The “Squirrel Gutting” sequence of Winter’s Bone (Debra Granik, 2010) displays Ree, Ashlee, and Sonny hunting for a squirrel to eat. This sequence serves to trounce the patriarchal preconceptions towards this duty, as she nurtures her siblings to thrive in the unforgiving land of the Ozarks.
Key Elements, Context, and Representation
The scene opens with a wide shot filmed on a long lens that displays a centrally-framed Ree wielding a hunting rifle, with Ashlee and Sonny intimately nestled by her side. This immediately subverts the patriarchal associations towards men wielding weapons. Ree simultaneously attends to the maternal duty of nurturing her siblings to thrive in the wild, alongside the paternal duty of administering the hunting. Sonny’s actor sneeze in a manner that appears to be ‘off-script’, to which Ree responds with a naturalistic “bless you” – an ad-libbed yet intimate moment that develops the bond between the siblings.
Diegetic ambience is layered alongside the hushed voices of the characters in the sound mix, reflecting their anticipation towards killing the squirrel. Ashlee interestingly shows heightened interested in learning the art of hunting than Sonny – a notion that is representative of the next generation of women replacing and trouncing the typically patriarchal duties held by men. Ashlee pulls the trigger of the rifle with no reluctance, emphasising her willingness to learn the methods of survival.
We then cut to the family gathered around an outside table as they prepare to skin the squirrel in preparation for cooking it. A low-angle shot of Sonny looking up to Ree illustrates the fact that she is imparting her knowledge of survival onto him. Sonny is notably squeamish towards touching the squirrel’s guts, emasculating him and supporting the feminist ideology that the film strives for. Ree ultimately teaches a practical life lesson to Sonny, fulfilling the parental role that Jessop never could.
Ree nurturing her siblings in the means of survival
Following this, we cut to Ree slicing logs – a typically masculine duty. The viewer is able to discern Ree’s uncle, Teardrop, looming in the background of the scene, representing the oppressive male force that hinders Ree’s ability to thrive. A focus pull is implemented to draw our attention towards him as he edges closer to Ree. Teardrop’s appearance is notably scruffy and ragged, displaying the impoverished atmosphere of the Ozarks. A simple shot/reverse shot sequence is employed throughout this scene, as opposed to a low/high angle shot alternation. This indicates that the power dynamic between Ree and Teardrop is equal, aligning with the feminist ideology the film conveys. He informs her of Jessop’s car being burned, to which Ree maintains a stoic expression. She does not react emotionally and dramatically, which is to be expected of the female stereotype portrayed throughout Hollywood. This emphasises Ree’s strengthened resilience she has garnered after becoming the house’s caregiver. Finally, Ree adamantly refuses the drugs offered to her by Teardrop, which is indicative of her mental fortitude over Teardrop, who is reliant on the drugs. She acts as a role model for her siblings, leading them along a path of purity despite the fact that her mother, father, and uncle are all involved with drugs.
The “botched heist” sequence of Bonnie and Clyde (Arthur Penn, 1967) proves that not everything the gang attempts will go to plan, serving to highlight the gritty realism presented over the course of the film. The scene displays the titular couple attempting to rob a town bank, which seems to be going to plan until their attempted escape. The gang’s newly appointed getaway driver, C.W. Moss, inadvertently hinders the heist by parking the car away from the bank. Moss then struggles to pull away, accidentally hitting two cars. As the gang finally manages to drive away, a man jumps onto the car – prompting Clyde to shoot him in the face.
Key Elements, Context, and Representation
The sequence opens with an extreme long shot taken from under the awning of an establishment, serving to immerse the viewer in the evocative rural Southern town. This shot is deliberately framed as to draw the viewer’s attention towards the crossroads at the centre of the town, naturally guiding our focus towards the bank. The bank itself is highly decrepit and derelict, perhaps being indicative of the negative effects suffered by these small establishments after the Great Depression. Each extra that appears in the scene are real townsfolk, preserving to the authenticity of the scene.
As we cut to the bank itself, we are presented with an appropriately desolate setting – the use of a wooden brown further establishes the bank as part of the rural Southern community. Clyde wears a navy blue suit, juxtaposing Bonnie’s crème-coloured clothes – perhaps symbolising Clyde’s history with robbery and crime. Bonnie also interestingly dons a beret, an evocative piece of French fashion that subtly paying homage to the French New Wave, a movement that highly influenced the film’s production. The couple are also framed within a frame as they enter the bank, drawing further audience focus to them.
The couple framed within a frame
The dialogue and movements within the bank appear to be largely improvised, indicative of the film’s attempts to strive for reality. As Bonnie and Clyde holds up the bank, the soundscape is fully diegetic, which creates a naturalistic atmosphere. This scene is edited in parallel with C.W. Moss outside, attempting to park the car away from the bank. These shots are edited in a much more conventional sequence, being reminiscent of the Classical Hollywood style.
During the getaway itself, the diegetic sound of the alarm bell promptly enters the mix which immediately heightens the tension. The pace of editing also quickens, rapidly cutting between closeups of Clyde pointing his gun at the window with closeups of the man latched onto the car behind the window. As Clyde shoots the man in the mouth, we cut to a centrally-framed closeup in which a shockingly graphic amount of blood is displayed. This gratuitous display of violence breached the boundaries of what was allowed within cinema for the time, through which Bonnie and Clyde later garnered a notorious reputation for. After witnessing the couple’s distraught reactions, we cut to another closeup that showcases the man’s face sliding down the window. This repulsive display of violence instils a sense of uneasy discomfort within the viewer – the audience is forced to confront and later contemplate Clyde’s violent actions.
This sequence interestingly mirrors the earlier scene of Clyde robbing the grocery store in the opening sequence, yet the absence of a jaunty Bluegrass score strips the sequence of its prior light-hearted mood. The viewer is now fully confronted with the gritty reality of Bonnie and Clyde’s actions, enhancing the film’s endeavour to strive for naturalistic authenticity.
The final sequence of Casablanca is widely regarded as one of the most poignant scenes across cinema. We are displayed a heartfelt final goodbye between Rick and Ilsa, before Rick shoots Major Strasser – symbolising good triumphing over evil. The sequence ends with Rick and Renault walking off into the mist, before Rick speaks the iconic final line of the film: “I think this is the beginning of a beautiful friendship”.
Cinematography
The sequence opens on a mid-tracking shot of an airport attendee, before coming to rest on the moving car. The camera then tracks the movements of the passengers leaving the car, before pulling out further into a five-shot that displays who Captain Renault is speaking to. This is a clear example of the Classical Hollywood style of camera technique, and blocking which prevents the requirement for any jarring cuts that would shatter the immersion for the viewer.
Rick and Ilsa’s final exchange is filmed with a tight two-shot, framing them in a romantic manner. This also alleviates the requirement to film a shot/reverse shot sequence, which would be less immersive. Both characters are filmed in a shallow depth of focus, directing the viewer’s attention towards Rick and Ilsa.
Sound
A number of reoccurring leitmotifs can be heard in Steiner’s non-diegetic score during this sequence, including As Time Goes By. This encourages the viewer to reminisce on Rick and Ilsa’s relationship, and how it has evolved over the course of the film.
Mise-en-scène
Lighting is utilised to make Rick’s eyes glisten alongside Ilsa’s for the the first time, emphasising the heartfelt nature of their final conversation. He has finally come to terms with his relationship with Ilsa.
Editing
A rapid shot/reverse shot sequence is employed between Rick and Major Strasser heightens the tension of the scene, before cutting to an over-the-shoulder shot that displays Rick’s quickdraw victory.
Performance
Renault’s line “round up the usual suspects” harkens back to his earlier line heard in the opening sequence. It informs us that he is not going to incriminate Rick, reinforcing his sleazy demeanour.
Context and Representation
Instead of immediately shooting Strasser, Rick gives him three chances before finally shooting him in a non-fatal way. This represents Rick as the noble rugged individual American protagonist archetype.
When Strasser is shot, no blood is displayed due to the restrictions of the Hays Code. This emphasises the content restrictions that Casablanca had to abide by.
Renault actively chooses to throw the Vichy-labelled water into the bin, proceeding to then kick it. This symbolically reflects Jack L. Warner’s views on the abolition of fascism – it is his way of encouraging America to join the war.
This sequence begins with Rick glumly drinking in his café alone, after coincidentally reuniting with Ilsa after she happens to walk into his abode, stating the famous line: “of all the gin joints in all the towns in all the world, she walks into mine”. After Sam walks in, he requests for him to play As Time Goes By, reminding himself of his time with Ilsa in Paris. We then transition into a flashback sequence. This example of analepsis serves to contextualise Rick and Ilsa’s relationship in Paris, also informing us that Ilsa ran away without telling Rick in order to save her husband – Laszlo – whom she’d presumed to be dead in a concentration camp.
Cinematography
The scene where Rick sits in the bar is shot with dim lighting, shrouding Rick within a thick shadow. This aptly reflects his distraught state of mind.
The closeup of Ilsa’s final note to Rick is left on the screen for an appropriate amount of time as to provide the viewer with enough time to read it. The fact that the ink is melting on the page is perhaps also symbolic of the two lovers’ relationship melting away.
As Ilsa enters Rick’s café when we return to the present, over-exposure is implemented to portray Ilsa as a beacon of light. This illustrates her as an angelic deity, entering Rick’s dark inner sanctum.
Sound
As we transition into the analeptic flashback sequence, Steiner’s non-diegetic soars to a crescendo in the mix.
During the café sequence, Sam can be seen playing As Time Goes By, which recontextualises the previous interaction between Sam and Ilsa.
Mise-en-scène
The shot of Rick and Ilsa driving is shot with the use of back projection, creating the illusion of a Parisian vista being behind the couple.
Makeup has been applied to Rick and Ilsa to make them appear younger during the flashback sequence. Rick’s face appears to be much less wrinkly and rugged due to the fact that he is wearing concealer.
The Eiffel Tower can be seen in the background of the set, informing the audience that we are in Paris. A number of props can also be seen throughout this sequence, such as Ilsa’s beret and a model of the Eiffel Tower in the café. These silently remind the viewer of the location that this flashback is taking place in – Paris.
The heavy rain at the train station as Rick hopelessly waits for Ilsa to arrive is an example of pathetic fallacy, reflecting Rick’s distressed inner turmoil.
Editing
Despite the fact that Sam is playing piano, the camera remains on a closeup of Rick, highlighting his importance as the protagonist.
To initiate the flashback sequence, the camera pushes into a tight closeup of Rick, before fading to white. We then cross-fade between an array of positive memories of Rick and Ilsa in Paris, characterising their relationship.
Performance
Rick utters his famous line: “Here’s looking at you, kid” during the flashback, foreshadowing Rick and Ilsa’s final goodbye at the end of the film.
Context and Representation
The use of analepsis in the film is a notable deviation from the Classical Hollywood style. The vast majority of films released throughout this period were told in a predominantly linear fashion, as to tell a simple narrative in a clear and easily digestible fashion. Despite this, the extended flashback sequence is told through normal continuity as to not confuse the viewer.
The striking implementation of real wartime newsreel footage ground this sequence in reality, reinforcing the war setting that the film was both set and filmed during.
Rick dons a trench coat and hat during the train station scene, paying homage to Humphrey Bogart’s classic detective roles during the Film Noir scene. This is an example of Warner Bros. capitalising on the ‘stable’ of stars that they possessed, using them to their fullest capability.
Auteur
The dialogue during the flashback sequence is highly expositional, serving to clearly explaining the events of the Nazis invading France. The viewer now has a clear understanding of Rick and Ilsa’s relationship in Paris, and thus forms an emotional connection to them.
This sequence establishes the foundations of the history that Rick, Ilsa, and Sam share together during their time in Paris. At this point, the events of what actually happened are shrouded in mystery, and the viewer is left to ponder why the relationship between the characters is so tense. This sequence also introduces us to the main theme of the film – As Time Goes By – which is performed by Sam.
Cinematography
We spend the majority of the conversation between Sam and Ilsa looking at Ilsa, with the typical shot/reverse shot sparsely being used.
As Sam plays As Time Goes By we cut to an extended reactionary shot of Ilsa. From this, the viewer is able to infer that she has an emotional connection to the song.
As Rick enters the room, we cut to a low-angle shot that frames him centrally. This provides an appropriately dramatic entrance for the tense reunion between the past lovers.
Rick’s depth of field is much deeper than Ilsa’s subconsciously diverting the viewer’s attention towards Ilsa’s glamour. The closeup of Rick draws attention to his rugged, craggy appearance, whilst also being able to take in the surroundings of the café.
Sound
As Time Goes By is expertly implemented as an emotionally manipulative diegetic piece that provides an appropriate romantic evocation – it was specifically selected by Max Steiner himself.
As Rick and Ilsa see each other, Steiner’s emotional score promptly enters the mix, highlighting the tension between the couple.
Mise-en-scène
Rick’s café as a set is arguably the heart of the production, being meticulously designed and highly expensive. The location is inevitably displayed often, foregrounding the lavish production values.
Ilsa wears extravagant jewellery that glistens in the light, highlighting her beauty.
Careful blocking of the actors allows for everything of importance to be visible in the frame. For example, Laszlo moves out of the way when Renault calls a waiter to the table in order to display who he is talking to.
Editing
In typical Classical Hollywood fashion, Curtiz employs a shot/reverse shot sequence between Rick and Ilsa. However, the closeups of Ilsa are much more prolonged, highlighting her radiant appearance.
Reframing the composition of the shot provides a seamless transition from a four-shot to a three-shot, reducing the frequency of potentially jarring cuts.
Performance
At the end of the sequence, Rick silently conveys his emotions. His distraught facial expression emphasises his emotional inner turmoil as he turns to face the camera. Although he doesn’t look directly into the camera, this mid shot of Rick appropriately illustrates his wistful state of mind.
Context and Representation
The dialogue between Rick and Ilsa is highly melodramatic, reflecting the conventions of the romance genre that the film conforms to. The specific language used successfully manipulates the viewer to tug on their heartstrings and emotional resonate with the characters.
Throughout the Golden Age of Hollywood, Humphrey Bogart was a film star who was often typecast as the ‘rugged individual’ archetype. Studios capitalised upon the fact that audiences went to see films in order to see their favourite stars, and Rick’s character epitomises Bogart’s acting strengths.
This sequence serves to introduce us to two more important characters in the film – Victor Laszlo and Ilsa Lund. As they sit at a table in the café, we learn that Victor Laszlo is a fugitive Czech Resistance leader who narrowly escaped a concentration camp. Strasser confronts Laszlo in the café, and the two face off against each other in attempt to stand their ground. Under Major Strasser’s command, Captain Renault arranges a meeting with Laszlo for the next morning.
Cinematography
A tracking shot is used to follow the movements of the couple as they enter the cafe, diverting the viewer’s attention towards them.
During the dialogue sequence, the camera moves fluidly, panning up and down whilst maintaining a gliding motion. This allows the composition of the shot to easily be reframed without having a convoluted shot/reverse shot sequence.
Main, back, and fill lighting is used to light Ilsa in a highly flattering and glamours manner, as opposed to Renault who is lit more modestly, in order to appear more compassionate.
The closeups of Ilsa use a much shallower depth of field than the closeups of Lazslo, which fully draws the viewer’s attention towards her glamorous appearance.
Sound
When Laszlo and Ilsa approach Sam, the diegetic sound of his piano playing rises in the mix, immersing the viewer into their position. Conversely, the piano lowers in the mix during the dialogue scenes in order to efficiently convey exposition.
Mise-en-scène
In the last sequence, we were introduced to Rick wearing a white suit. As Lazslo and Ilsa enter the café, we can see that the couple are also both wearing white – with Ilsa’s costume being the whitest. This use of colour is representative of the characters’ purity and innocence, whilst also drawing the viewer’s eyes towards Ilsa’s radiant appearance.
Editing
When Laszlo speaks to the resistance member, Curtiz employs the use of a shot/reverse shot sequence to display who is talking at a specific moment.
Performance
Laszlo’s expression is stoic, emphasising his resilient nature after enduring the torturous concentration camp. Ilsa, on the other hand, appears to be nervous as she enters Rick’s abode, provoking questions in the viewer’s mind. We also see Sam’s reaction to the couple’s arrival – his face exudes a sense of apprehension when he sees Ilsa, which suggests that he knows her from the past.
Context and Representation
Ilsa (played by Ingrid Bergman) was an international film star and was thus dressed in a radiant manner, andlit in a highly flattering lighting in order to fully accentuate her feminine beauty. This can be seen through her meticulous neat hair and how her skin does not contain a single blemish. Bergman was predominantly filmed from her left side, so that the three-point lighting caught her eyes in a way that made them appear to shine.
Conversely, the male characters – such as Rick and Laszlo -are lit in are a more obscured lighting to emphasise their ruggedness. This is exemplary of Warner Bros. selling the ideal of glamour within their films, a notion that was highly typical of the Classical Hollywood style.
Ilsa speaks in a Mid-Atlantic accent – a superficial accent used frequently throughout the Golden Age of Hollywood. This accent blends the British and American accents in a way that appeals to both audiences and also conveys a sense of aristocracy and elegance.
Major Strasser is presented as a cold and ruthless force during his confrontation with Lazslo, standing over him to assert his dominance. Laszlo then stands up out of his chair to tower over him, shifting the power dynamic. This paints Laszlo as the ‘noble European’, standing up to the nefarious Nazi forces.
“Rick’s Introductory Sequence” serves to introduce us to the primary location of Casablanca (Michael Curtiz, 1942) – Rick’s Café Américain. The entire café was a set built for the film, and this sequence serves to foreground the illicit dealings that occur within the establishment, alongside introducing us to the protagonist of the film after 10 minutes of build-up – Rick Blaine played by Humphrey Bogart.
Cinematography
The scene opens on a long shot of Rick’s café, which then cuts to a wide shot that clearly displays the sign for the viewer to see. This sequence of shots is typical of the Classical Hollywood style that Casablanca epitomises.
Curtiz employs a multitude of sophisticated filmmaking techniques in this sequence that are presented in a seamless manner. The camera movements are very smooth and appear to glide around the set, which was achieved by the bespoke set constructed purely for the film. This seamless camera movement is reminiscent of a Steadicam, which was not invented until 1974.
One character holds the door open for the camera, breaking the fourth wall. This is almost as if the camera is a customer entering Rick’s café which serves to provide a heightened sense of immersion. The shot then becomes a crab shot, displaying the set in all its splendour.
The camera tracks a waiter’s movements across the cafe, creating a flowing rhythm as we move to the new location which lies deeper within the cafe. This area exists within the inter area of the bar, perhaps representing a deeper core of Rick’s establishment.
As we eventually cut to the casino, we are first introduced to Rick through a closeup of a document that he is authorising. The fact that he uses his own name to represent his authority, merely writing OK RICK” establishes that he sits at the highest level of importance within the café. We then cut to a shot of Rick’s arm handing the document to another man, before the camera finally tilts up into a closeup of Rick himself.
Curtiz briefly pulls Rick out of focus in order to draw attention to his rugged and weary face, demonstrating that he is a weathered and experienced figure.
The sequence concludes with an over-the-shoulder shot of Rick observing his empire. Each person appears to be looking up at Rick, seeking his approval.
Sound
As the camera crabs and pushes in towards Sam, the diegetic sound of Sam’s singing rises in the mix. We are able to hear him more clearly the closer the camera gets, further immersing the viewer within the establishment.
Mise-en-scène
The actors are deliberately blocked out of the way of the camera, which allows for clean shots of the interior. This immerses the viewer within Rick’s world as we seamlessly glide into his inner sanctum.
The chessboard on Rick’s desk perhaps conveys symbolism. We can see that the black pieces are on Rick’s sides, emphasising his mysterious and powerful presence. Rick also smokes and drinks alcohol, which conveys his masculinity to the viewer. The camera finally tilts up to reveal that Rick is wearing a white tuxedo and a black bow tie, emphasising his elegance and sophistication.
Editing
After the closeup of Sam singing, we cut to a wide shot of a different angle of the café. Through the use of a sophisticated L-cut, we are still able to hear Sam singing. This subconsciously informs the viewer of the fact that we are still in Rick’s café, despite the cut to a different angle.
Performance
To inform us of the fact that the bar is a seedy location, the viewer is presented with some shady exchanges in which the actors speak in a hushed manner. For example, a man tells a man to remember to pay him in cash, which provokes the viewer to fill in the blanks. This reinforces the secretive and illicit nature of this dealings.
Context and Representation
Rick’s café is another expensive set that a large portion of the film takes place in. Because of this, the set is displayed frequently in order to foreground the lavish production values of the constructed reality that is the café.
Rick’s iconic white tuxedo with a black bow tie inspired the likes of later cinematic icons like James Bond.
The fact that Rick is displayed drinking and smoking only serves to paint him as a rugged, masculine individual. To contrast this, the women seen in the café are lit in a juxtaposing light, serving to accentuate their femininity.
The “Enemy Arriving” sequence serves to introduce the audience to the main antagonistic force of Casablanca – the Nazis. The sequence also further establishes the shady occurrences within Casablanca, as well as the refugees’ desire to leave Casablanca to depart for America.
Cinematography
The aspect ratio of the film is 4:3, which was the standard practice at the time and was referred to as the ‘academy ratio’. Through the deliberate blocking of the waiter, who perfectly positions himself between the couple, this allows the three of them to be viewed in a single shot within the square frame. They are in prime position for the conversation to take place most effectively.
The wide shot of the couple sitting outside in the cafe is shot in deep focus. Through this, the viewer is able to view the French sigil in the background of the shot, which allows for efficient storytelling.
A wide shot displays the plane landing in the airport, after which we cut to a slightly closer shot with an identical composition, this being an example of subtle continuity editing. As the Nazis walk out from the plane, the camera pulls back to naturally transform the three-shot into a five-shot.
Sound
The diegetic sounds of the plane rise in the mix during the shots that display it landing, but lower when we cut to the citizens of Casablanca gazing at the plane. This allows for the audience to hear their dialogue, providing a more immersive experience.
Mise-en-scène
A model aeroplane is used to create the illusion of a real plane flying in the air. The plane also flies by Rick’s cafe, prominently displaying the sign to the viewer. This suggests it will be an important location. All of the actors are blocked in a way that frames the shot in order to divert the viewer’s attention towards the plane. The shape of the archway in the airport is also noticeably stylistic, reinforcing the exoticism of Casablanca.
Editing
The considerate use of blocking meant that the frequency of cuts was able to be reduced, thus making the editing seem invisible
The shot of the plane in the air cross-fades into a matte painting of the airport, providing a seamless transition.
Performance
The actors playing foreign refugees all perform in a stereotypical manner that immediately gives the viewer an idea as to where they are from.
Renault presents himself in an affable and happy-go-lucky manner, characterising himself as the sleazy police chief.
Context and Representation
Warner Bros. constructed an expensive set of Casablanca purely for the film, which is populated by a multiplicity of extras. This constructed reality serves to provide the highest sense of immersion for the viewer.
The sequence involving the pickpocket is representative of the shady atmosphere present throughout Casablanca.
The residents of Casablanca are wistfully transfixed onto the plane, informing the viewer that they are seeking an escape. A short dialogue exchange also confirms this.
The Nazis behave in a very formal and mechanical manner that is representative of how Jack L. Warner perceived them to be.
Auteur
A typical Michael Curtiz technique involved pulling out the camera from a two-shot in order to reveal a third person in the frame. This technique can be seen in this sequence, when the camera pulls out to reveal a third man talking to the couple who are sitting down. This is an example of efficient camerawork, in which the editing is able to naturally blend into the background.
The opening sequence of Casablanca (Michael Curtiz, 1942) serves to aptly introduce the viewer to the film, establishing the setting, tone, and general premise. The sequence is highly expositional, utilising narration to explain the current war situation, as well as why refugees are fleeing to Casablanca. We also learn of the two German couriers suspected of possessing the important documents, and witness a murder occur in broad daylight. This all serves to present the Nazis as the domineering antagonistic force of the film.
Cinematography
The opening narration is accompanied by the animation of a dramatic spinning globe, after which the camera pushes into a visual representation of the journey.
The idyllic nature of the city begins to fade as the camera tilts down into the crowded streets. This reveals an expansive set populated by a mass of extras.
The man speaking into the telephone is centrally framed in full focus as he speaks into the telephone, fully diverting the viewer’s attention towards him and the expositional dialogue he recites. He proceeds to explain the case of the German couriers suspected of being in Casablanca possessing important documents.
Sound
The first notable aspect of Casablanca’s opening sequence is Max Steiner’s highly triumphant score that enters the mix in a grandiose manner as the credits roll, which naturally segues into the French national anthem. This provides a twofold sense of international exoticism alongside patriotism. After the opening credits sequence concludes, the score lowers in the mix and the non-diegetic narration rises in the mix.
The diegetic narration establishes the exposition for the film, explaining the path the refugees take in order to reach Casablanca.
Steiner’s non-diegetic score now lowers in the mix, foregrounding the diegetic busy ambience of the streets.
The French national anthem is played in a minor key after the murder, emphasising the political unrest that lies at the heart of Casablanca.
Mise-en-scène
Casablanca is portrayed as an idyllic destination through the use of narration, which is merely accentuated by a hand drawn matte painting of the city. This illustrates a vivid world of vitality, yet the clouds are dark – suggesting that a force of evil resides within the city.
As we cut back to the streets of the city, an erratic atmosphere is created. Each extra is blocked in a way that creates a sense of business, as the police car enters the scene.
Editing
We cross-fade between each country, after which the camera pulls out to display the scale. The map is superimposed onto live-action footage, providing a dual sense of enticing scale alongside realism. This ultimately provides a sense of heightened immersion for the viewer.
We then cross-fade into the office of a man receiving a telegram.
The pace of the editing begins to quicken, demonstrating the urgency of the situation. This sequence merely serves to assist the narrative, providing a sense of urgency that contextualises the persecution of the refugees in the city.
Performance
A sense of escalation is created through the narration as the man utters the line “wait… and wait”, suggesting that hopelessness is exuded throughout Casablanca.
Although most of these scenarios occur silently, we are presented one where the dialogue is able to be heard. This efficient method of storytelling is highly typical of the Classical Hollywood style prominent during the Golden Age of Hollywood.
The German soldiers speak in highly exaggerated accents, informing the audience that they are not filming locally in Morocco and instead employ American actors to put on an accent.
Context and Representation
The film opens with a large Warner Bros. logo, with Jack L. Warner’s name proudly displayed at the forefront, immediately informing the viewing that it is ‘his’ film. Despite his lack of personal involvement, Warner pioneered the film’s production and oversaw prolific elements of the pre-production stage. The stars, such as Humphrey Bogart and Paul Henreid are listed before the title of the film itself, demonstrating that the stars outweighed the film in terms of influence. It is also interesting to make note of the fact that Michael Curtiz’ name is the same size as the rest of the producers, suggesting a level of equal collaboration between them – reinforcing the idea of the studio auteur.
The film is shot in black and white, which was highly characteristic of Warner Bros. at the time. By 1942, colour had been implemented into a small number films for around a decade, such as The Wizard of Oz (Victor Fleming, 1939), but the technology was considered by many to be a ‘gimmick’. During the time of Casablanca’s release, black and white was arguably at its peak. Choosing to continue a film in black and white despite the invention of colour demonstrated artistic nuance, as the iconic ‘noir aesthetic’ had now been refined for over 50 years. Colour was not as ‘sterile’ as black and white was during this time, only being able to display highly saturated colours.
When the man possessing the out-of-date documents is shot by the Nazis, no blood is displayed at all – he merely falls over and the viewer must assume he is dead. This is indicative of the Hays code: the content regulations that each of the Hollywood studios had to conform to. The effects of violence were not allowed to be shown on screen, and even firing a gun at someone was pushing the limits of the regulations.
The leaflet embossed with the ‘Free France’ propaganda message is centrally framed, being symbolically ironic due to the man being shot under the French message that is promoting freedom. This demonstrates Jack L. Warner’s influence upon the film – he firmly believed that war should feature prominently throughout the film, and it is suspected that the film was his way of signalling America to join the war.
Throughout the Golden Age of Hollywood, a distinctive style of filmmaking was birthed under the control of the studio system. Being produced between the 1930-1960s, the filmmakers aptly utilised each of the key elements of film form in order to augment the emotional weight of the narrative being told.
The films produced throughout this era often shared a handful of common narrative conventions. These included a psychologically defined individual who is caught in a struggle to solve a problem or achieve their goals. There is usually a conflict between this central protagonist and other external circumstances, before resulting in a clear-cut victory or defeat at the end of the film.
This narrative-driven and newly audiovisual style of filmmaking has been broken down into the key elements below, with a few specific examples from Casablanca (Michael Curtiz, 1942) being provided.
Mind map that details the features of Classical Hollywood style
Curfew (Shawn Christensen, 2012) is an Oscar-winning 19-minute short film about a suicidal man, Richie, who is asked by his estranged sister to look after his niece, Sophia, for the evening. Over the course of the film, the bond between the two characters grows and develops in many interesting ways. We learn that the reason that Richie has not seen Sophia since she was a baby is due to the fact that he dropped her on her head whilst taking care of her, leading to an important moment of development between the pair. After the day is over, Richie drops Sophia off at his sister’s house and returns home to commit suicide. However, the film ends with Richie being interrupted by another phone call from his sister on much nicer terms, requesting him once again to look after Sophia.
The film priorities narrative and character above all us, with Christensen utilising a simple three-act structure as well as a linear narrative throughout the film. The film could be classified under the ‘drama’ genre, meaning it doesn’t not have to conform to any particular conventions. The narrative could be argued as cyclical due to the film being bookended with scenes of Richie committing suicide in the bath. Despite this, Christensen also manages to successfully create an aesthetically pleasing experience, utilising the key elements of film form throughout.
For example, the film aptly incorporates colour in symbolically meaningful ways. Red is used as a symbol of Richie’s suicide, and can be seen within the bloodstained bath as well as the phone from which he receives the call from his sister. Conversely, blue is prominently displayed in the bowling alley scene with Sophia which suggests that both characters feel safe and have trust in one another. A shallow depth of field and artificial lighting both accentuate the dreamlike sense of wonder the pair experiences in each other’s presence. The film also features a particularly standout dance sequence that is in fact merely a hallucination of Richie’s mind. Throughout this, Christensen employs the use of a spinning camera, displaying Richie’s hallucinatory state of mind as well as a crab shot to follow Sophia dancing down the bowling alley. Christensen’s use of unorthodox techniques sets the scene apart from the rest of the film, alongside the use of a particularly dreamy composed score written by himself.
Christensen’s use of mise-en-scène throughout the film is also worthy of acclaim. Concerning costume design, Richie’s extremely rugged and dishevelled appearance starkly juxtaposes that of Sophia, who is warmly wrapped up in a large coat and wears a woolly hat. The contrast between the pair’s appearances reinforces the different backgrounds that the two originate from, and is an example of visual storytelling featured throughout the film. Richie is also unshaven and is often seen with a cigarette, further displaying his rough way of life.
One of the final shots of the film perfectly encapsulates Richie’s conflicted state of mind. He is filmed from an upside-down mid-closeup, displaying his defeated and hopeless expression. The red phone handset is also displayed in the frame, informing the viewer that an escape from the trauma is available to him, but at this moment, Richie is choosing to ignore it.
Personally, I thoroughly enjoyed Curfew from start to finish. Christensen incorporated the perfect blend of narrative, character development and aesthetic choices over the course of the film’s 19-minute duration. The performances by the duo are convincingly genuine and the film is also paced brilliantly. The film demonstrated to me the importance of colour palettes used in order to symbolise meaning.
Throughout the opening sequence of Sisters in Law, Kim Longinotto employs the key elements of film form in a wide variety of ways in order to produce an unobtrusive observational documentary.
Firstly, Longinotto employs the use of a portable handheld camera throughout the duration of the film. The sequence opens with a wide shot out of a car window that exhibits the rural, poverty-stricken landscape. It could be argued that Longinotto has chosen to use a smaller, more portable camera due to the fact that it is less conspicuous than a tripod. Therefore, the subjects’ actions portrayed throughout the documentary will be more genuine in theory. The vistas are lush and the weather is overcast – perhaps challenging the viewer’s preconceived notions of West Africa. Throughout this long take, a non-diegetic score is present in the mix – a plucked acoustic guitar that evokes a sense of pastoral imagery. As the score gradually lowers in the mix, the diegetic ambient street noise of Kumba enters. From this point forward, every sound in the mix is both diegetic and recorded on set. Alongside this, the lighting is all naturally captured and is merely a reflection of reality. All of the mise-en-scène found within each scene is naturally occurring in order to display an entirely authentic depiction of the scenarios. It is also important to make note of the fact that no contextual information is explicitly stated to the viewer.
As Longinotto travels further into the village, it becomes clear that an example of temporal editing is implemented. Longinotto’s use of hard cuts exhibit the passing of time as the village becomes ever closer. As she reaches her destination, Longinotto employs her first of many uses of camera panning – a typically unorthodox technique within filmmaking. In the case of Sisters in Law, panning is used in order to recreate the feeling of a head turning to take in its surroundings. Through this, the camera acts as the proxy for the viewer over the course of the film.
Within the village, Longinotto captures the actions of the documentary subjects in a variety of ways. She utilises a number of spontaneous camera movements – tracking people’s movements by tilting up and down. Alongside this, when a person starts speaking, Longinotto will usually pan the camera in order to focus upon them, reminiscent of eyes following a conversation. Scenes are mostly captured with a two camera setup, operated by Kim Longinotto herself, as well as co-director Florence Ayisi. Through this, each situation can be aptly captured by two opposite angles – Longinotto later cutting between the footage appropriately.
The residents of Kumba mostly speak in a form of Pidgin English. This involves the use of fragmented English phrases which are interspersed with a multitude of African tongues. Due to this, almost all of the events portrayed are accompanied by English subtitles. As we are introduced to Vera Ngassa, the state prosecutor, a subtle title card displays her name – a rare example of explicit information provided to the viewer. The conversation between the prosecutor and the couple ensues, during which Longinotto employs the zoom feature in real time to focus in on a closeup of Vera. Due to autofocus taking effect, the footage briefly goes out of focus before refocusing on the closeup. This demonstrates to us Longinotto’s priority of accuracy and authenticity over aesthetic perfection in the case of this film.
Throughout the sequence, editing is visible and present – but unobtrusive. Used in order to break up the frequent long takes which exhibit the passing of time, Longinotto’s use of editing acts as a compression of events rather than a manipulation. It is clear to see that in the example of this case, the woman reporting her abusive relationship is acting genuinely. She takes no notice of the camera’s presence and her sincere demeanour illustrates that she is exclusively concerned with her serious legal matter. In addition to this, Vera Ngassa’s disposition is strict, impartial and austere. This aids Longinotto’s aim of presenting female strength and empowerment within an oppressed and poverty-stricken environment. Finally, it is important to make note of the fact that each legal case is interspersed with brief, ambient scenes which display domestic life within the village. Throughout these, Longinotto will typically film in a single location and capture each and every event that occurs, even seemingly trivial scenarios. In effect, this contextualises the setting and cultural characteristics of the Cameroonian village of Kumba.
How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020
Essay plan
Introduction:
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance.
Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.
Cinematography:
Young Romina (frame within frame), various two-shots and long shots of well-dressed guests,
Single shot tracks couple, centrally framed Romina, photo frame, pushes into Romina’s changing expression, zoom in on Lourdes, Romina isolated in frame (harsh lighting), mirror shot
Focus pulls, centrally framed imposing shot
Tight focus on couple, shallow depth of field, shot/reverse shots (unsynchronised), Dutch angle
POV shot of distraught guests, unflattering low-angle, handheld camera, birds-eye-view
Low-angle of Romina (upper hand), wide shot of chef, handheld camera displays unhinged guests, two-shots create desperation
Sound:
Titanium
Ringing phone, dialogue, breathing
Blue Danube juxtaposes Romina’s state of mind, rises as they touch hands
Lighting and wind (pathetic fallacy),
Dramatic score, exclusive diegetic sound later on, gunshot tease
Mise-en-scène:
Red curtain, stereotypical bride and groom outfit, immaculate hair, scruffy Ariel
Lourdes’ dress, Romina disheveled appearance
Green lighting, pathetic fallacy
Romina at most disheveled, blood on dress
Hollow motions, removal of hair extension
Editing:
Parallel editing (couple face opposite directions)
Longer focus on Romina
Shot/reverse shot between Romina and chef, glance object, alternating edit, cross cutting
Performance:
Superficial happiness, over-zealousness foreshadows infidelity, artificial friendly gestures between guests
Women scream, men act boisterously, Ariel looks at camera
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance.
Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.
The sequence begins with a projected closeup of a young Romina, creating a centrally positioned frame within a frame. This establishes Romina as the central protagonist and subtly focuses the viewer‘s attention onto her throughout the duration of the tale. Afterwards, we cut to a two shot of a wealthy couple at a table, displaying the light-heartedness of the event and reinforcing the viewer’s expectations of an opulent wedding. The diegetic compiled score, Titanium, further lightens the mood and pulsates throughout the reception. Being representative of strength and overcoming hardships, the carefully selected song choice ironically foreshadows Romina’s unpredictable actions. This ultimately challenges the viewer’s preconceived expectations of a grand wedding.
Romina and Ariel enter the reception through theatrical red curtain, which subtly suggests to the viewer that their relationship is merely a façade – challenging their expectations. Romina’s current purity is represented by a stereotypical white wedding dress and immaculate, whereas Ariel’s uncaring demeanour is represented through his scruffy, unshaven appearance. This perhaps reinforces the viewer’s expectations of a wedding being a ‘more feminine’ event.
As a single tracking shot follows the couple backwards, Romina is centrally framed which reinforces her as the protagonist. During this, the couple put on an extremely over-zealous façade by smiling and waving at each of the affluent guests they pass by. This suggests and foreshadows the couple’s infidelity towards each other, challenging the viewer’s expectations. As the two separate to join their respective friends and families, an example of parallel editing is implemented, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits. During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously, which reinforces the viewer’s expectations of male and female stereotypes. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.
We then cut to a wide shot of the guests framed like a photo, during which each of the guests smile ostensibly – suggesting that no one truly wishes to attend. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the superficiality the wedding represents.
As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom into the unknown woman as Ariel leans over to flirtatiously converse with Lourdes – foreshadowing their secret relationship. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Lourdes wears a black dress and has a star tattoo, attributing a sense of elegance and mystery to her character. As Romina’s heavy breathing rises in the mix, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. This challenges the viewer’s expectations of what typically occurs at a wedding and raises the tension of the scene.
As Ariel and Romina begin to dance, the camera remains tightly focused on the couple in order to keep the viewer’s attention focused exclusively on the couple. The depth of field is extremely shallow to reinforce this. A sequence of shot/reverse shots occur as one person reacts to what the other is saying, informing the viewer of their respective state of minds. We also spend a longer amount of time focused on Romina, positioning the viewer to empathise with the protagonist to a higher degree. The implementation of a typically romantic complied score, The Blue Danube, ironically juxtaposes Romina’s chaotic state of mind, rising in the mix as the couple touches hands. After the heated conversation concludes, a Dutch angle is used to display Romina angrily storming off – signifying that her world is falling apart. In response to this, Ariel’s eyes dart around the room which implies that he is still attempting to maintain his reputable persona – challenging the viewer’s prior expectation of him as an uncaring groom.
Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests, demonstrating their unfiltered emotions. As Romina heads for the roof, an unflattering low-angle shot of Romina tracks her unpredictable movements, exemplifying her anxiety. Her appearance is extremely disheveled and her makeup is ruined, reinforcing her raw emotions. A handheld camera is also used to illustrate Ariel’s distress as he pursues her.
As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. The pace of editing proceeds to slow to a halt as the chef offers his advice to Romina, incorporating a shot/reverse shot sequence between the pair. Ariel continues to run up the stairs to pursue Romina, during which the walls are illuminated with green lighting which is representative of the characters’ jealousy towards one another. During the confrontation, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel. Romina’s unhinged anger is further accentuated by an edit that alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel.
Afterwards, a low-angle shot of Romina displays her striding into the ballroom as a dramatic score emphatically enters the mix, informing the viewer that she has gained the upper hand. She remains artificially calm in order to maintain her façade of perfection. Alongside this, a wide shot demonstrates the chef’s humiliation as word of the rooftop events begin to spread. Here, Romina is at her most disheveled – her appearance is fully unhinged and the blood on her dress symbolises that her prior purity is eradicated. The removal of her hair extension represents her final stage of degeneration, challenging the viewer’s initial expectation of her. Finally, the sound becomes exclusively diegetic to underpin the sincerity of Ariel’s consoling words towards Romina. He speaks transparently and genuinely, indicating to the viewer that his persona of perfection has finally been abolished.
In conclusion, Damián Szifron aptly utilises the key elements of film form throughout the wedding sequence in order to represent the characters in ways that both challenge and reinforce the viewer’s preconceived expectations. These include the presentation of stereotypical gender roles as well as the exposure of the superficial façades the characters possess.
We were tasked to analyse the key elements of film form of the “Wedding sequence” of Wild Tales (01:25:10-end). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The tale begins with a projected closeup image of a young Romina, establishing a centrally positioned frame within a frame. The camera then pulls out to reveal a slideshow of images being played in a luxurious wedding reception. Afterwards, we cut to a two shot of a couple at a table, displaying the light-heartedness of the event. The camera then crabs right in order to display a multitude of well-dressed guests which reinforces the opulence of the wedding reception.
A proceeding long shot displays the vast room, exhibiting the luxuriant chandeliers and other grandiose decor. We proceed to cut to various shots of the many guests enjoying themselves. As we cut to a long shot of the DJ, a handheld camera is employed in order to fluidly arc through the smoke to reposition the frame. Through this, the viewer is brought in closer to a newly-created theatrical entryway for the couple to arrive through.
A single shot is used to track the movements of the couple backwards, establishing them as the centre of attention. In addition to this, the camera begins to joyfully glide as the couple begins to dance. Throughout this, Romina is centrally framed which reinforces her as the protagonist of this tale. During the dance sequence, there are closeups of the instruments such as the tuba to emphasises the jovial atmosphere of the wedding. Alongside this, the use of multiple cameras emphasises the artificiality of the event. After an abrupt jump cut, the next shot of the guests is framed like a photo to reinforce the superficiality of the wedding.
As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom in to the unknown woman. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Romina then becomes isolated in frame as the lighting is harshly distributed upon her, which is reflective of her uncertain state of mind. To further reinforce this, the camera then follows Romina and comes to rest on a mirror shot which implies that she is questioning her own identity.
Szifron then implements two focus pulls from Romina to the young woman (Lourdes) as she answers her phone, which appropriately focuses the viewer’s attention. The camera then arcs into an over-the-shoulder shot in order to face Lourdes. Through this, another pair of focus pulls are employed to display Lourdes answering her phone for the second time from both perspectives. We then cut back to a low-angle shot of a centrally-framed Romina which portrays her as imposing.
As Ariel and Romina begin to dance, the camera remains tightly focused on the couple in order to keep the viewer’s attention focused exclusively on the couple. The depth of field is extremely shallow to reinforce this. A sequence of shot/reverse shots occur as the couple converse, however the shots are not synchronised to the dialogue. Instead, we see the respective reactions of the two rather than the speech which appropriately informs the viewer of the couple’s state of minds. After the heated conversation concludes, a Dutch angle is used to display Romina angrily storming off. This signifies her world falling apart after learning that Ariel has cheated on her.
Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests. As he opens the door to the kitchen, the camera is fastened to the door which positions the viewer in a disorienting position. A low-angle shot tracks Romina, underlying her anxiety. This is reinforced when we cut to an unflattering angle of Romina, displaying her from a frontal low angle which exemplifies her raw emotions. As Ariel pursues her, he is filmed with a handheld camera to illustrate his distress.
As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. Another shallow depth of field is implemented during this scene to draw the viewer’s focus onto Romina alone. As the conversation between the chef and Romina ensues, a long shot is used to allow the chef to deliver his advice. There is also stark juxtaposition between the typical romantic lighting of the setting and the hectic events taking place.
As we re-enter the ballroom, the camera movements become increasingly shaky to emphasises the chaotic atmosphere. The lighting is also extremely harsh which juxtaposes the previously established opulence of the reception. A low-angle shot depicts Romina striding towards the camera which informs us that she has regained the upper hand. Alongside this, a wide shot demonstrates the chef’s humiliation as word begins to spread. A multitude of Dutch angle tracking shots are implemented to illustrate the discombobulating chaos that is occurring.
Romina then grabs Lourdes and the two begin to rapidly spin in circles. To convey the dizziness to the viewer, a camera rig is attached to the pair’s backs which is reflective of the tumultuous mood of the wedding. As Lourdes crashes into the mirror a low-angle shot depicts the aftermath, followed by a two shot of Ariel’s parents. At this point, the previously used Steadicam is replaced with an unsteady handheld camera, which proceeds to move around the room and come to rest on Lourdes. Finally, as Ariel confronts Romina, a series of two shots creates a sense of desperation as opposed to the prior romantic tone.
Sound
The tale begins with the implementation of the diegetic compiled score Titanium by David Guetta. The apt use of this upbeat pop song lightens the mood of the wedding and persistently pulsates throughout the reception. The song is representative of strength and overcoming hardships which foreshadows the extremely ironic events of the wedding. The scene is directed with the specific song choice in mind due to the meticulous synchronisation between the action on screen and the phrasing of the song. For example, as the bridge of the song is reached, the guests are waiting in anticipation for the couple to enter through the theatrical red curtain.
Titanium is then interrupted by an ensemble playing traditionally Argentine upbeat music to accompany the dancing. As the lively energy of the reception increases, the diegetic composed score appropriately accompanies the atmosphere. Afterwards, as Romina attempts to phone Lourdes, the ringing phone enters the mix. Alongside this, we see the conversation from Romina’s perspective but hear the diegetic dialogue as if we were close to Lourdes. Romina’s breathing gradually rises in the mix as she realises what her husband has done.
As the newlywed couple begins to dance, The Blue Danube begins to play which is reminiscent of a traditional wedding atmosphere. This specific piece is also present in the likes of Kubrick’s 2001: A Space Odyssey, this ominous connection potentially creates a feeling of unease within the viewer. This romantic score ironically juxtaposes Romina’s chaotic state of mind. Additionally, the score rises in the mix as the couple touches hands which heightens the tension.
During the rooftop scene with Romina and the chef, the muted city ambience can be heard during the pensive conversation between the two. In stark juxtaposition, the dynamic diegetic sounds of lighting and wind loudly enters the mix as Romina unleashes her anger upon Ariel.
A dramatic score is layered in the mix as Romina storms back into the reception, reflecting her exasperated state of mind. The sound also becomes exclusively diegetic to accentuate the emotion of the poignant scenes later on. Finally, a theatrical ‘gunshot-like’ sound play as Ariel opens the champagne bottle which teases the viewer into believing a gun has been fired until the bottle is revealed.
Mise-en-scène
During the initial projected closeup of young Romina, the background of the image is red – signifying the later danger and peril of the wedding. A variety of luxurious objects reinforce the opulence of the wedding, including the flashing lights and smoke machines. A number of large, golden chandeliers as well as an array of disco balls reinforce the superficial happiness and extravagance the wedding purports.
The bride and groom enter the reception from behind a theatrical red curtain, suggesting that their relationship is merely a façade. Romina sports a stereotypically designed white wedding dress and veil, implying Romina’s current purity. Romina’s hair is also meticulously immaculate – both of which become increasingly unkempt as the intensity of the situation increases. Ariel’s appearance is relatively scruffy, being unshaven which implies that the wedding is unimportant to him.
Lourdes wears a black dress and has a star tattoo. Her distinctive appearance hints to the viewer that she holds a great deal of importance to the story. Her black dress attributes a sense of elegance and prestigiousness to her character. As Romina runs away from the reception, her appearance is extremely disheveled and her makeup is ruined, reinforcing the chaotic havoc of the wedding
As Ariel runs up the stairs to pursue Romina, the walls are illuminated with green lighting which is symbolic of Romina’s jealousy. During the rooftop scene, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel.
As Romina throws Lourdes into the mirror, the appearance of smashed mirror heightens the utter pandemonium of the wedding. At this point, Romina is at her most disheveled – her appearance is fully unhinged which reinforces that this is the peak of turmoil. The blood on her dress suggests that her prior purity is abolished. The initial opulent atmosphere is contrasted by a multitude of unkempt guests and broken glass.
During the final moments of the tale, Romina attempts to enact the motions of a traditional Argentine wedding ceremony. However, there is a sense of hollowness and superficiality as the rings are pulled from the wedding cake, suggesting that Romina can never return to normality. Finally Romina removes her hair extension, which is representative of her final stage of degeneration.
Editing
The initial slideshow of the wedding is cut to the beat of Titanium, suggesting that the wedding has been meticulously planned beforehand. An example of parallel editing is incorporated between Ariel and Romina as they separate to join their respective friends and families, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits.
The pace of editing quickens as the excitement builds and the chorus of the song is reached with more frequent cuts being implemented throughout. A wide variety of cameras are used to reinforce the superficiality of the wedding. A fake camera interface is placed over the screen, alongside the utilisation of a lower quality film stock to purport a sense of authenticity.
A pair of jump cuts are used to display the passage of time between the Titanium sequence and the traditional Argentine ensemble, as well as to the photograph being taken afterwards. As the confrontation between the couple occurs, we spend a longer amount of time focused on Romina than Ariel, which positions the viewer to empathise with her to a higher degree. Romina then runs away from the scene, during which the sound of door closing aptly matches the cadence of the score. Another example of parallel editing is used as the couple separate.
The pace of editing slows as the chef offers his advice to Romina, the only cuts are part of a shot/reverse shot sequence between the pair. During Ariel’s pursuit, there is a glance object between him and Romina’s lone shoe which appropriately focuses the viewer’s attention towards it. As Romina unleashes her anger upon Ariel, the edit alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel. As we re-enter the reception, Szifron cross cuts to portray Romina’s enjoyment of the party and Ariel’s discontentment. Finally, another example of cross cutting is implemented to display a passage of time after the mirror is smashed.
Performance
As the couple initially enters the reception, they appear to be superficially happy. Both put on an extremely over-zealous performance by smiling and waving at each guest they pass by without looking at each other. This suggests and foreshadows their infidelity towards one another. Each of the guests are smiling and make friendly gestures towards each other, establishing an uncomfortably positive atmosphere.
During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.
As we cut to the scene of the photo being taken, each of the guests smile ostensibly which suggests that no one truly wants to be there. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the theme of superficiality presented throughout the tale. In response to this, the woman attempts to initiate a conflict by sowing the seed of jealousy within Romina by making subtle reference to the many other guests in the reception.
As Romina scrutinises Lourdes’ behaviour, Ariel leans over the young woman and addresses her flirtatiously which foreshadows their secret relationship to the viewer. During Romina’s scheme to discern Lourdes’ identity, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. During the confrontation between the couple as they dance, Ariel’s eyes dart around the room which emphasises to the viewer that he is still attempting to maintain his untarnished persona.
During the roof scene, Romina’s voice begins to tremble as she confides within the cook which informs the viewer of her vulnerability. In stark juxtaposition, Romina unleashes the full force of her anger upon Ariel, who reacts by throwing up. This emphasises his utter shock and disgust towards the situation.
As she re-enters the ballroom, Romina remains artificially calm in order to maintain her façade. She addresses Lourdes in a sarcastic, over-friendly manner to reinforce her suppressed rage towards her husband. She remains in complete control of the situation, commanding the DJ and disorienting Ariel off of his feet. Through this, Ariel’s true emotions are displayed to the viewer – his priority of maintaining a reputable appearance is lost. Finally, as Ariel attempts to console Romina for the final time, he speaks transparently and genuinely – indicating to the viewer that the persona of perfection is finally abolished.
How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020
Essay plan
Introduction
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
Characters such as Ofelia and Mercedes are representative of the hope and disobedience initiated by the Maquis rebel force. Conversely, Captain Vidal is the figurehead of the Falangist fascist regime and he is represented in ways reflective of an authoritarian society throughout the film.
Sequence 1 – Fig Tree Sequence
Cinematography:
Wide shots of soldiers, panning left to right, tracking (eye-level), tree framing (dwarfing Ofelia, shrouded in darkness), shoe closeup.
Low-angle long shot, central framing – obscured by lighting, silhouette is juxtaposed by particle fairies, mid shots push into Ofelia, crabs right to transition.
Tilt up from Vidal’s shoes, camera arcs as he shouts, lowering crane shot displays the rebellion.
Closeups of Ofelia, pushes in on key, closeup of Ofelia holding it focuses attention, pedestals up as she retrieves clothes, centrally framed during rain.
Juxtaposition between palette and uniform, traditional fairytale clothing and book, uterine tree, decorated uniform, hidden rebels less well-dressed (framing and posture)
Ofelia heavy breathing, addresses toad as human, doesn’t cower
Sequence 2 – First Shaving Sequence
Cinematography:
Tracks Vidal as he picks up blade, tilt to face, mid to long shot, arcs around to mid-closeup of shaving cream, uncomfortable closeup, mechanical lair, warmer lighting during Mercedes scene, pedestal up to portray Vidal’s power, claustrophobia
Luxury items, razor blade reflects Vidal, cluttered desk, mechanical imagery, decorated uniform, Pale Man room
Editing:
Glance object focuses on razor, fast pacing matches the tempo of music
Performance:
Precise + fluid movements, ritualistic, moves meticulously, unnecessary shaving, Mercedes acts as a mother figure
Essay – Version 1
Pan’s Labyrinth (Guillermo del Toro, 2006) is a fantasy/war film. Being a passion project of the director, it is set in the summer of 1944 – five years after the Spanish Civil War. The presence of the fascist regime, the Falangists, still emanates throughout Spain during their pursuit of the Spanish Maquis rebel forces through which constant guerrilla warfare is initiated.
It could be stated that Ofelia’s character is formed from the typical ‘protagonist archetype’ established through storytelling, reinforcing the viewer’s expectations. Conversely, Ofelia is also representative of the hope and disobedience initiated by the Maquis rebel force, which ultimately challenges the viewer’s expectations. Captain Vidal is the antagonistic figurehead of the Falangist fascist regime and he is represented in ways reflective of an oppressive, authoritarian society throughout the film which reinforces the viewer’s expectations. To demonstrate this, my two chosen key sequences are the Fig Tree Sequence and the First Shaving Sequence.
The initial opening wide shot of the Fig Tree Sequence depicts the Falangist soldiers on horseback, in order to pursue the Maquis rebels. The non-diegetic composed score is extremely grandiose and patriotic, which is layered in tandem with the diegetic rhythmic galloping of the horses and the soldiers shouting ardently. Through this, del Toro represents the fascist regime as an elite domineering force which is reflective of the viewer’s expectations. The camera pans from left to right, signifying the treacherous journey the soldiers are embarking upon. We then cross cut between the soldiers and Ofelia through the use of a hidden cut – this example of parallel editing aptly informs the audience that these events are occurring simultaneously.
Another pan from left to right, displays Ofelia’s adventurous journey which creates a sense of duality between the forces of good and evil. As the camera rests on Ofelia, a tracking shot follows her movements as the viewer’s focus is appropriately converged upon her. The camera is at eye-level which encourages the viewer to empathise with our protagonist. At this point, the score becomes more playful and bucolic which represents her naturalistic demeanour. The soldiers’ faint chanting can also be heard low in the mix which reminds the viewer of their omnipresence. Ofelia sports traditional fairytale clothing which is extremely reminiscent of Alice in Wonderland, another archetypical protagonist presented to us in a fairytale.
As the camera continues to smoothly glide to track Ofelia, we push back in order to reveal the fig tree in its entirety which is reminiscent of uterine imagery in its design. This is perhaps representative of Ofelia’s maturity as she continues to persevere through her daring adventure – this example of metaphorical imagery potentially challenges the viewer’s preconceived expectations. Ofelia’s narration is naturally layered alongside the soldiers’ pursuit of the rebels which emphasises to the viewer that this is her fairytale. A variety of long takes are implemented to slow the pace of the film to a halt while keeping the focus on Ofelia.
As Ofelia enters the tree, a low angle long shot displays her standing at the entranced. She is centrally framed and partially obscured by the lighting in order to converge the viewer’s attention on her silhouette. The darkness of the silhouette is juxtaposed by the vibrant particle fairies, which suggests that a foreign entity is entering the realm. This challenges the viewer’s expectations of a stereotypical weak, female protagonist by exemplifying the theme of disobedience and rebellion. The implementation of woodwind instrumentation throughout the tree scenes further reinforces Ofelia as the protagonist.
Afterwards, we cross cut back to Vidal’s army – the captain’s stern expression and measured demeanour in tandem with his highly decorated uniform reinforces his authoritative position to the viewer. The two soldiers that accompany him act subserviently. For example, Vidal’s hand gesture immediately silences them, which informs us that the captain is used to being obeyed. In effect, this cements the sociopolitical hierarchy within the regime, which perhaps challenges the viewer’s expectations. Vidal proceeds to shout into the forest, during which his booming voice is extremely high in the mix. This emphatically represents his masculinity, which ultimately instills fear in the viewer. As the soldiers ride back home, a lowering crane shot displays the hidden rebels in a position of power through the meticulous use of framing and blocking. They have successfully outsmarted Vidal and this represents the rebel force in a powerful state of being.
As we cut back to Ofelia in the tree, the camera arcs around her as she crawls and eventually pushes in on a closeup of her face. Her face is extremely muddied, illustrating her character as adventurous and daring, reinforcing the viewer’s expectations. The mud itself has also dried in order to signify the passage of time, displaying Ofelia’s heroic resilience. She persistently breathes heavily which implies that she is extremely nervous about exploring the foreign realm. This informs the viewer that Ofelia isn’t perfect, which challenges the viewer’s expectations.
During Ofelia’s exchange with the toad, she addresses it as if it were a human in order to reassure herself that she isn’t afraid of it. As the toad begins to growl at her, Ofelia continues to stand her ground in the face of danger – she doesn’t cower or show weakness in any way. Alongside this, the score becomes more hopeful as Ofelia hatches her plan to outsmart the toad. Ofelia smirks as a glance object is implemented between Ofelia and a cockroach in her hand, informing the viewer of her cunning plan. After the toad dies, we cut to a closeup of Ofelia holding a mysterious key which displays her utter encapsulation towards it, signifying its valuableness.
As Ofelia exits the tree, a sudden storm ensues causing Ofelia to become completely drenched by the rain. During this, she is centrally framed in order to completely focus the viewer’s attention on our protagonist in order to encourage the viewer to empathise with her. The oppressive rain vigorously enters the soundscape, establishing the narrative device of pathetic fallacy which is reflective of Ofelia’s miserable state of mind, juxtaposing her prior confidence. This emotional development in Ofelia’s character is perhaps surprising to the viewer, due to her aforementioned confident demeanour presented throughout the sequence.
The First Shaving Sequence opens with the diegetic audio of the gramophone emphatically entering the mix – the chosen piece being written by Antonio Molina. This specific piece is extremely evocative of the 1940s time period and oozes Spanish patriotism. A fluid tracking shot follows the movements of Vidal’s hand as he gingerly picks up his cutthroat blade. This deluxe razor blade reinforces the fact that the captain rules the sociopolitical hierarchy which includes overseeing the distribution of luxury items. This reinforces the viewer’s expectations of a fascist figurehead.
Vidal’s movements are extremely precise and meticulous as he selects the blade, moving precisely to the specifically selected music. It becomes clear to the viewer that Vidal treats the act of shaving as a sort of divine ritual, emphasising his masculinity. The captain’s ritualistic attitude towards shaving potentially challenges the viewer’s expectations due to Vidal’s prior representation as a stoic, emotionless leader. As Vidal begins to pensively walk to the mirror, the camera transitions from a mid shot to a long shot – displaying the surroundings of the room. The desk on which the shaving equipment lies is extremely cluttered, informing the viewer that this is the centre of Vidal’s command. The cog-like water wheels that make up the background of Vidal’s lair reinforce his mechanical demeanour towards the pursuit of the rebels.
After a glance object between Vidal and the razor, we cut to an uncomfortably claustrophobic closeup of Vidal shaving his face with temporal focus. The diegetic exaggerated ‘sharp’ sounds of the blade against his face are layered in the mix alongside the score. The razor blade itself is an accurate reflection of Vidal’s personality, requiring acute precision and diligence. It can also be noted that Vidal is shaving unnecessarily – he appears to already be clean shaven. Through this, it is potentially implied that the captain views shaving as a form of detoxing in order to separate himself from the arduous pursuit of the rebels. As the score ascends to a fanfare-like crescendo, Vidal’s posture is reminiscent of a matador, which further reinforces his macho disposition.
After an abrupt jump cut, the lighting of the scene becomes much warmer, informing the viewer that we are now in the presence of Mercedes. As the conversation between the two ensues, the camera pedestals up to portray Vidal as holding an authoritative power over her. This is reflective of the current opposition between the rebels and the fascists. The room the two converse in is extremely reminiscent of the Pale Man’s room, which is presented to the viewer later in the film. This example of foreshadowing establishes the evil parallels between Vidal and the Pale Man later in the film. Mercedes appears to act defiantly against Vidal, instructing him not to cook the rabbit. This foreshadows Mercedes’ disobedience against the Falangists later in the film which is representative of the ultimate triumph of good overcoming evil.
In conclusion, del Toro aptly implements the key elements of film in ways that appropriately represent the powerful forces of good and evil. This is achieved through the characterisation of Ofelia as a protagonist, as well as Vidal as an authoritarian antagonist.
We were tasked to analyse the key elements of film form of the “Pale Man sequence” of Pan’s Labyrinth (00:55:21-01:02:19). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The scene begins on a wide shot which arcs around, depicting Ofelia taking out her storybook. First and foremost, this contextualises the location of the scene being Vidal’s bedroom but this shot also informs the viewer that Ofelia is alone. We then cut to an over-the-shoulder closeup of her storybook depicting the pictures coming to life. This emphasises her complete immersion within her own fairytale. Subsequently, as Ofelia narrates the story, we cut to an appropriate picture in order to appropriately guide the viewer through the fairytale.
As Ofelia climbs into the mysterious gateway, a wide shot depicts her existing between the two realms. The camera then pulls back in order to provide the viewer with a sense of scale. After a transition which implies a passage of time, we shift into an extreme long shot which portrays Ofelia peering into the ominous lair. At this point, there is a notable change in lighting and colour palette from one shot to the other which clearly defines the other-worldliness of the hellish realm from reality. We persistently cut between the two worlds in order to make this distinction perspicuous.
The next shot is a closeup of an hourglass which indicates its importance. The idea of a ‘race against time’ is planted in the viewer’s mind which builds suspense. We then cut to a wide shot from behind Ofelia that reveals the new, unseen area that she is entering. The camera crabs from left to right, tracking Ofelia’s movements from the opposite side of the table. Her trance-like state is portrayed as she observes the tantalising food that lies on the table. The camera then comes to rest on a two shot of Ofelia looking at the Pale Man, it lingers for a while in order to let the viewer observe this enigmatic humanoid creature. The camera then slightly rises to emphasises the Pale Man’s oppressive and imposing nature.
An ensuing informatory shot depicts a mysterious pair of eyes on a plate as well as the Pale Man himself without any eyes. Through this, the viewer can infer that the eyes belong to the Pale Man. We then cut to a reactionary shot as Ofelia picks the eyes up, as her disgusted expression is displayed. During this shot, the doors of the lair are present in the background, foreshadowing their later significance.
After this, we cut over-the-shoulder shot which instills a sense of revulsion within the viewer. This is due to the fact that the Pale Man must receive an appropriate amount of screen time in order to appear menacing. We then cut to a gliding worms-eye-view shot looking up at the ceiling which depicts a series of pictures of the Pale Man slaughtering children. The camera then pedestals up to reveal a pile of shoes which informs the viewer of the sheer amount of victims slaughtered by the Pale Man, the focus is then pulled from Ofelia’s stunned expression to the shoes themselves.
As Ofelia lets the fairies free out of the bag, a tracking shot trails their movements which focus our attention upon them. There is then a closeup reactionary shot of Ofelia as she holds the key which portrays her coming to the realisation of what she must do. We then cut to a closeup of the hourglass during which the camera pushes in to emphasise the fact that Ofelia doesn’t have much time remaining.
As we cut to an angle that is behind the keyhole, a frame within a frame is created. Ofelia’s determined expression is focused upon as she reaches further within to claim the blade. The blade in question receives a closeup, signifying its importance. We then cut to a wide shot of Ofelia and the Pale Man, which pushes in slowly. Through this, anticipation is created as he remains motionless. His dormancy is juxtaposed by the fairies who are energetically darting around the area.
The camera then tracks back, pushes in and pans to the right in order to reveal the forbidden plum-sized grapes. There is a focus pull from Ofelia to the Pale Man in order to signify that danger is still present. The temptation of the grapes is contrasted by the imminent danger of the Pale Man. During the closeup of Ofelia eating a grape, the camera moves over her shoulder as the focus is pulled towards the Pale Man. As the camera pushes in, the viewer can surmise that he is about to awaken.
An ensuing closeup depicts the Pale Man placing his eyes in his hands, during which the prior visual information presented to the viewer is connected in the their mind. There is another closeup of Ofelia as she is unable to resist another grape, through which the Pale Man is visibly rising behind her in the background. At this point, the viewer’s focus is converged on Ofelia, emphasising her fixation on the grape. We then cut to a high angle shot depicting the Pale Man dwarfing Ofelia, reinforcing the looming danger he emits. Afterwards, an extreme closeup forces the viewer to observe the Pale Man graphically devouring the fairies. We alternate between shots of this and closeups of Ofelia’s reaction.
A chase sequence is ensued by a closeup of the Pale Man, the camera proceeds to track Ofelia’s movements in a rapid crab shot. We then quickly cut between Ofelia (the fleer) and the Pale Man (the pursuer). As Ofelia dashes through the corridor, the distance remaining to the real world is contextualised by alternating between fast tracking shots portraying her movements with shots of reality. During the chase, a handheld camera is utilised in order to create disorientation, reflecting Ofelia’s panicked state of mind. A closeup of the Pale Man’s hand informs the viewer that he is able to see her
To further build tension, a series of closeups are displayed focusing on specific objects such as the broken chalk, the wobbly chair and the Pale Man’s legs. Rapid alternating shots depict the Pale Man getting ever closer to Ofelia as she finally escapes through the ceiling. As Ofelia re-enters the real world, the hellish colour palette of the Pale Man’s realm is juxtaposed with the steely blue colour palette of Vidal’s territory. This distinctively defines the gateway between the two worlds.
Sound
The first sounds heard are the scrawling diegetic sounds of a pencil as the mystical drawings appear on the pages of Ofelia’s fairytale book. As this occurs, an artificial fantasy-esque sound reminiscent of the Underground Realm enters the mix in order to emphasise the whimsicality of the drawings. Ofelia’s non-diegetic narration is layered in the mix with the non-diegetic composed score, through which the use of soft instrumentation – such as a piano – evokes imagery of the fantasy world within the viewer’s mind.
As Ofelia uses the chalk on the wall, an appropriate ‘scraping’ sound accompanies this action, which is expected by the viewer. Conversely, this sound evolves into an unexpected ‘fizziness’ which diverges our attention towards the melting wall. Ofelia then scrapes her hand against the impossible gateway which has a hinge-like heaviness to it, expressed through appropriate sound design. As Ofelia enters the Pale Man’s lair, her narration bridges the narrative between the real world and the hellish lair. Alongside this, a non-diegetic fanfare signifies the Princess’ arrival in the realm.
The soundscape of the hellish realm is extremely ambient and foreboding – incorporating the diegetic ominous breathing of the Pale Man which echoes throughout the corridor. Sharp, high-pitched violins are present in the mix, illustrating Ofelia’s vast uncertainty towards this foreign realm. Important objects also receive a sound, including the chair, doorway as well as the suspenseful sound of sand slowly falling through the hourglass. The ambient soundscape of the realm gradually rises in the mix as Ofelia approaches the Pale Man, signifying the danger that will unfold.
As Ofelia encounters the Pale Man, there is an appropriately utilised ‘swoosh’ sound in order to reinforce Ofelia’s anxious premonition. Ofelia then picks up the eyes on the plate, during which a repulsive ‘squelch’ sound enters the mix in order to disgust the viewer as well as signify their later importance. As the images displaying the various victims of the Pale Man are displayed, the harrowing cries of children are subtly incorporated into the mix. This informs the viewer of the Pale Man’s potential brutality.
As the fairies are released from their confinement by Ofelia, the diegetic chirping of their cries are promptly raised in the mix. At this point, the fairies appear excited and liberated in order to later juxtapose the fairies’ conflicting emotions. Ofelia then holds the fantastical key in her hand during which a jarring, piercing is attributed to it. This drastically emphasises its impending importance. As Ofelia unlocks and opens the door, the dramatic score gradually creeps into the mix which signifies that something new is about to be unleashed. Alongside this, Ofelia’s laboured breaths reinforce her distressed state of mind.
Ofelia then unsheathes the blade from its resting place, during which an artificial diegetic ‘sharp sound’ is added to the mix to emphasise its precision and deadliness. At this point, the score becomes much more dissonant in order to foreshadow the fact that something bad is about to occur. The fairies continue to flutter around the Pale Man, their cackling implies their arrogance. As Ofelia spots the luscious grapes, an appropriate harp enters the mix connoting heavenly imagery – perhaps referencing Adam and Eve. Ofelia is unable to resist the temptation of the grapes, during which the fairies vehemently attempt to prevent Ofelia from eating them. The viewer is able to fully understand the fairies’ communications through the use of sound alone.
As the Pale Man awakens from his dormancy, an emphatic ‘cracking’ sound is extremely loud in the mix, informing the viewer that he has been dormant for a prolonged period of time. In order to further repulse the viewer, another squelching sound is added to the mix as the Pale Man places his eyes in his hands. Piercing and squealing cries can be heard which is reminiscent of a baby’s feeble, infantile cries. The texture of the score then thickens as the tempo begins to increase, indicating the imminent danger. At this point, the soundscape is extremely overwhelming – layering the dramatic score with the shrieking fairies and the growling Pale Man. Ofelia’s breathing begins to quicken, accentuating the rising tension. As the Pale Man begins to devour the fairies, the visceral crunching of the fairies’ bones are excruciatingly loud in the mix.
As the chase ensues, the Pale Man makes skeletal noises as he pursues Ofelia, his rattling bones are prominently featured in the mix. We then cut to a closeup of the hourglass, during which the sound of the sand falling rises in the mix, emphasising that she is running out of time. The objects of importance at a specific moment additionally spikes in the mix for a split second in order divulge the viewer’s attention. The score itself continues to become more urgent as Ofelia frantically scrawls the chalk on the wall. The chalk itself has a piercing and grating sound attributed to it, making the viewer extremely uncomfortable and uneasy.
As Ofelia finally escapes the diabolical realm, the Pale Man’s frustrated noises slowly lower in the mix, informing the viewer that the danger is over for now. Once again, the door ‘fizzes’ as it closes to reinforce its fantastical nature. Finally, the pounding of the floorboards is incorporated into the mix to reiterate to the viewer that danger still lurks beneath.
Mise-en-scène
Ofelia’s traditional clothing is resemblant of Anne Frank as well as many other Holocaust victims. This links to the theme of imprisonment that echoes throughout the film, reflecting Ofelia’s state of mind in the real world. The relation to the Holocaust also foreshadows the later appearance of shoes in the Pale Man’s lair. Ofelia’s fairy book is traditionally designed as the drawings are reminiscent of uterine imagery, emphasising Ofelia’s maturity. The use of pastel colours further exemplifies the fantastical atmosphere of the fairy tale. The steely blue colour palette of the room once again reinforces that Ofelia is imprisoned within Vidal’s territory.
Ofelia then proceeds to crawl through the mysterious gateway to the Pale Man’s lair, this action of ‘crawling through the rabbit hole’ is extremely reminiscent of Alice in Wonderland, portraying Ofelia as a typical fairytale protagonist. The lair of the Pale Man has an extremely hellish colour palette, incorporating reds and crimsons into a monstrous visual spectacle. The wall is painted with blood, foreshadowing the Pale Man’s brutality towards his victims. The interior of the lair resembles a medieval dungeon, the pillars being reminiscent of a cathedral. This implies that the Pale Man is an ancient being, who has resided in this cavern for eternity. The appearance of the hourglass is symbolic of the theme of time that echoes throughout the film. It not only represents Ofelia’s time limit but it also is representative of Carmen’s numbered days. The hourglass’ design also resembles the yet to be seen Pale Man’s decrepit hand, emphasising that this realm is ruled by him.
Ofelia’s green clothing juxtaposes the devilish colour palette of the realm, symbolising her allegiance to the Faun. The large fireplace in the background appears forbidding, connoting further imagery of hell. The large table of tantalising food is once again resemblant of Alice in Wonderland. The food is predominantly sweet, luxury delicacies such as fruits and jellies which is representative of what a child might imagine a feast might entail.
The Pale Man’s design is symbolic of greed – his loose skin in tandem with his malnourished body represents his gluttonous tendencies which he has not indulged in for a long time. His eyes which lie on the plate are strikingly evil and ghoulish. The paintings which depicts the Pale Man’s brutality towards children is resemblant of the works of Goya, a Spanish romantic artist known for visceral paintings such as “Saturn Devouring His Son”.
The colossal pile of shoes which lies beside the Pale Man’s table can once again be linked to the Holocaust. The shoes represent a potential future that exists in Ofelia’s world which is symbolic of the dangers of a fascist, totalitarian regime. Conversely, the key which Ofelia bears represents the hope of overcoming the Falangists. Later in the film, Mercedes utilises a key to free the rebels from the wrath of the soldiers, reshaping the future of Spain forever.
Ofelia then retrieves the dagger from behind the locked door, which is extremely ornamental and polished in design reinforcing its authenticity and uniqueness. The dagger also has potential symbolic relations to Macbeth, representing the theme of treason and betrayal against Vidal. The grapes that Ofelia eats are extremely appealing and voluptuously designed, further reinforcing the temptation they represent.
There are potential parallels between the antagonistic forces of Vidal and the Pale Man respectively. While the captain consumes baby rabbits, the Pale Man devours children which reinforces them as demonic and remorseless. The Pale Man’s hands are also bloodstained, once again linking to Macbeth and the act of betrayal. The fairies’ deaths are extremely brutal and graphic, their blood gushes into the Pale Man’s mouth. This symbolises the death of innocence and whimsicality the fascists enforce. Finally, during the chase sequence, Ofelia’s shoes are focused upon which is a key motif throughout the film.
Editing
The opening scene utilises continuity editing, incorporating a glance object as we cut between Ofelia’s face and her book. At this point, the editing is slow paced which is representative of the calm before the storm. Ofelia’s narration is layered over the edit as a fade transition is incorporated in order to signify the passage of time. There is another glance object between Ofelia and the hourglass, directing the viewer’s attention towards it.
The lair itself has been heavily colour graded in post production, which attributes a hellish quality it. As the camera crabs left to display the copious amount of food, there is another glance object between Ofelia and the feast. As Ofelia observes her surroundings, we alternate between shots that imitate Ofelia’s perspective and objective shots through which we maintain focus on Ofelia.
An example of parallel editing is utilised as we cut between Ofelia adventuring through the lair and the hourglass which ominously displays the amount of time she has left. As Ofelia becomes tempted by the grapes, the camera cuts between Ofelia, the grapes and the Pale Man in order to visualise her mental thought process. After this, the Pale Man begins to place his eyes in his hands during which the pace of the edit is slowed through the use of long takes, which build appropriate anticipation.
As the chase sequence ensues, another instance of parallel editing is implemented to portray the two perspectives of the chase sequence, being the fleeing Ofelia and the pursuing Pale Man. During the chase, the pace of the edit quicks through the use of frequent cuts in order to create a sense of urgency. As the door to the real world closes, there is a reactionary shot which depicts Ofelia’s hopeless expression. One more example of parallel editing alternates between Ofelia running away and the hourglass to further build tension during the chase. Finally, as the door to the lair closes, the pacing of the edit becomes sedate once again in order to signify that the danger is finally over.
Performance
During the opening scene, Ofelia appears to be completely immersed within her fairytale, becoming entranced by the moving illustrations. She also becomes rightly surprised as the chalk astoundingly melts the wall, pushing the door open with ease. These action imply that the normal laws of physics do not apply to the fantasy world.
As Ofelia enters the realm of the Pale Man, her explorative and curious nature is reinforced as she wonders through the corridor. She places the chair down ahead of time which emphasises Ofelia’s forward-thinking attitude. As she reaches the table, Ofelia is mesmerised by the feast and stunned by the motionless Pale Man. The viewer experiences these events at the same time as Ofelia which creates reason for empathy between the viewer and Ofelia.
Ofelia then becomes unnerved by the artistic depictions of violence between the Pale Man and the children, her breathing gradually quickens. She then proceeds to dextrously open the lock, demonstrating her resourceful disposition. Ofelia’s innocence and vulnerability is hinted towards when she is easily tempted by the forbidden grapes. She brashly brushes away the fairies, suggesting that she will happily dismiss the fantasy for a brief moment in order to indulge in a rare luxury. She proceeds to close her eyes as she devours the grape, savouring every morsel which reinforces the harsh conditions that she is forced to live under.
As the Pale Man awakens, it moves slowly and unsteadily which is characteristic of stereotypical fantasy monsters. Doug Jones is an actor typically known for playing monstrous creatures. Through his authentically unnatural performance, the viewer becomes fully immersed within the realm of the Pale Man.
During the chase sequence, Ofelia breathes rapidly which indicates that this is the peak of the tension. She desperately shouts into the corridor as the gateway to reality closes, emphasising her hopeless state of mind. Finally, Ofelia pragmatically seizes the chalk which reinforces her quick-thinking in dire situations.
We were tasked to analyse the key elements of film form of the “fig tree sequence” of Pan’s Labyrinth (00:30:50-00:38:18). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The initial opening wide shot depicts the soldiers travelling on horseback in order to pursue the rebels. The camera pans from left to right, signifying a journey. As we cut to Ofelia’s side, the camera also pans from left to right, implying that she is simultaneously setting out on her own journey. The camera then rests on Ofelia, tracking her movements through the forest as our focused is converged onto her. At this point, the camera is at eye-level with Ofelia which encourages the viewer to empathise with her.
As the camera continues to smoothly glide to track Ofelia, we push back to reveal the fig tree in its entirety – it is reminiscent of uterine imagery. The tree is framed in a manner which makes it appear menacing – it dwarfs Ofelia and the interior is shrouded in darkness, creating mystery. There is then an interesting closeup of Ofelia’s muddied shoes, this being a motif which emanates throughout the film. The fact that her shoes are tarnished implies that Ofelia does not care about how others perceive her, which distances herself from Captain Vidal. There is then a closeup of a nearby tree branch, which signifies its importance to the viewer. This is then confirmed as Ofelia places her clothes on it.
As Ofelia enters the tree, there is a low angle long shot of her standing at the entrance. She is centrally framed and partially obscured by the lighting in order to converge the viewer’s attention onto her silhouette. The darkness of Ofelia’s silhouette is juxtaposed by the vibrant particle fairies which suggests that she is entering the Underground Realm. We then cut back to the exterior, the camera proceeds to pan up and tilt to the right to display a closeup of her abandoned clothes, we can infer that something will happen to it later. As we cut back to the tree’s interior, we alternate between wide shots to showcase the tree’s whimsically designed interior and mid shots that push in closer to Ofelia to display her arduous crawl through the tree. The camera then crabs right to smoothly transition to Vidal and the soldiers.
The camera tilts up to show Vidal dismounting his horse, an ensuing closeup of his shoes opposes the aforementioned Ofelia shoe closeup, which further reinforces him as the main antagonist force Ofelia must overcome. A closeup of the fireplace emphasises its importance to the viewer as Vidal places his hand over it, confirming his suspicions. The camera then arcs into a two shot displaying Vidal and another soldier investigating the area.
As Vidal proceeds to hold up the antibiotic, we cut to a closeup of the bottle being held in his hand. It is perfectly illuminated by the lighting of the forest to emphasises its importance to the viewer. Vidal then proceeds to shout into the forest, during which the camera arcs around him from a variety of angles. An ensuing wide shot tracks the soldiers on horseback attempting to pursue the soldiers, this time panning from right to left. A lowering crane shot pulls our focus towards a group of rebels who are powerfully framed as they have outsmarted the captain.
We then cut back to Ofelia within the tree, during which the camera arcs around her crawling and eventually pushes in on a closeup of her anxious face. It then cuts to a wide shot of the mesmerising cave tunnel which appears to be never-ending. As Ofelia begins to hear grunting, the camera crabs right in order to reveal the giant toad. During the exchange between Ofelia and the toad, there is a quick pan from right to left in order to accurately display the sheer speed of the toad’s tongue. We then cut between a closeup of the toad and a closeup of Ofelia’s reaction as it begins to shed its skin.
The camera then pushes in on the mysterious key which lies upon the frog’s remains. We then cut to a closeup of Ofelia holding it as our focus in diverted towards it, which signifies its valuableness. As we cut back to the outside, there is a closeup of Ofelia’s abandoned clothes, during which the camera pedestals down and then tilts up to reveal Ofelia emerging from the tree. We then pedestal back up as she picks up her clothes. Finally, as the storm ensues and Ofelia is drenched by the rain, she is centrally framed in order to completely focus our attention on her so the viewer can fully empathise with her.
Sound
During the opening shot, the grandiose, patriotic non-diegetic composed score enters the mix. Layered in tandem with the rhythmic galloping of the horses and the soldiers shouting, this emphasises them as an elite domineering force. As we cut to Ofelia, the score becomes more playful and bucolic which reflects her adventurous character. The faint chanting of the soldiers can also be heard low in the mix, reminding the viewer of their omnipresence. As we cross cut between Ofelia and the horses, the score appropriately underscores what is on screen.
The score then lowers in the mix as Ofelia’s diegetic narration begins to rise. Chirping birds and other diegetic forest sounds can also be heard as Ofelia navigates her way through the forest. In addition to this, woodwind instrumentation is added to the score in order to fully immerse the viewer within the setting. As Ofelia arrives at the tree, the score becomes more dramatic by implementing strings to the mix. During the closeup of Ofelia’s clothes, a storm can be heard brewing outside which foreshadows the later torrential downpour. As Ofelia enters the tree, the soundscape is exclusively diegetic. Ominous cave ambience is layered with the sounds of Ofelia crawling and the scuttling of cockroaches.
As we cut to Vidal and the soldiers, a diegetic conversation ensues between them, juxtaposing the dense soundscape of the tree. As Vidal realises that the rebels have recently been in the area, a dissonant non-diegetic stab chord suddenly enters the mix as he lowers his hand in order to reflect his distraught emotions. Vidal then begins to shout, his booming voices is extremely high in the mix and emphatically echoes throughout the forest. This presents him to the viewer as extremely threatening and authoritative.
We then cut back to Ofelia in the cave, during which the ambient cave sounds continue to be heard low in the mix. We then hear a mysterious growl, through which the viewer begins to wonder who or what it might belong to. This enters the mix to juxtapose the subdued ambience of the cave. After the camera crabs to reveal the toad, its distinctive grunts are layered in mix alongside the scuttling of the cockroaches.
As the toad sticks its tongue out, its ensuing grotesque snarls enter the mix at an extreme volume to severely intimidate the viewer. Here, Guillermo del Toro makes apt use of walrus growls and alligator hisses in order to appear menacing. Afterwards, the score becomes more hopeful as Ofelia hatches her plan to outsmart the toad. As the toad’s gelatinous insides begin to exit its body, an overwhelming repulsive sound enters the mix.
The key that lies on top of the toad’s remains receives a distinctive, high pitched fantastical sound in order to emphasises its uniqueness and importance to the viewer. During the proceeding exterior scene after Ofelia picks up her clothes, rain vigorously enters the mix which fills the soundscape. This emphatic use of pathetic fallacy makes us empathise with Ofelia.
Mise-en-scène
During the opening shot, there is an initial stark juxtaposition between the colour palette of the lush, green forest and the steely blue uniforms that are donned by Vidal’s soldiers. This implies that the authoritative Falangist regime is infiltrating the whimsical Underground Realm. Alongside this, the soldiers themselves are all homogeneously dressed, suggesting that they are merely an extension of the captain and have no personality themselves.
The colour palette of the forest is made up of greens and browns, illustrating a fantastical atmosphere. Once again, Ofelia sports traditional fairytale clothing which is extremely reminiscent of Alice in Wonderland. Her green hair bow and dress compliments the lush greens of the forest. As Ofelia opens her traditionally designed fairytale book, the previously seen particle fairies populate the forest, further reinforcing its fanciful atmosphere. The sunlight is harsh, it blazes down onto the abundant leaves which populate the forest.
As we focus in on the fig tree, it is distinctively modelled and extremely reminiscent of uterine imagery. This could potentially represent Ofelia’s maturity as she continues to persevere through her daring adventure. The magic stones that Ofelia bears are bespoke and distinctively shaped in order to appear important. Ofelia enters the tree wearing her green dress which matches the tree, implying to the viewer that this is her natural habitat.
As we cut to the interior of the tree, the aforementioned particle fairies reside within which emphasises the whimsicality of the area. The tree is also dimly lit, overgrown with branches and covered with mud and cockroaches which implies that it is completely uncharted territory. In addition, the colour palette is made up of darker browns and is much less green than the forest signifying that we are now in the territory of the Underground Realm.
During the ensuing scene with Vidal and the soldiers, the captain’s uniform is once again extremely decorated which reinforces the fact that he holds the authority. When Vidal discovers the antibiotic bottle, it is designed in an extremely tactile and distinctive way and alongside the previously mentioned lighting, this emphasises its importance. Conversely, the lottery ticket held by the soldier is crumpled and deteriorated, implying it is a less important finding than the antibiotic bottle. As the soldiers ride back home, the hidden rebels are less well-dressed than the soldiers in order to reinforce the Falangists’ dominance. However, they still exert a sense of power over the soldiers due to their framing and posture and the fact that they successfully remained hidden from Vidal’s eagle-eyed scrutiny.
As we cut back to Ofelia in the cave, her muddy face makes her appear both adventurous and daring. Additionally, the mud has dried to signify the passing of time. The pathway of the tree appears to be never-ending, which is reflective of Ofelia’s sense of disorientation. The giant toad itself is a physical animatronic, del Toro’s use of a practical effect makes the toad appear more authentic and lifelike.
The toad persistently pulses as Ofelia attempts to console it – this creature is entirely unfamiliar to the viewer. The toad’s death could potentially serve as a metaphor for Ofelia’s dying mother. The regurgitation that exits the frog’s body is reminiscent of afterbirth and this use of visceral imagery to foreshadow later events in the film is extremely typical of del Toro. The mysterious key that lies on top of the frog’s remains is uniquely designed in order to appear significant. As we return outside, the steely blue colour palette returns to accentuate the ongoing storm. The vigorous rain then begins to occur, this classic example of pathetic fallacy reflecting Ofelia’s miserable state of mind.
Editing
The opening scene is graded in a way which accents the sun-drenched forest, as well as the vibrant leaves and trees. Del Toro then implements cross cutting between the soldiers and Ofelia through the use of a hidden cut after a pan to the right. This example of parallel editing informs the audience that these events are occurring simultaneously.
Ofelia’s narration is layered alongside the soldiers’ pursuit of the rebels to emphasise her perspective of the narrative – this is her story. There is another sequence of alternating seamless transitions between the soldiers and Ofelia. These parallel edits are extremely unnoticeable and fully immerse is within both sides of the story. When we see Ofelia next, she stands in a different position to signify the passing of time. As Ofelia solemnly walks towards the fig tree, del Toro implements a variety of long takes from a number of angles which slows the pace of the film to a halt.
As Ofelia enters the cave, the intimate colour grading is maintained, however grittier browns are included to separate the Underground Realm from the forest. There is another hidden cut as the camera crabs right while tracking Ofelia crawling. We transition back to Vidal and the soldiers dismounting their horses.
As Vidal begins to search around for any clues of rebel presence, there is a glance object between the captain and the antibiotics in order to focus the viewer’s attention on this object. During the sequence, the pacing is initially slow but gradually rises as we frequently cut to a number of angles as Vidal’s booming voice echoes throughout the forest. There is another hidden cut to transition back to the tree, the camera movement remains identical as it crabs left.
During the exchange between Ofelia and the toad, there is a shot reverse shot sequence in order to maintain continuity editing. Although the toad itself is an animatronic, its tongue is created through the use of CGI in post-production. This genre staple creates fluidity within the frog’s agile tongue movements. There is a glance object between Ofelia and the cockroach in her hand to inform the viewer of her cunning plan to overcome the toad.
Performance
The Falangist soldiers ardently ride out into the forest on horseback, loudly commanding the horses. As we transition to Ofelia in the forest, she carefully opens the fairy tale book and instantaneously becomes immersed within it, emphasising her imaginative nature. As she pensively walks towards the fig tree, Ofelia’s explorative nature is reinforced as she confidently narrates the fairy tale making the viewer question whether the fantasy is real or if it just a figment of her imagination.
As we transition to Vidal, his stern expression and measured demeanour reinforces his position of power. The two soldiers he is accompanied by act subserviently – they do not speak unless they are spoken to. For example, the solider immediately takes the bag from Vidal as he is handed it. As the captain is informed of the forgotten lottery ticket, he appears to act obliviously towards it, reinforcing his uncaring attitude.
His ensuing hand gesture immediately silences the soldiers, informing the viewer that he is used to being obeyed. Vidal’s booming, masculine voice echoes throughout the woods emphatically, instilling fear in the viewer. As the fascists ride away, the rebel group stand majestically silently informing the viewer that they have outsmarted the captain.
As we cut back to Ofelia in the cave, her persistent heavy breathing implies that she is extremely nervous about exploring the tree. During her exchange with the toad, she addresses it as she would a human in order to reassure herself that she isn’t afraid of it. As the toad begins to growl at her, Ofelia continues to stand her ground in the face of danger – she doesn’t cower or show fear in any way. As Ofelia realises how to outsmart the toad, she smirks which reinforces her quick thinking and pragmatic nature to the viewer. She grimaces as the toad eats the insect out of her hand, although there is a sense of accomplishment in her facial expression, highlighting the fact she has outsmarted the toad.
Ofelia nervously reaches out to pick up the enigmatic key, she appears to be completely mystified by it. As she steps outside, her heavy breathing continues implying that she hasn’t overcome every challenge just yet. Finally, rain then begins to fall, during which a look of utter despair is inscribed onto Ofelia’s face. The viewer can fully empathise her at this point as they have followed her entire journey up to this point.
We were tasked to analyse the key elements of film form of the “first shaving sequence” of Pan’s Labyrinth (00:24:36-00:26:13). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The scene opens on a closeup of the gramophone, silently informing us that music is about to start playing. The camera then fluidly tracks the movement of Vidal’s hand as he gingerly picks up his cutthroat blade. As the camera tilts upwards, our attention is pulled from the record player and is now focused on the captain’s face. As Vidal begins to walk towards the mirror, the camera transitions from a mid shot to a long shot, in order to display the surroundings. After a transition, the camera proceeds to arc around the captain and eventually pushes in on his face to present a mid-closeup of him meticulously applying shaving cream to his face. We then cut to an uncomfortable closeup of the captain shaving precisely with temporal focus. The final shot of the scene is a long shot, depicting the full scale of Vidal’s mechanically designed lair.
During the proceeding scene, the lighting becomes warmer which emphasises the fact that we are now in the presence of Mercedes. During the ensuing conversation between Vidal and Mercedes, the camera pedestals up to portray Vidal as having a more powerful position over her. As the captain reaches out to touch her shoulder, the two are framed claustrophobically which presents the captain as extremely threatening.
Sound
The first sound heard is the diegetic audio of the gramophone which is high in the mix. The chosen piece is “Soy un pobre presidiario” by Antonio Molina, a piece extremely evocative of the time period and one which oozes Spanish patriotism.
The song continues to play as Vidal applies shaving foam to his face, to which a diegetic brushstroke-like sound is layered in the mix. He then picks up the cutthroat razor, during which a universally recognisable “sharp metallic object” sound plays to emphasise to the viewer the precision with which the captain exerts during shaving. As the music ascends to fanfare-like crescendo, Vidal’s posture is reminiscent of a matador, further reinforcing his macho demeanour.
Mise-en-scène
At the beginning of the scene, we are greeted to a number of luxury items owned by Vidal. These include the gramophone, cigarettes and a deluxe cutthroat razor blade. These items reinforce the fact that the captain rules the hierarchy and therefore, the distribution of goods.
The razor blade itself is an accurate reflection of Vidal’s personality, requiring acute precision and diligence. The desk on which the shaving equipment lies is extremely cluttered, informing the viewer that this is the centre of Vidal’s command. The surroundings presented are reflective of Vidal’s mechanical disposition, the cog-like water wheels implying that he is a moving part of a bigger machine.
The surroundings presented are reflective of Vidal’s mechanical disposition, the cog-like water wheels implying that he is a moving part of a bigger machine. After we cut to a new scene, Vidal’s uniform is neatly presented and buttoned up as he addresses Mercedes. In addition to this, the interior is designed in a way which is extremely reminiscent of the “Pale Man room” which appears later in the film. This is one of many examples of subtle foreshadowing implemented by Guillermo del Toro throughout the film.
Editing
The scene opens on an initial long take as the captain picks up the cutthroat blade and walks towards the mirror. There is then an example of temporal editing, as the hidden cut signifies that an amount of time has passed between the transitions. After the transition, the camera is positioned in front of Vidal which is physically impossible if the camera kept moving in the same direction which it appears to be doing. As the captain dips his razor in the water, there is a glance object to focus our attention on the razor itself. The pacing throughout this sequence is relatively fast, matching the tempo of the music. As Vidal finishes shaving, there is an abrupt jump cut as the music comes to a final climax.
During the next scene, there is another glance object as Vidal looks at his boot while scrubbing it. During the conversation between Vidal and Mercedes, del Toro employs standard continuity editing techniques. These include shot/reverse shot sequences between the two characters as well as an eye line match. Additionally, the pace of the edit slows during their conversation in order to create a calmer atmosphere after the lively shaving sequence.
Performance
As the scene begins, Vidal’s movements are extremely precise and fluid as he glides his hand towards the razor. He moves meticulously to the carefully selected music and it becomes clear to the viewer that he treats the act of shaving as a divine ritual, emphasising his masculinity. It could also be noted that Vidal is shaving unnecessarily as he appears to be clean shaven. This potentially implies that Vidal views shaving as a form of detoxing to separate himself from his arduous pursuit of the rebels. It is also worth noting that a significant amount of time has passed during the process of shaving, due to the fact that his cigarette has become a stub by the time he has completed his shaving ritual.
During Vidal and Mercedes’ conversation, she appears to act as a mother figure towards Vidal, as she seems to be the only character to oppose him. In turn, this foreshadows her future defiance against Vidal later in the film. As Mercedes steps into the kitchen, each character seems to be more relaxed outside of the captain’s presence, which ultimately creates an untroubled atmosphere.
We were tasked to analyse the key elements of film form of the “first bedtime sequence” of Pan’s Labyrinth (00:11:14-00:17:52). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
The first scene of this sequence takes place in Carmen’s bedroom. The colour palette of the room is overbearingly grey and blue, emphasising the fact that this room is in fact owned by Captain Vidal. The only warmth of the room lies in the invitingly orange fire, juxtaposing the oppressive gloom of the greys and blues. This fire represents a small glimmer of hope in Ofelia’s seemingly hopeless life.
The camera then tracks Ofelia’s movements towards the bed, establishing her importance to the narrative. It then rests on a two shot of Carmen and Ofelia in the bed. This is followed by a long take throughout which the camera periodically pushes in and out unnoticeably. This emphasises the intimacy between the two characters. As the conversation continues, the shot becomes increasingly tighter and eventually the two characters fit the entire frame which reinforces their profound affinity for one another.
As we pedestal down, there is a transition into a CGI sequence featuring the foetus of Ofelia’s unborn brother. The imagery throughout is hellish and diabolical, perhaps referencing the evil that lies in both reality and the Underground Realm. The camera then glides, depicting the large scale of a peculiarly designed rose. Afterwards, the reappearance of the strange insect Ofelia spotted in the woods signals a change in colour palette from the devilish crimson to the familiar greens and browns of the forest. As we transition back to live action, the camera arcs around the bed to show Ofelia and Carmen are still lying in the bed.
We then cut to Vidal silently working away in his gloomy lair. Here, Guillermo del Toro utilises a low-angle shot to reinforce his power and authority over the Falangist army. We cut to a closeup of his pocket watch for the second time in the film, reiterating its vital importance to Vidal. As the doctor enters the room, he is accompanied by a number of soldiers that are out of focus. Through this, the viewer can surmise that they at Vidal’s beck and call if need be. As the conversation ensues between Vidal and the doctor, shot/reverse shots are implemented to depict the doctor as holding a higher power over the captain. This is done to imply that the doctor holds the answers to Vidal’s persistent line of questioning. As the captain stands up, a low-angle shot is used to establish he is now the authoritative figurehead in the conversation – we look up at Vidal and down on the doctor.
We then cut to a dark, moonlit exterior setting which accentuates the blues and greys of the colour palette which emphasises that this is the captain’s territory. A feeling of claustrophobia is created as the camera proceeds to push in towards the Falangists and the two rebels which further builds tension and suspense. The camera cuts to a low-angle shot looking up at Vidal, the camera then swings round during which the captain smashes the farmer’s nose with the bottle. We alternate between this low angle shot of the captain, portraying his stoic expression and a closeup of the farmer’s bloody face.
We cut to a wide shot as Vidal calmly shoots the two rebel farmers, during which the soldiers remain emotionless. The camera’s movements proceed to exclusively follow Vidal, keeping him centrally framed. This reinforces the fact that he is the centre of attention during this scene.
Sound
The first sounds heard are the subtle diegetic sounds of Ofelia’s footsteps on the creaking floorboards. In addition to this, we hear the comforting sounds of the fireplace crackling as well as the shuffling of bed sheets. The characters initiate in hushed dialogue which is ironically high in the mix. This emphasises the intimate bond the characters share. Afterwards, Carmen struggles to breathe, through which the viewer can infer that this is due to the previously established pregnancy.
The fantastical non-diegetic composed score then begins to slowly rise in the mix, foreshadowing the fact that we are about to enter the Underground Realm. As we enter the CGI sequence, the subtle diegetic heartbeat sounds emphasise the profound affinity Ofelia is developing with her unborn brother. Ambient wind noises are gradually added to the mix which have an ominous quality to them as the camera proceeds to glide around mystically. As the previously seen insect appears, the skittering sound is initially high in the mix but gradually fades out as it moves further away from the screen. As Ofelia continues to tell her story, a choral religious score rises in the mix, making her story seem important and authentic.
As we cut to Vidal in his lair fixing his watch, a rhythmic diegetic ticking sound rises in the mix. This reinforces its importance to Vidal and can also be attributed to his mechanical and measured approach. As the doctor and the captains’s conversation concerning his unborn child ensues, a ticking sound can be heard low in the mix which foreshadows that Carmen doesn’t have much time remaining. As the soldiers enters, their footsteps can be heard lower in the mix than the captain’s which reinforces his authority and power over them.
During the exterior scene, the important objects receive a distinctive sound – for example the the bottle and watch. As Vidal begins to smash the farmer’s face in, we hear the audible shattering and crunching of his nose. Moreover, the sounds get increasingly wet as Vidal persistently smashes the bottle on his nose. The score then rises in the mix as the situation becomes increasingly distressing. Finally, the emphatic gun shot used to kill the second farmer instills fear in the viewer.
Mise-en-scène
The opening sequence utilises a cold, blue colour palette with the interior design consisting of gothic materials, such as dark wood and a traditional fireplace. The lighting is soft on Ofelia and Carmen which is reflective of their warmth and purity towards each other. Carmen’s bed frame depicts the faun’s horns which suggests to the viewer that we will soon enter the Underground Realm. Ofelia wears humble fabrics which emphasises her innocence whereas Carmen dons expensive silks – suggesting that she is relatively materialistic. Both characters also wear naturalistic makeup.
As we descend into Carmen’s womb, the appearance of the foetus is extremely evocative of the fantasy genre. In addition, the distinctive use of CGI and a crimson, devilish colour palette is a Guillermo del Toro trademark. The depiction of the purple rose signifies royalty which perhaps links to Ofelia being the Princess Moanna. The presence of thorny, foreboding branches instills apprehension in the viewer and the sudden appearance of the insect signals the transition back to reality, this also gives us a sense of familiarity as we have already seen this creature before in the forest.
As we cut to Vidal’s lair, we are greeted to a visual spectacle of mechanical imagery. The captain is meticulously fixing his watch in the foreground, while a cog-like water wheel churns in the background. Once again, the captain’s uniform is extremely decorated which emphasises his position at the top of the regime. In addition to this, the ‘over-realistic’ set design (such as Vidal’s spyglass) in this scene exemplifies del Toro as an auteur.
The doctor who subsequently enters is well-dressed, making him appear professional. He is, however, less extravagantly dressed than Vidal. During their conversation, the captain smokes which is a typical antagonistic trope but this also symbolises his control over the distribution of resources throughout the area.
During the exterior scene, Vidal’s accompanying soldiers are all homogeneously dressed, sporting dull, grey uniforms. This suggests that they are fully compliant to Vidal’s commanding orders and have no personality of their own. The lighting is additionally harsh, juxtaposing the warmness of Ofelia’s room. The farmers wear ragged, dirty clothing which emphasises the fact that they are poor.
After an intense conversation between the characters, del Toro utilises an extremely graphic use of blood, in order to repulse the viewer on a visceral level. Through this, the captain is given a psychopathic quality – showing no empathy. Finally, the shocking reveal of the rabbit reinforces Vidal’s apathetic attitude towards the rebels’ lives, he shows no remorse for the fact that he has brutally murdered two farmers.
Editing
The opening scene of the sequence utilises a long take depicting Ofelia and Carmen in the bed, illustrating their intimate relationship. Through this, our attention is focused exclusively on the two characters’ conversation and any distractions are kept out of frame. The long take slows the pace of the film to a halt and readies the viewer for Ofelia’s story.
As Ofelia begins to tell the story, a hidden cut is aptly used to transition into the CGI sequence. Afterwards, there is another hidden cut to transition from the womb to the purple rose. The fact that we have changed locations is almost unnoticeable to the viewer and this creates a dream-like effect. The motion of the CGI is the same speed as the ensuing camera movement which naturally transitions us back into live action.
Del Toro then uses a crossfade to transition to Vidal’s lair, informing the viewer that both events are occurring simultaneously. As Vidal continues to fix his pocket watch, there is a glance object between Vidal and a closeup of the watch which further reinforces its importance to him. During the captain and doctor’s conversation, a shot/reverse shot sequence is implemented for the purpose of continuity editing. At the end of the scene, a J cut is used as we hear Vidal instructing the troops outside before we see it. This is done to inform the viewer that little time has passed between the two scenes.
During the exterior scene, another shot/reverse shot sequence is utilised between the captain and the farmers. Through another use of a long take, del Toro intelligently builds tension and suspense during the characters’ dialogue. The viewer can surmise that this is the calm before the storm. As the brutal violence ensues, there is a stark juxtaposition between the previous slow paced long take and the fast-paced editing of the violence. There is a series of reactionary shots, alternating between a low-angle shot of the captain’s uncaring face and a closeup of the farmer’s destroyed face. Afterwards, the pacing becomes sedate again, implying to the viewer that the storm is over.
Performance
During the bedtime scene, Ofelia begins by habitually climbing into Carmen’s bed. Through this, the viewer can infer that they can only have this bond when the captain isn’t present. Ofelia silently expresses that she is terrified of the outside world through her persistently anxious facial expressions.
The two characters speak quietly to one another to emphasises the fact it is night as well as to emphasises their affinity for each other. Throughout the conversation, Carmen shows some discomfort both gesturally and audibly. The viewer instinctively realises that this is due to the previously established fact that she is pregnant with the captain’s unborn child. Ofelia tells her story very eloquently and confidently, suggesting that she has done this many times before.
We cut to Vidal meticulously fixing his watch at night, perhaps implying that he is a workaholic. His scrupulous focus is only broken by the entry of the doctor, who nervously awaits the captain’s approval before he starts talking. During their conversation, it becomes clear that Vidal is used to being obeyed due to his subtle hand gestures which signal the doctor to immediately become silent. As the doctor challenges the captain about his child’s gender, the viewer can surmise that he is unused to being opposed. Vidal sneers, emphasising the fact he is unimpressed with his opinion. This dismissiveness could potentially imply that the captain is concealing a number of insecurities.
During the exterior scene, the farmers breathe heavily and tremble in fear as they are spoken to Vidal, reinforcing his position of authority. Conversely, Vidal expressively emphasises his enjoyment of power he possesses over the farmers through his dismissive manner of speaking. As Vidal begins to brutally murder the farmer, his facial expression is strikingly stoic. Furthermore, his emotionless demeanour remains during the aftermath of the murders which suggests he holds no remorse whatsoever.
We were tasked to analyse the key elements of film form of the opening sequence of Pan’s Labyrinth (00:00:00-00:05:52). This involved a detailed analysis of cinematography, sound, mise-en-scène, editing and performance during this sequence.
Cinematography
After the credits, the film opens on a crab shot of Ofelia dying in reverse – this could be considered to be a circular narrative seeing as this scene also appears in the final act. The film uses a blue colour palette to emphasise the harsh reality of the real world. The camera then pushes into her eye and into the Underground Realm. In actuality, this entire sequence is in reverse. This means that the film actually opens on an extreme closeup of Ofelia’s iris, through which the camera then pulls out and then pedestals down.
The camera then glides in an ethereal and mystical manner, crabbing right and pushing in through the entrance. Through the use of tilting, a free-flowing camera movement is created which emphasises the fantastical nature of the realm. At the surface of the tower, overexposure is utilised to create a bright, overwhelming light to represent Ofelia’s erased memory.
It is here that the three main colour palettes used throughout the film are established. The sun kissed gold, the steely blue palette and the green forest palette. Each of these palettes truly encapsulates the atmospheres created by each respective setting and Guillermo del Toro meticulously emphasises the use of visual storytelling throughout Pan’s Labyrinth.
After the time period shift, the camera then continues to glide – specifically tracking the movement of the cars. Through a sequence of selected shots, we are immersed into the story. After an establishing shot, we cut to a closeup of Ofelia’s fairy tale book, specifically Alice in Wonderland. This specific fairy tale is often referenced throughout the film and this shot establishes it. We then cut between a two-shot of Ofelia and Carmen and various closeups of both characters. Ofelia is always positioned closer to the camera to emphasise her greater importance to the story.
We then cut to a long shot of the cars coming to a halt, in which the particle-like fairies make an appearance. These sparkling pixies have connotations of the underground realm and are visually intriguing to the viewer. The camera proceeds to track Ofelia’s curious movements which further establishes her as the central character. We then focus in on the mysteriously shaped rock and through the use of an over-the-shoulder shot we learn that it is emblazoned with an eye. The camera continues to track Ofelia’s movements as she stumbles upon the overgrown statue. It then cuts to a two-shot of Ofelia and the statue, suggesting that the statue is in fact a character itself.
As Ofelia places the mysteriously emblazoned rock in the eyehole, the camera focuses in on the mouth. Through this, del Toro focuses the viewer’s attention on this specific area for the mild jumpscare that follows as the skittery insect makes its appearance. The camera positions itself at Ofelia’s eye level, which once again reiterates her great importance as a character. Del Toro then utilises a focus pull as our attention is diverged from Ofelia to the insect. An ensuing arc shot then tracks the erratic movements of this enigmatic insect as we view the Falangist vehicles from its perspective.
Finally, we are introduced to the main antagonist of the film, Captain Vidal, through a closeup of his cracked watch – yet another reference to Alice in Wonderland. His meticulous and mechanical demeanour is first established through this closeup. It is interesting to make note of the fact that both Ofelia and Vidal are introduced to the viewer through the use of a closeup of an inanimate object, being the fairy tale book and watch respectively.
Sound
The opening credits begin with silence, immediately focusing the audience’s attention. Afterwards, there is a gradual rise in the mix of natural diegetic wind ambience. This ambience is then layered with a peaceful humming lullaby, a reoccurring motif throughout the film. This juxtaposes Ofelia’s ominous dying breaths which are also gradually layered into the mix. As the reverse sequence ensues, an accompanying piano is gradually added to the mix. Through this, an eerie and pensive attitude is created by del Toro.
As we witness Ofelia brutally dying in reverse, non-diegetic narration enters the mix. This explains to the viewer the required expositional information involving the lost princess’ connection to Ofelia. A subtle non-diegetic whoosh sound plays as we push into Ofelia’s eye, which marks the transition into the Underground Realm. The non-diegetic orchestral score throughout the following sequence establishes an angelic and ethereal atmosphere. The jarring squawk of the crows juxtapose this, implying a sense of dissonance throughout the realm.
A subtle non-diegetic swoosh distinguishes the return to reality as a choral score is gradually layered in the mix. As the cars drive past, we hear the diegetic engines as we cut to Ofelia and Carmen within one of the Falangist vehicles. During the closeup of Ofelia’s book, a diegetic page turn focuses our attention towards this. The sound is entirely diegetic throughout the car scene.
As Ofelia steps out of the car, the background dialogue lowers in the mix as Ofelia moves further away from the soldiers. The viewer only hears sound that is relevant to Ofelia, the protagonist, to highlight her importance. During Ofelia’s curious exploration, she stumbles upon a rock which receives extremely distinctive and recognisable sounds. A gentle non-diegetic piano score enters the mix as Ofelia picks the rock up, emphasising the significance it holds to the Underground Realm. Here, del Toro establishes a recognisable sonic link between the use of piano and the labyrinth realm.
As Ofelia inspects the rock, a diegetic ominous wind enters the mix in combination with more sombre and lower instrumentation – specifically the use of a cello. The low strings of the cello represents a tonal shift as the mysterious rock continues to provoke questions in Ofelia’s mind. As Ofelia places the rock in the statue, we hear a tactile noise that confirms its placement.
When the insect appears out of the statue’s mouth, diegetic skittering sounds enters the mix which implies to the viewer that the insect could potentially pose a threat to Ofelia. Afterwards, Ofelia is dragged back to reality and subsequently, the soundscape of the Underground Realm gradually lowers in the mix. The sound of the insect is layered with the vehicles which remains at a constant level as the diegetic sound of the vehicles gradually lower in the mix. Subsequently, the sound bridge connects the vehicles to Vidal through the use of a J cut as we hear the ticking of the captain’s watch before we cut to it.
Mise-en-scène
The film opens with credits presented in a ancient-looking font, which establishes the film’s tone. As Ofelia dies in reverse, the crimson blood flowing backwards creates an initial enigma for the viewer. The Underground Realm is depicted as behind Ofelia’s eye which emphasises her importance to it.
The Underground Realm itself has an extremely cold colour palette, predominantly steely dark blues. The realm contains lots of ancient architecture, illustrating a gothic and mystical vista. As the camera tilts up, the sunlight glares from above which is relatively jarring – representative the time shift. The surface is illuminated in gold and we can clearly see that the area has been destroyed by the ongoing guerrilla warfare.
As we cut to Ofelia in the car, the initial shot is a closeup of a traditionally designed fairy tale book. Ofelia and her mother both wear traditional 1940s clothing, consisting of a beret and a waistcoat. The forest that the vehicles enter is extremely lush and luxuriant – it also matches Ofelia’s green clothing. The Falangist vehicles are also appropriately selected to match the time period.
The aforementioned eye rock is meticulously shaped and framed to fully capture the viewer’s attention. Moreover, the previously discussed particle fairies surround the mysterious statue, which suggests that it holds great significance to the labyrinth realm. The statue itself is overgrown which implies that it has been untouched for many years. The “key and lock motif” which features prominently throughout the film is first established here when Ofelia places the rock into the statue.
As we enter the mill, the soldiers each wear historically accurate uniforms embossed with the Falangist insignia which reflects the presence of the fascist regime during this time period. The object of shoes are also first mentioned here – yet another key motif featured throughout the film. The mill itself is architecturally run down and exposed, emphasising the Falangists’ authoritative control of the area. It is also surrounded by an abundance of militaristic equipment which further reinforces this, as well as the fact that Ofelia is entering an area of violence.
The object of Vidal’s watch is closely focused upon, emphasising its importance to him. The fact that it is extremely distinctive and cracked suggests its significance, it is also reflective of his character. Captain Vidal’s clothing is extremely decorated, signifying his authority. He also dons black leather gloves which make him appear menacing.
Editing
After the credits, the film opens on a title card containing the contextual information of the Spanish Civil War which is required for the full enjoyment of the film. We then fade from black into the opening crab shot. As the sequence plays in reverse, the underground realm matches the graphic of Ofelia’s iris. During the Underground Realm sequence, the Princess is superimposed while running across the landscape which attributes a floaty, mystical quality to her movement. Through the use of meticulous colour grading, the employed steely blues illustrate a cold and moody atmosphere.
Del Toro then uses a fade to white transition followed by a frame from white transition to indicate the transportation to the real world. The subsequent golden, sun kissed colour grading juxtaposes the previous palette which emphasises the change in location. In addition, the implementation of a cross-fade establishes the time period shift. During the car scene, continuity editing is used during Ofelia and Carmen’s conversation. Throughout this sequence, multiple shot/reverse shots are employed and the 180º rule is obeyed.
The particle fairies featured in the woods are theatrical as well as genre-appropriate. During the forest scene Del Toro uses long takes to establish a slow pace throughout. There is a glance object when Ofelia picks up the rock, which is then followed by a closeup of said rock. Alongside this, there is a reactionary shot of Ofelia after she witness the appearance of the insect
We transition to the captain at the mill through the use of a J cut. We hear the ticking of the watch before we cut to it. At this point, there is a reverse glance object as we see Vidal’s watch followed by the captain himself. Afterwards, there is an establishing wide shot which allows the viewer to get a sense of their surroundings.
Performance
As the viewer witness Ofelia dying in reverse, we hear her feeble dying breaths which make her appear vulnerable and weak. Through this, Ofelia immediately receives the viewer’s sympathy. Afterwards, the expositional narration is sincere and measured – aptly informing the viewer of the backstory involving the Princess Moanna and the Underground Realm.
During the car sequence, both actors give naturalistic performances. Ofelia keeps a firm grip on the book, implying that she has a profound affinity for the many fairy tales she reads. As Carmen experiences pregnancy sickness, her emotional performance causes the viewer to empathise with her pain.
Ofelia’s explorative and fearless nature is emphasised through her immediate initiative to explore the forest. Her curious expression reiterates this. During the insect’s appearance, Ofelia’s nonchalant expressions shifts to one of wonder and intrigue. This suggests that she is not afraid of the insect but mystified by its enigmatic presence.
As we are introduced to Captain Vidal, his precise and calculated movements suggest he is a malicious presence. His upright posture and stern demeanour reinforce this.
Throughout the film, Wes Anderson chooses to represent a variety of groups in a particular way. For example, Anderson chooses to expose our cultural understanding of the Nazis in order to depict the prominent “ZZ” fascist group throughout the film.
Without explicitly telling us, everything we need to know about this group is implicitly hinted at through the use of mise-en-scène and performance. The homogeneity of the costume design reiterates the uniformity of the fascist group. Alongside this, the performances are extremely well-choreographed and synchronised to emphasise this.
The film frequently focuses our attention towards the familiarly designed “ZZ” insignia which is extremely reminiscent of the SS Nazi police force. Through this, Anderson manages to use the shared understanding of this symbol to his advantage in order to silently represent the prominent fascist group in this way.
The “ZZ”
Another example of representation reinforced throughout The Grand Budapest Hotel is the differentiation in class. The lavishness of the hotel’s interior as well as the opulence of the guests purport a sense of aristocracy. Conversely, the appearance of the crippled shoeshiner emphasises the harsh reality of the working class during this time period.
Difference in class represented within The Grand Budapest Hotel
We were tasked to analyse the performances from the 4th and 5th chapters of The Grand Budapest Hotel. In class, we discussed the expressive use of voice, intonation, movement and physicality throughout.
The scene opens on a silhouette of M. Gustave (Ralph Fiennes) standing by a balcony. Through a diligent use of posture, he is depicted as a reflective and insightful person.
Throughout this sequence, Ralph Fiennes gives an extremely expressive performance as M. Gustave. He uses lots of hand gestures and other precise motions to oversee and instruct the hotel workers.
His performance can be described as instructive and clear, as well as naturalistic. Fiennes utilises a very particular way of speaking, which illustrates his character as a member of aristocracy. Gustave additionally establishes a tone of authority, through which he asserts himself as a self-assertive figurehead. His words are chosen conscientiously in order to meticulously instruct the members of the working class.
During the conversation with Madame D, Fiennes uses subtle gestures such as a smile in order to feign intrigue. Interestingly, his measured demeanour is shattered when he makes notice of her nail varnish. Gustave’s precise movements are abandoned during this revelation which gives the viewer an invaluable insight into Gustave’s true colours.
Fiennes’ movements throughout are choreographed and precise and are meticulously timed to Anderson’s predetermined camera movements. As the camera crabs left, Fiennes naturalistically glides left. Anderson additionally makes use of blocking throughout this sequence, Gustave is always centrally framed in order to emphasise his authority.
We were tasked to analyse the cinematography from the 21st chapter of The Grand Budapest Hotel. We discussed each individual shot in class and analysed the employed cinematographic techniques throughout.
Chapter 21: Check-Point 19 Supply Depot
In the first long shot, Anderson establishes a symmetrical frame with in a frame. The ratio is 4:3 to inform the audience of the time period (1932). Our attention is then focused on a car which enters the frame towards the centre. The camera then pans 90º to the right, through which our attention is now drawn towards the manhole cover illuminated from above. The camera then dollies forward to allow the viewer to read the text on the manhole cover. Zero then enters the frame to the left and peers into the manhole.
Anderson then cuts to a symmetrically framed long shot of the prison cell interior, in which more frames within frames are featured. The lights then go out while the actors perform highly choreographed movements in order to escape. As the lantern is lit, the viewer’s attention is focused towards the hole in the ground. The camera then pedestals down, following the centrally framed lantern through the floor and into the tunnel.
We then cut to a centrally framed, symmetrically composed closeup of a conveniently illuminated and labelled button, expertly focusing our attention.
The camera then crabs right to reveal the labelled dumbwaiter, through which another frame within a frame is composed. The viewer’s eyes are drawn directly to this specific location, as a character then enters the frame through the dumbwaiter. The camera then crabs back left, resting on the symmetrically framed door. As the camera continues to crab left, we follow the running men as we come to rest on the ladder.
It then cuts to a symmetrically composed frame of the prison gallery, through which our attention is directed to the centre. The long ladder then descends through the established frame. We then cut to a different view of the ladder, which presents us with a labelled wall, in order to inform the viewer of the location.
Anderson cuts to the opposite 180º angle, breaking the 180º rule in the process. Through a symmetrically constructed frame within a frame, our attention is focused on the smaller frame through which a character appears. A shot/reverse shot sequence then takes place, between the escapees and the prisoner, in which the characters are framed appropriately.
We then cut to a wide shot through which the characters enter the frame. The camera pans 90º and rests on a labelled lift door. We then dolly forward into the guard bunk room. The frame is dimly lit and the shadows are meticulously framed as the characters nimbly navigate their way through the bunk room. The film then cuts to a low angle shot of the men crawling under the bunks.
We cut to a frame within a frame of the characters cutting the prison bars in sync. It then cuts to a wider shot in order to show the frame in the larger context of the prison wall. The characters then throw the long ladder outside.
Anderson cuts to a birds-eye-view shot which shows the colossal height of the building as well as the length of the ladder. The frame is conveniently lit to show the path. We then cut to an extreme long shot which shows the men climbing down the side of the building, emphasising the sheer size of the prison.
It cuts to a shot depicting the windows as the escapees climb along the edge, the camera then crabs right to show the progress. The frame within a frame features a conveniently labelled steam vent.
A wide shot is established to portray the laundry basket landing point, our attention is focused on this centrally framed area. The men enter the frame downwards through the vent which is lit from above. As the characters land, they are symmetrically placed. We then pedestal down to reveal a centrally framed trapdoor.
We then cut to a worms-eye view frame within a frame of the prisoners looking down the trapdoor. A sequence which alternates between birds-eye and worms-eye shots then occurs. The trapdoor remains consistent and the characters are symmetrically positioned.
The film cuts to a wide shot, through which a prisoner armed with a knife enters. We cut to a worms-eye view portraying the other characters’ reactions in which they are all still symmetrically placed. Finally, a birds-eye shot displays the aftermath of the stabbings.
Aesthetics can be defined as the general look, mood and feel of a film stylised by the film’s key elements. In the context of an exam, this entails discussing the five key elements of film together – as opposed to focusing in on a single element.
We were tasked to rewatch the opening scene of City of God and in small groups were assigned to comment on one particular element of film form. In my group, we were assigned the element of mise-en-scène.
After sharing our ideas with the rest of the class, we compiled the ideas into a mind map.
Dune (2021, Denis Villeneuve) is the first instalment of a sci-fi epic based on the classic 1965 novel of the same name written by Frank Herbert. With an all-star cast including Timothée Chalamet, Zendaya, Rebecca Ferguson and Oscar Isaac bringing stellar performances to the table, Dune establishes an excellent foundation for Villeneuve to build upon in the future.
Paul Atreides (Timothée Chalamet)
The central protagonist of Dune is Paul Atreides, son of Duke Leto who rules House Atreides, who have just been granted the desert planet Arrakis. Arrakis (otherwise known as Dune) is habitat to the most valuable commodity in the universe, the spice Melange which preserves life and makes interstellar travel possible. Whoever controls Arrakis controls the spice, and whoever controls the spice controls the universe.
Dune is a profound visual spectacle, with every shot being meticulously crafted and visually intriguing. Villeneuve and Greig Fraser (cinematographer) cleverly utilise both practical effects and CGI to create the perfect blend of tactility and visual flair.
Arrakis
From an auditory standpoint, Dune also excels. Villeneuve diligently uses emphatic diegetic sound such as the sand thumpers and ripples and powerful non-diegetic sound, such as Hans Zimmer’s expertly composed score. In an interview, Villeneuve expressed that he utilised Zimmer’s majestic score to replicate the heavy use of character internalisation by Frank Herbert in the original source material.
Hans Zimmer
The film does, however, suffer from a few minor pacing issues. Being the first instalment of a larger franchise, Dune requires a significant amount of exposition and world-building in order to honour the legacy of the novel, which in some aspects hinders its ability to produce a compelling narrative akin to other ‘first films’ such as A New Hope or The Fellowship of the Ring. Other filmmakers in the past such as David Lynch have failed to accurately replicate the essence of Herbert’s ‘unfilmable’ epic, merely acting as a highlight reel of the events of the novel.
Overall, Dune is a fantastic sci-fi adventure which excels in the areas of cinematography, sound design, performance and mise-en-scène and I thoroughly await the newly-confirmed second instalment.
The Silence of the Lambs (Demme, 1991) is a psychological horror/thriller starring Jodie Foster and Anthony Hopkins. The film, based on a 1988 novel of the same name, revolves around Clarice Starling, an FBI trainee who must acquire information from Dr Hannibal Lecter, a psychopathic criminal and former psychiatrist to locate and apprehend another serial killer known only as Buffalo Bill.
Hannibal Lecter (Anthony Hopkins)
Clarice works in a male-dominated field of occupation and director Jonathan Demme makes this evident from the very start. Use of diligent cinematography emphasises the patriarchal society of the FBI and the theme of gender reoccurs throughout the duration of the film.
Use of colour, mise-en-scène and framing to differentiate Clarice
The film’s plot remains engaging and enthralling throughout, with intelligent use of tension and terror to illustrate a looming, hopeless atmosphere at the forefront of it all. Hannibal within the confines of his cell remains an extremely iconic image of cinema and is the most likely the first image you picture when discussing The Silence of the Lambs.
Hannibal within the confines of his cell
The performances throughout the film are magnificent – specifically Anthony Hopkins as Hannibal. It’s no wonder that his mere sixteen minutes of screen time awarded him the prestigious Best Actor award at the Oscars. Hopkins’ cold, psychopathic demeanour can be perceived throughout the entire film, despite not featuring in the majority of scenes.
Additionally, Foster’s ruthless and fearless attitude instills courage within the audience, and the question of whether the killer will finally be caught keeps you engaged throughout.
Clarice Starling (Jodie Foster)
The incredible cinematography of The Silence of the Lambs was shot by Tak Fujimoto. The film never feels the need to use cheap tricks such as jump-scares to terrify the audience, but instead, relies on much more nuanced and effective means to do so.
For example, the film uses a multitude of POV shots as well as close-ups to emphasise Lecter’s dominating presence. Fujimoto’s cinematography primarily accentuates characters’ eyes; this is done to induce fear within the audience, as well as show how fear has been induced within other characters. Furthermore, multiple shots use an interesting choice of lighting to illustrate an unsettling atmosphere.
Lighting and cinematography within The Silence of the Lambs
The most recent film that I watched was Prisoners (Denis Villeneuve, 2013). It is a crime thriller starring Hugh Jackman, Jake Gyllenhaal, Paul Dano and Maria Bello.
Detective Loki (Gyllenhaal) and Keller Dover (Jackman)
The plot of the film is simple at face value – an unknown suspect has abducted two young girls – one being the daughter of our main protagonist: Keller Dover, and the other being the daughter of Dover’s friends Franklin and Nancy Birch. The police take a young suspect into custody immediately (Paul Dano) and release him soon after. Keller, adamant that the police have just released the true suspect, then decides to take matters into his own hands.
This simple yet effective mystery is expertly explored throughout the duration of the film. Prisoners gives you so many subtle hints throughout, and keeps you guessing until the very end. The film never feels the need to spoon-feed you crucial information throughout. Instead, the audience is required to put the pieces together in their own minds and the ending is just ambiguous enough to leave you wondering.
Alex Jones being interrogated
The acting performances from everyone throughout the film – especially Jackman and Gyllenhaal – are masterclass. The raw and genuine desperation of Keller Dover is clearly conveyed through Jackman’s performance and Detective Loki’s ruthlessness is portrayed expertly by Gyllenhaal.
The beautiful cinematography of Prisoners was shot by the one and only: Roger Deakins. His many masterful techniques throughout the film include frequent shooting through dirty glass, frames within frames and muted colour palettes (browns, greys, etc.) All of these techniques work in tandem throughout the film to emphasise the hopelessness of Dover’s situation and the reoccurring pathetic fallacy of rain emphasises the desperation of each main character – primarily Loki and Dover.
Otis Morley’s A-Level Film Studies Blog 
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