to empathise with different characters in different ways at different times. The characters, who we initially view as mere archetypes of the crime genre, are thus humanised by how Tarantino positions the audience. We enjoy being in the company of Vincent and Jules, two highly repugnant gangsters who kill people for money are presented as a charismatic and comedic duo. The viewer is encouraged to sympathise with an array of despicable characters who we initially wouldn’t.

Conversely, characters such as Zed and Maynard are positioned as antagonistic forces during Butch’s story, despite perhaps being no worse than the protagonists that we root for. The audience is also positioned to view different characters as the ‘protagonist’ during certain section of the film. For example, we subconsciously root for Pumpkin and Honey Bunny during the prologue, but support Jules and Vincent during the epilogue as the couple are framed as the antagonists within the reprise of the scene. The focus often shifts fluidly without the viewer noticing, an example being when the shift focuses from Vincent onto Mia when they return to the apartment.

*The ‘pulp’ dictionary definition title card*

Narrative Theories and Theorists

A number of narrative theorists formulated specific theories concerning storytelling, characters and structure. These include Vladimir Propp, Tzvetan Todorov, Roland Barthes, and Claude Levi-Strauss. Taking these theories into account, it becomes clear that Pulp Fiction does not conform to typical narrative conventions.

Vladimir Propp was a Soviet literary theorist who studied Russian folklore and created two narrative theories. He first theorised the concept of the seven character archetypes that all characters in fiction must conform to. These include the Hero, Villain, Princess, Donor, Dispatcher, Helper, and the False Hero. Each of these character types supposedly serve a specific purpose in each narrative. In Pulp Fiction’s case, Tarantino does not conform to the idea of the seven character types due to the fact that we do not follow a single journey, and each character in the film fulfils multiple roles at particular times.

Propp’s second theory involved the idea of 31 narrative functions that every story would contain at least some of, in a particular pre-conceived order. Again, this theory does not apply to Pulp Fiction seeing as the theory only applies to stories told in a chronological order.

Tzvetan Todorov was a Bulgarian-French historian who created the ‘Equilibrium Theory’, stating that every story is made up five stages. These include equilibrium, disruption of equilibrium, recognition of disruption, resolution, and new equilibrium. Once again, this theory does not apply to Pulp Fiction – its fragmented narrative subverts both this theory alongside the viewer’s prior knowledge of narrative structure.

Roland Barthes was a French essayist who created the ‘Narrative Codes Theory’, stating that all stories are made up of two types of codes. Firstly, the ‘action code’ involves a physical event that is displayed, prompting the viewer to ponder the consequences of it. An example of an action code in Pulp Fiction is the scene where Vincent accidentally shoots Marvin in the face. The viewer is left in awe of this shocking event, causing them to possess an intrigue as to what the consequences might be.

The second type of code created by Barthes is the ‘enigma code’. This idea depicts an intriguing event that creates a sense of mystery, and prompts the viewer to acquire an interest in unravelling the mystery. Tarantino employs this idea in Pulp Fiction by using the elusive briefcase to create a sense of intrigue. Furthermore, the viewer never actually finds out what is in the briefcase, letting the mystery remain unsolved forever.

Claude Lévi-Strauss was a French anthropologist who created the theory of ‘Binary Opposition’. He argued that audience engagement is driven by tension between binary opposites, such as: good vs evil, race, and social rankings. Whilst binary opposites are not a prominent theme featured throughout Pulp Fiction, certain predicaments do arise from opposing views – an example being when Mia wishes to dance, but Vincent does not. Instead, Tarantino paints characters who possess morally grey compasses and exist between the binary idea of good vs evil.

In conclusion, Tarantino subverts both the audience’s and theorists’ preconceived notions of what a conventional narrative is made up of. Instead, he chooses to present the film in a refreshing and unique manner, utilising an array of narrative devices at his disposal whilst maintaining a sense of underlying individuality.

Pan’s Labyrinth: Representations

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

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.

Sound:

Patriotic score, shouting soldiers, bucolic Ofelia score, stab chords, Vidal shouts, hopeful Ofelia score, high pitched key sound, rain pathetic fallacy

Mise-en-scène:

Juxtaposition between palette and uniform, traditional fairytale clothing and book, uterine tree, decorated uniform, hidden rebels less well-dressed (framing and posture)

Muddy face, pathway reflects disorientation, mysterious key, toad’s death metaphor, pathetic fallacy

Editing:

Cross cutting, hidden cut, parallel editing

Layered narration, immersive long takes, slow pace, more hidden cuts

Glance object (subjectivity), pacing quickens, hidden cuts

Fluid movements, glance object shows Ofelia’s resolve (POV)

Performance:

Ardent soldiers, immersed in fairytale, explorative nature

Vidal stern expression + measured demeanour, subservience represents hierarchy, hand gesture, booming masculine voice

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

Sound:

Gramophone patriotism, cutthroat blade, sharp sound, matador fanfare

Mise-en-scène:

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

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.

Pan’s Labyrinth: Aesthetics

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

Introduction

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.

Editing:

Colour grading, cross cutting, hidden cut, parallel editing,.

Layered narration, immersive long takes, slow pace.

Gritty brown grading, more hidden cuts.

Glance object (subjectivity), pacing quickens, hidden cuts

CGI frog tongue, fluid movements, glance object shows Ofelia’s resolve (POV)

Sequence 3: Pale Man Sequence

Cinematography:

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.

Pan’s Labyrinth: “Pale Man sequence”

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.

Pan’s Labyrinth: “Fig tree sequence”

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.

Pan’s Labyrinth: “First shaving sequence”

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.

Pan’s Labyrinth: “First bedtime sequence”

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.

Pan’s Labyrinth: “Opening sequence”

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 Contextualised

We have been tasked to answer a number of questions which detail the contextual implications of Pan’s Labyrinth.

1. Synopsis

There are two distinctive worlds featured throughout the film, being the gritty war-torn reality and the fantastical labyrinth realm. Through this, Guillermo del Toro manages to tell two intertwining stories which can never be fully explained without delving into details featured within the other tale.

Real world:

It is 1944 and General Francisco Franco is the fascist ruler of Spain. Captain Vidal and his falangist troops have taken control of a mill in the mountains of Spain. They stockpile food there, giving the civilians barely enough to eat so that they can’t afford to give any supplies to the leftist guerrillas in the woods. Vidal has married Carmen, who bares his child. He sends for her because he wants to be present at the birth of his son. Vidal has little time for Carmen’s young bookish daughter, Ofelia. Unbeknownst to Vidal, his housekeeper (Mercedes) has a brother who leads the rebel maquis. She and Doctor Ferriero secretly supply the guerrillas. The communist rebels retake the mill shortly after Carmen dies during childbirth. As the falangists are overrun, Ofelia kidnaps the newly born child. Vidal follows her into a nearby labyrinth where he shoots the girl and reclaims the baby. He is confronted at the entrance of the labyrinth by Mercedes and a large group of maquis. Pedro (Mercedes’ brother) shoots Vidal under the right eye and kills him. A weeping Mercedes cradles Ofelia. Ofelia dies.

Fantasy world:

Princess Moanna sneaks out from the underworld to become mortal and dies. Her spirit passes through countless humans. The king of the underworld vows to wait for Moanna’s return. A fairy leads Ofelia to a labyrinth where a faun tells her she is a reincarnation of Princess Moanna and that she needs to return to the underworld. However, to make sure that her magical spirit is still intact, Ofelia has to successfully perform three tasks — obtain a key from the belly of a giant toad (that is killing a tree where enchanted creatures rest); use the key to retrieve an item from a locked door guarded by a demon (the Pale Man); spill the blood of an innocent into the portal of the underworld. The faun instructs her in sorcery. Ofelia is distracted because of her sick mother and fails the second task. Ofelia passes the final test by sacrificing her life instead of her brother’s. Princess Moanna returns to the underworld where she rules with “justice and a kind heart”.

2. When and where do the events in the film take place?

The period featured, 1944 in Spain, is intriguing as it is clearly a period where the rumblings from the Spanish Civil War are still being felt despite the war itself having finished in 1939.

The film takes place in a military outpost located outside Madrid in rural Spain. The presence of the fascist Falangists as well as the cowering rebel Maquis are effervescent throughout the duration of the film.

3. Briefly, what was the Spanish Civil War about? When and how did it start and end?

The Spanish Civil War was a military revolt against the Republican government of Spain which lasted from 1936 to 1939. After an initiative coup d’état failed to win control of the country, a civil war ensued between the Falangists led by General Franco and the Spanish Republicans.

4. Which of the factions does the Captain represent? Why is he stationed at the mill?

Captain Vidal is very much representative of the Falangists, who are in the process of exterminating the few remaining Spanish Maquis rebels who are currently residing in the mill.

5. Which of the factions do the people in the mountains represent? Why are they hiding?

The people hiding in the mountains are representative of the few remaining Spanish Maquis rebels. They are hiding from the malicious fascist Falangist regime, led by Captain Vidal.

6. Which of the factions do the political and religious elite support? Why?

Political elites featured throughout the film are clearly in support of the Falangist faction, due to most political parties forming an alliance to initiate the coup of July 1936. Religious elites are additionally in support of the fascists due to the power and wealth of the catholic church. Throughout the film, a priest is shown participating in the feast hosted by Vidal which emphasises that the church is on the side of the nationalists.

A local priest, attending a meal held by the Captain, dismisses the possible pain felt by the rebels on theological grounds. His representation lacks humanity and is clearly a barbed commentary on an out of touch and complicit Catholic church: “God has already saved their souls. What happens to their bodies hardly matters to him.” Del Toro uses the cinematic conceit of a banquet to heighten the corruption of the local middle classes and ruling elite. Despite his criticisms of Catholicism as a dogma and institution it is clear that Del Toro admires the spirituality of his native religion — in a later film Crimson Peak, a ghost story, he commented on his belief in ghosts. The scene above is strongly redolent of a stylised heaven with its church-like setting, a rosary window flooded with golden light and a grey bearded father figure flanked by a doe-eyed mother. It is all rather stuffy and formal befitting a royal court perhaps but not a fairy domain. That said it is clearly Ofelia’s (Princess Moanna’s) ‘happy place’ — she has come home to a loving warm family and an adoring people.

7. Which of the factions do the peasants support? Why?

Throughout the film, the peasants are shown to be in support of Vidal and the Falangists. Despite the Marquis rebels offering arguably more just ideals, the deprived peasants are utterly dependant on the fascists for food and other resources.

8. What role do women play in the two factions?

The representation of women is evidence of the social problems women faced in this patriarchal and macho era.

Women play a vitally important role in both factions featured throughout Pan’s Labyrinth. For example, pregnant women such as Ofelia’s mother represent the future generation of the fascists, due to the fact that Carmen is pregnant with Vidal’s unborn son. In addition to this, women are portrayed as subservient to the ‘superior’ male, holding roles such as a mere servant in the case of Mercedes. However, characters such as Ofelia recontextualise the role women hold when she shows a level of rebellion against the captain.

9. How is food an important symbol in the film?

The symbol of food presented throughout the film represent a variety of contextual ideas. For example, it is presented as a vital necessity as the peasants struggle to survive as Captain Vidal thinly rations the available resources. Moreover, in the realm of the labyrinth, food is symbolic of the biblical ideology of temptation when Ofelia is punished by the Pale Man for eating two grapes.

10. How is poverty an important theme in the film?

The theme of poverty is expressed throughout the film through the depiction of the rebellion against the fascist regime that has conquered Spain. The deprived Maquis rebels are poverty-stricken by the Falangist political elite and this forges the motivations for the uprising by the peasants.

11. How is time an important theme in the film?

Time is important theme presented throughout Pan’s Labyrinth illustrated predominantly through the symbol of Vidal’s pocket watch. This watch holds invaluable sentimental value to the captain and is visually symbolic of Vidal’s necessity for rule and order.

12. How is disobedience an important theme in the film?

Disobedience is the underlying motif that emanates throughout the course of the film. It is representative of the motivations behind the Maquis rebels’ actions and this exemplifies how the choice of rebellion is sometimes morally correct. Ofelia must choose whether to blindly follow Vidal’s authoritative order, or disobey and overthrow the fascist regime.

13. How and in what ways does Pan’s Labyrinth draw on fairy tale and fantasy tropes and archetypes?

The film pays homage to traditional fairy tales throughout the film. For example, Ofelia dons a stereotypical dress worn by both Dorothy and Alice from their respective tales. In addition to this, the Pale Man is representative of typical stories such as Hansel and Gretel by tempting Ofelia with grapes.

14. How is fascism portrayed in the film?

Fascism is portrayed throughout the film through the depiction of the Falangist regime. The authoritative portrayal of the fascists emphasises them as a threatening and overbearing presence. Punishments issued by Vidal are depicted in excruciatingly brutal detail and this invokes a visceral reaction within the viewer.

The negative depiction of Franco’s fascist forces is clearly intended to be extended to the imaginative poverty of fascism in general — in contrast to the more benign and sensitive (although hardly democratic) fairy kingdom. A more realist political representation is that of the guerrillas who are presented as resourceful and determined and egalitarian. Mercedes’ love of children (Ofelia and her baby brother) suggests a tenderness and a celebration of all things childish — indeed, unlike Ofelia’s weak and dismissive mother, Mercedes gives advice on the handling of fauns.

15. How does Guillermo del Toro employ uterine and yonic imagery in the film?

Del Toro utilises uterine imagery in a variety of ways. For example, the faun’s head has a striking resemblance to a uterus, fallopian tubes and ovaries. GdT has additionally confirmed the use of a “fallopian palette of colours”. The trees are also uterus-shaped and there is a detailed depiction of Ofelia’s unborn brother in Carmen’s womb. This could perhaps be symbolic of Ofelia’s developing maturity as the film progresses.

16. How are maternal instincts presented in the film?

Maternal instincts are presented throughout the film through the characters of Mercedes and Carmen. Both characters attempt to nurture Ofelia in vastly different ways. For example, Ofelia’s mother attempts to indoctrinate her into joining the Falangists and addressing Vidal as her father. Conversely, Mercedes shows Ofelia the way of the rebellion and guides her towards the path of uprising. Ironically, Mercedes’ role as a mother-figure to Ofelia holds greater importance to her than her biological mother.

17. What is the significance of faces and shaving in the film?

Throughout Pan’s Labyrinth, Vidal is often depicted shaving his face in an extremely precise and dexterous manner. He makes it a prominent part of his routine and focuses his full attention towards it. This is representative of Vidal’s obsession with being in control and the razor used is symbolic of threat and terror.

18. What is the significance of flowers in the film?

Flowers depicted throughout the film are representative of purity and authenticity. Appearing at the end of the film, Ofelia’s rose represents her everlasting presence as well as the journey she completed over the course of the film. The rose could potentially symbolise eternity, implying that Ofelia’s actions have made a permanent impact upon the fascist regime.

19. How does Guillermo del Toro operate a ‘one for them, one for me’ filmmaking policy?

After directing the critically condemned big budget blockbuster Mimic (1997), del Toro used the funds from this to produce and direct The Devil’s Backbone. This alternation between a studio project followed by a passion project became typical for del Toro, and this is the film that cemented it. Pan’s Labyrinth is a key example of a GdT passion project. After recently directing the Hollywood blockbuster Hellboy (2004), del Toro used the funds earned from this project to fully focus his efforts on Pan’s Labyrinth, the film he made for himself.

20. How far is Pan’s Labyrinth representative of Guillermo del Toro’s oeuvre?

Pan’s Labyrinth is an quintessential example of what makes a Guillermo del Toro film so recognisable. Firstly, the film is spoken in the director’s native language, Spanish, which reinforces just how much of a passion project this film really is. In addition to this, the film features heavy use of ultra-violent injury detail – especially in the facial area. This inordinately specific quirk is extremely typical of GdT’s filmography and Pan’s Labyrinth is no exception.

Del Toro as an effective and idiosyncratic fantasy/horror auteur is evidenced in his earlier films such as Cronos (1993), The Devil’s Backbone (2001) and Crimson Peak (2015) as well as in his much more mainstream Hollywood work such as Hellboy (2004) and Pacific Rim (2013).

21. How did the critical reception of The Devil’s Backbone influence the production of Pan’s Labyrinth?

Del Toro has stated that Pan’s Labyrinth is a spiritual successor to The Devil’s Backbone in a thematically linked trilogy of films. The critical reception of The Devil’s Backbone was mostly positive receiving an average score of 7.4/10 on IMDb at the time of writing. This positive acclaim encouraged audiences to go and watch Pan’s Labyrinth, which has contributed to its worldwide success.

22. Was the film financially successful?

Released in the UK by Optimum. Premiered at Cannes in May 2006 to great acclaim. Co–produced by a number of Spanish, Mexican and American production companies the $19 million budget is reflected in the complex production design, period dressing and relatively large cast. The eventual worldwide box office of $83.3 million was seen as a triumph.

Being released worldwide in December among a multitude of Oscar contenders such as The Departed (Martin Scorsese, 2006), Pan’s Labyrinth, the fantasy/war dark horse surprisingly grossed $30 million and is still running strong to this day.

23. Why is the year of release of The Devil’s Backbone and Pan’s Labyrinth significant?

The two films were released in 2001 and 2006 respectively. Being released 5 years apart from each other, the years that the films are set are additionally set 5 years apart being 1939 and 1944 respectively.

24. Why physical effects over CGI?

Employing a minuscule amount of CGI within its special effects, Pan’s Labyrinth predominantly utilises a vast amount of meticulously designed makeup and animatronics to illustrate a visually pleasing spectacle.

The key technology used in this film is the animatronics and green screen work as discussed above and its effective creation of a magical-realist production design.

25. Why did Guillermo del Toro write the DVD subtitles himself?

Del Toro wrote the subtitles for Pan’s Labyrinth himself after becoming disillusioned with the translation of The Devil’s Backbone — a film also with the Spanish Civil War as its backdrop and the informal prequel to Pan’s Labyrinth.

Del Toro was extremely disappointed with the subtitles for The Devil’s Backbone and described them as being for the “thinking impaired” and “incredibly bad”. Subsequently, he took action into his own hands and wrote the English subtitles for Pan’s Labyrinth himself.

26. How does Guillermo del Toro use distinct colour palettes in the film?

GdT implements two distinctive colour palettes in order to visually inform the viewer as to whether the scene was taking place in reality or in the fantasy world. The labyrinth realm features predominantly warm colours such as “deep crimsons and golden ambers, almost like amniotic fluids” as noted by del Toro. Conversely, the colours of the harsh reality utilise a much colder palette, making apt use of deep blues and greens, as well as accentuated sharp angles to reinforce the brutality of guerrilla warfare.

27. Look at the “context starter questions” on the Contexts Of Film mind-map. How many could you answer? Add your answers to the end of this post.

Institutional Context- How films are funded, how the level of production budget affects the kind of film made and the main stages of film production:

GdT was offered a large amount of studio money to shoot the film, as long as it was spoken in English. Refusing this to reflect his creative vision, del Toro financed the film himself with the help of fellow auteur Alfonso Cuarón.

Political Context – The way political issues, when relevant to the film chosen, are reflected in a film:

Guillermo del Toro chose to set the film five years after the end of the Spanish Civil War, as he believes it is a topic swept under the rug by most Spaniards. The Falangist fascist regime are explicitly depicted as brutal and malicious, whereas the Spanish rebel republicans are depicted as heroic and courageous.

Historical Context – Aspects of the society and culture at the time when films are made and, where relevant, where they are set:

Being released in 2006, del Toro himself has stated that the 9/11 terrorist attacks are what inspired him to make Pan’s Labyrinth. He stated that his perception of “brutality, innocence and war” changed after the destruction of the twin towers. The film’s social commentary is not exclusive to the Falangist regime but is an overall critique of fascist ideologies.

Pan’s Labyrinth (Guillermo del Toro, 2006)

Contains spoilers for Pan’s Labyrinth.

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.

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.

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.

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.

Overall, I would rate Pan’s Labyrinth ★★★★.

Component 2a: Global 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.