The next component we are studying is Component 1b: US Film Since 2005. This section of the course entails two films of study, Winter’s Bone (Debra Granik, 2010), an independent film and No Country for Old Men (Joel and Ethan Coen, 2007), a mainstream film. Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two new specialist study areas – Ideology and Spectatorship. This component also involves a direct comparison between the two studied films, akin to Component 1a.
The opening sequence of Bonnie and Clyde (Arthur Penn, 1967) promptly introduces us to the eponymous couple’s tumultuous relationship. They meet after Bonnie spots Clyde out of her window attempting to steal her mother’s car. The pair quickly hit it off, enjoying some Coca Cola before Clyde decides to hold up a grocery store. The sequence concludes with Bonnie and Clyde making a quick getaway in a stolen car. The opening sequence also serves to introduce us to the setting of 1930s Southern America, in which the effects of the Great Depression and the Prohibition Era subtly permeated throughout the country.
Key Elements, Context, and Representation
The sequence opens with the iconic Warner Brothers logo graded in a noticeably desaturated sepia tone. This alteration of the logo aptly fits the style of the film. The film itself begins with a sequence of still photographs that provide a split-second snapshot of life throughout the Southern states of America during the Great Depression. This style of reportage storytelling is converged purely though these black and white still images that purport a seemingly authentic image of poverty in America. This sequencing of images is accompanied by the sound of camera clicks, further contributing to the purported image of reality being presented.
The title cards displaying Warren Beatty and Faye Dunaway’s names are both centralised and capitalised, before the title cards dissolve into red, perhaps being an early indication of the violent tone the film has. The lack of non diegetic sound throughout the opening titles serves to immerse the audience into the world of the film, which is attempting to purport a gritty, realistic documentary style. These pictures are intercut with the opening credits, which display the names of important key figures who collectively collaborated on the film. Firstly is the director of photography, Burnett Guffey, and editor Dede Allen – two key figures who were inspired by the French New Wave who contributed towards shaping the film into the way it is. The film also displays the names of the screenwriting duo – David Newman and Robert Benton. Bonnie and Clyde was the duo’s first effort, the film marking a period of collaboration between Newman and Benton between the late 1960s to the early 1980s. The film was arguably spearheaded by producer and star Warren Beatty, who was responsible for assembling the aforementioned screenwriters as well as the director, Arthur Penn. Beatty also decided to present Clyde as having an ambiguous sexuality throughout the film, which subverts the typical masculine qualities of the noble American hero.
The final pictures displayed are of Faye Dunaway and Warren Beatty themselves in costume as Bonnie and Clyde, presented alongside some essential contextual info. This acts to link the superficial world of the film with the authentic reality of the real Bonnie and Clyde. Releasing in 1967, the film takes place in 1931 – a mere two years after the Wall Street Crash of 1929, inciting a period of mass poverty throughout America, a time in which people migrated across the country in order to eat and work.
The diegetic sound of Bonnie’s record player immediately provides a strong evocation of the 1930s, being a contemporary piece of the time. The sound gradually rises in the mix before we cross-fade into an extreme closeup of Bonnie’s lips. This first shot is extremely striking, contrasting Casablanca’s formal style of shot sequencing that involves a mid-shot followed by a closeup. Penn instead throws us straight into the action, immediately sexualising Bonnie through this extreme closeup. Her red lips are associated with morally dubious women and are symbolic of sex. The use of a handheld camera, cutting edge technology embraced by the French New Wave, allows for a quick pan to reveal Bonnie in the mirror. This movement feels highly spontaneous and not choreographed, unlike the camera movement present throughout Casablanca.
The introductory shot of Bonnie, an extreme closeup of her lips
Bonnie being naked in her room was particularly risqué for the time – her proactive state represents her as wild and free-spirited. Throughout this first scene, the camera remains tightly focused in on Bonnie, allowing the viewer to form an immediate connection to her. She is positioned behind the bars of her bed, suggesting that she currently feels imprisoned by her life. The camera then rises up into an extreme closeup of her eyes. During this, the camera does not focus immediately and has to pull back. The use of a handheld camera allows for this fluid and spontaneous movement reminiscent of the French New Wave. Bonnie’s beauty is presented in a more authentic and naturalistic manner, which contrasts Ilsa who is presented in soft focus with meticulous use of lighting to purport her beauty artificially. This opening sequence of Bonnie in her room pushes the regulations of the Hays code to the limit, serving as a precedent for what is to come.
The first shot of Clyde is filmed through the mosquito net, creating an authentic atmosphere that feels more tangible than Casablanca’s constructed reality. The film was shot entirely on location in the Southern states of America, displaying the poverty that these streets endured throughout the 1930s. This depiction of poverty is also akin to the French New Wave. Natural lighting is also used, further adding to the naturalistic setting. When Bonnie talks, she does not speak with a Mid-Atlantic accent like Ilsa, but instead conveys a much more realistic depiction of a regional Southern accent. During her first line of dialogue, the low-angle shot of Bonnie in the window is filmed with a zoom lens from a distance. This convenient style of filmmaking allows for each shot to be filmed in one position, this being representative of New Hollywood’s influences. The dialogue exchanged between the couple is recorded on location and, because of this, appears to be buried in the mix which creates a more naturalistic feel.
In films like Casablanca, women such as Ilsa portrayed in a much more elegant and graceful manner. In Bonnie and Clyde however, Bonnie’s flirtatious behaviour towards Clyde marks a particularly edgy portrayal of a female character for the 1960s. The film presents Bonnie as a bored and uneducated waitress, and Clyde as a convict. Being characteristic of the French New Wave, the film is presents a ground story about real lives – encouraging the viewer to empathise with the couple more. As the couple walk the streets, the poverty-stricken nature of the town becomes apparent, reflecting the effects of the Great Depression.
The couple then decide to drink some Coca Cola, during which the bottles connote provocatively phallic imagery. This sexually suggestive imagery pushes the boundaries of what was acceptable in Hollywood during the 1960s. This scene is also introduced through a closeup of Clyde drinking from the bottle, with no contextual establishing shots used. The fact that Bonnie and Clyde choose to drink Coca Cola is also perhaps representative of the Prohibition Era that was still in effect during 1931. Clyde’s pistol also provides more sexually suggestive imagery when Bonnie touches it. The mise-en-scène present throughout the scene is also highly realistic, with Franklin D. Roosevelt campaign posters being plastered on the walls, serving to immerse the audience in the 1930s time period. The fact that the majority of the sequence is made up of diegetic sound, most of which was recorded on set, helps to create authentic verisimilitude throughout the scene.
Clyde drinking the Coke bottle is both a phallic symbol and represents the Prohibition Era
Clyde is portrayed as physically debilitated as he limps over the course of the entire film, aligning with his prison backstory that he informs Bonnie of earlier in the scene. His physical disability further emasculates Clyde, providing more nuance and depth to his character. As he enters the grocery store, we do not actually see the robbery. The film is attempting to direct its focus towards the couple’s relationship, rather than the illegal acts that they involve themselves in, the audience is thus denied the pleasure of seeing a thrilling robbery set-piece.
As the couple make their escape, a upbeat non-diegetic promptly enters the mix. This Bluegrass score is notably banjo-oriented, creating a playful and light-hearted mood as Bonnie and Clyde steal the car and make their escape. Back projection is also implemented to create the illusion of Clyde driving the car, with a similar technique being employed during the Paris flashback sequence in Casablanca.
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.
La Ricotta (Pier Paolo Pasolini, 1962) is a 35-minute Italian short film starring the acclaimed Orson Welles, who plays the director (an exaggerated impersonation of Pasolini himself) of a production of the Passion of Jesus. The main character, however, is Stracci – a penurious and starving extra on the set of the film. After attempting to scavenge the set for food, Stracci eventually finds a bountiful amount of ricotta cheese that he immediately gorges on. This turns out to be a fatal mistake, as Stracci tragically but ironically dies on the set while being ‘crucified’.
The film’s primary objective is to serve as a social commentary for the marginalisation of the poor. Pasolini believed that the poor were neglected by a society that prided themselves on being Christian. Pasolini’s portrayal of a production of the Passion is his critique of a corrupt society that is merely interested in garnering superficial reputability. This is demonstrated to the viewer through the actors’ disinterest in the production itself and their lazy and tormenting behaviour during their breaks.
Pasolini incorporates a number of techniques throughout the film in order to create meaning. Stracci’s desperation for food is conveyed to the viewer through fast-motion footage of his dire runs for food, this exaggerated physical comedy being reminiscent of Buster Keaton. In addition, the film is shot in black and white for the majority of its runtime and colour is exclusively utilised to display the production of the Passion of Jesus.
The production of the Passion of Christ portrayed throughout La Ricotta (shot in colour)
Due to technical difficulties, I was originally unable to extrapolate any meaning from La Ricotta and thus did not receive any sort of enjoyment from the film. After conducting research, the film’s meaning ultimately demonstrated to me the effectiveness of social commentary within a short film.
The third component we are studying is Component 2c: Silent Cinema. This section of the course entails four films of study, each directed by Buster Keaton – a renowned silent filmmaker. These include One Week (1920), The Scarecrow (1920), The High Sign (1921) and Cops (1922). Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as one specialist study area – Realist vs Expressive filmmaking. This specialist area of study focuses on how the emergence of film as a new art form led to filmmakers around the world taking a variety of starkly juxtaposing approaches to filmmaking.
The second component we are studying is Component 2b: Documentary Film. This section of the course entails one film of study, being Sisters in Law (Kim Longinotto, 2005). Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two specialist study areas. These include critical debates, particularly discussing the use of digital technology within documentaries, as well as examples of filmmakers’ theories, such as the ideologies of Bill Nichols.
How far do each of the films you have studied represent key characters in ways that reinforce or challenge the audience’s expectations?
Autumn 2020
Essay plan
Introduction:
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance.
Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.
Cinematography:
Young Romina (frame within frame), various two-shots and long shots of well-dressed guests,
Single shot tracks couple, centrally framed Romina, photo frame, pushes into Romina’s changing expression, zoom in on Lourdes, Romina isolated in frame (harsh lighting), mirror shot
Focus pulls, centrally framed imposing shot
Tight focus on couple, shallow depth of field, shot/reverse shots (unsynchronised), Dutch angle
POV shot of distraught guests, unflattering low-angle, handheld camera, birds-eye-view
Low-angle of Romina (upper hand), wide shot of chef, handheld camera displays unhinged guests, two-shots create desperation
Sound:
Titanium
Ringing phone, dialogue, breathing
Blue Danube juxtaposes Romina’s state of mind, rises as they touch hands
Lighting and wind (pathetic fallacy),
Dramatic score, exclusive diegetic sound later on, gunshot tease
Mise-en-scène:
Red curtain, stereotypical bride and groom outfit, immaculate hair, scruffy Ariel
Lourdes’ dress, Romina disheveled appearance
Green lighting, pathetic fallacy
Romina at most disheveled, blood on dress
Hollow motions, removal of hair extension
Editing:
Parallel editing (couple face opposite directions)
Longer focus on Romina
Shot/reverse shot between Romina and chef, glance object, alternating edit, cross cutting
Performance:
Superficial happiness, over-zealousness foreshadows infidelity, artificial friendly gestures between guests
Women scream, men act boisterously, Ariel looks at camera
Wild Tales (Damián Szifron, 2014) is an Argentinian comedy/drama of the portmanteau genre. The film contains six short ‘tales’ which are all connected by the thematic concepts of revenge, catharsis and vengeance.
Throughout the “Wedding Sequence” of the film, characters such as Romina and Ariel are represented in ways that reinforce stereotypical gender roles. As well as this, characters are used to represent the underlying theme of superficiality that is reinforced throughout the tale. In order to do this, Szifron implements the key elements of film form in a variety of ways to reinforce the characters in ways that both challenge and reinforce the viewer’s expectations.
The sequence begins with a projected closeup of a young Romina, creating a centrally positioned frame within a frame. This establishes Romina as the central protagonist and subtly focuses the viewer‘s attention onto her throughout the duration of the tale. Afterwards, we cut to a two shot of a wealthy couple at a table, displaying the light-heartedness of the event and reinforcing the viewer’s expectations of an opulent wedding. The diegetic compiled score, Titanium, further lightens the mood and pulsates throughout the reception. Being representative of strength and overcoming hardships, the carefully selected song choice ironically foreshadows Romina’s unpredictable actions. This ultimately challenges the viewer’s preconceived expectations of a grand wedding.
Romina and Ariel enter the reception through theatrical red curtain, which subtly suggests to the viewer that their relationship is merely a façade – challenging their expectations. Romina’s current purity is represented by a stereotypical white wedding dress and immaculate, whereas Ariel’s uncaring demeanour is represented through his scruffy, unshaven appearance. This perhaps reinforces the viewer’s expectations of a wedding being a ‘more feminine’ event.
As a single tracking shot follows the couple backwards, Romina is centrally framed which reinforces her as the protagonist. During this, the couple put on an extremely over-zealous façade by smiling and waving at each of the affluent guests they pass by. This suggests and foreshadows the couple’s infidelity towards each other, challenging the viewer’s expectations. As the two separate to join their respective friends and families, an example of parallel editing is implemented, reinforcing their distant relationship. To further accentuate this, the couple face opposing directions between the parallel edits. During the dance floor scene, the guests conform to stereotypical gender roles. The groups of women scream while the men act boisterously, which reinforces the viewer’s expectations of male and female stereotypes. As we see the setting from the camera’s perspective, Ariel looks directly at the camera which emphasises his artificial demeanour.
We then cut to a wide shot of the guests framed like a photo, during which each of the guests smile ostensibly – suggesting that no one truly wishes to attend. Alongside this, Romina also fakes a smile as she converses with one of the guests, clearly demonstrating her disinterest towards the conversation. The topic of Facebook is often mentioned throughout the conversation, reinforcing the superficiality the wedding represents.
As Romina begins to notice someone in the reception that she doesn’t know, the camera pushes into Romina’s changing expression to display her confusion. In response to this, the camera proceeds to zoom into the unknown woman as Ariel leans over to flirtatiously converse with Lourdes – foreshadowing their secret relationship. This uncommon technique is aptly utilised in order to divert the viewer’s attention towards her. Lourdes wears a black dress and has a star tattoo, attributing a sense of elegance and mystery to her character. As Romina’s heavy breathing rises in the mix, she briefly assesses herself in the mirror. This suggests to the viewer that Romina is questioning her own identity. After she learns the truth, Romina resorts to alcohol as a coping mechanism to recover from her distraught state of mind. This challenges the viewer’s expectations of what typically occurs at a wedding and raises the tension of the scene.
As Ariel and Romina begin to dance, the camera remains tightly focused on the couple in order to keep the viewer’s attention focused exclusively on the couple. The depth of field is extremely shallow to reinforce this. A sequence of shot/reverse shots occur as one person reacts to what the other is saying, informing the viewer of their respective state of minds. We also spend a longer amount of time focused on Romina, positioning the viewer to empathise with the protagonist to a higher degree. The implementation of a typically romantic complied score, The Blue Danube, ironically juxtaposes Romina’s chaotic state of mind, rising in the mix as the couple touches hands. After the heated conversation concludes, a Dutch angle is used to display Romina angrily storming off – signifying that her world is falling apart. In response to this, Ariel’s eyes dart around the room which implies that he is still attempting to maintain his reputable persona – challenging the viewer’s prior expectation of him as an uncaring groom.
Following this, there is a POV shot from Ariel’s perspective which displays an array of distraught guests, demonstrating their unfiltered emotions. As Romina heads for the roof, an unflattering low-angle shot of Romina tracks her unpredictable movements, exemplifying her anxiety. Her appearance is extremely disheveled and her makeup is ruined, reinforcing her raw emotions. A handheld camera is also used to illustrate Ariel’s distress as he pursues her.
As Romina reaches the top of the building, a birds-eye-view shot displays the colossal height of the building. Through this, the viewer is teased of the possibility of her jumping off as she leans over the edge. The pace of editing proceeds to slow to a halt as the chef offers his advice to Romina, incorporating a shot/reverse shot sequence between the pair. Ariel continues to run up the stairs to pursue Romina, during which the walls are illuminated with green lighting which is representative of the characters’ jealousy towards one another. During the confrontation, the narrative device of pathetic fallacy is utilised, incorporating thunder and lightning into the setting which is reflective of Romina’s irate feelings towards Ariel. Romina’s unhinged anger is further accentuated by an edit that alternates between an over-the-shoulder shot which displays Romina’s full figure, a three-quarter closeup of Romina as well as a reactionary shot of Ariel.
Afterwards, a low-angle shot of Romina displays her striding into the ballroom as a dramatic score emphatically enters the mix, informing the viewer that she has gained the upper hand. She remains artificially calm in order to maintain her façade of perfection. Alongside this, a wide shot demonstrates the chef’s humiliation as word of the rooftop events begin to spread. Here, Romina is at her most disheveled – her appearance is fully unhinged and the blood on her dress symbolises that her prior purity is eradicated. The removal of her hair extension represents her final stage of degeneration, challenging the viewer’s initial expectation of her. Finally, the sound becomes exclusively diegetic to underpin the sincerity of Ariel’s consoling words towards Romina. He speaks transparently and genuinely, indicating to the viewer that his persona of perfection has finally been abolished.
In conclusion, Damián Szifron aptly utilises the key elements of film form throughout the wedding sequence in order to represent the characters in ways that both challenge and reinforce the viewer’s preconceived expectations. These include the presentation of stereotypical gender roles as well as the exposure of the superficial façades the characters possess.
1. Define a portmanteau film. What are other notable examples from recent years?
A portmanteau film (also known as an anthology film) is a sub genre of film which consists of several short films that are often intertwined by a thematic concept, premise or overlapping event. Arguably the most famous example of a portmanteau film is Pulp Fiction (Quentin Tarantino, 1994) which fluidly intertwines its parallel narratives into an enthralling non-linear story. An anthology film released recently is The FrenchDispatch (Wes Anderson, 2021) which follows three different storylines which revolve around a French newspaper company releasing its final issue.
2. Give a brief synopsis of each of the stories in the film. Which are the most effective? Why do you think these stories have been chosen?
“Pasternak”: Every passenger on a plane realises that they all have a negative connection to a man named Gabriel Pasternak, who happens to be the pilot. They soon learn that the flight was a setup and that Pasternak has locked himself in the cockpit. Pasternak then crashes the plane into his parents’ house, committing the ultimate kamikaze.
“Las ratas” (The Rats): A waitress recognises a loan shark at a restaurant as the man who is responsible for her father’s death. The older chef offers to mix rat poison into the man’s food and proceeds to do so without informing the waitress. The mobster’s teenage son arrives and begins to share the poisoned meal with his dad. After the waitress attempts to take the food away, the loan shark begins to attack her until the older chef stabs him with a chef’s knife. The tale ends with the son receiving medical treatment with an ambulance as the chef is arrested and driven away.
“El más fuerte” (The Strongest): A smartly dressed man is driving through the desert and attempts to overtake an older car that persistently blocks his path. He insults the rugged, burly driver as he overtakes him. The businessman’s tyre then gets punctured as the burly man soon catches up. He proceeds to smash the businessman’s windshield as well as defecate and urinate on it. A hectic brawl then ensues between the two men which results in both of them being blown up. The police mistakes the two for lovers who died in a crime of passion.
“Bombita” (Little Bomb): A demolition expert discovers that his car has been towed away after collecting a cake for her daughter’s birthday. Angry with the fact that the road was unlabelled, he reluctantly pays the fee. The next day, his appeal at at the DMV is rejected and he attacks the glass. He hatches a plan to deliberately get his car, now planted with explosives, towed away in order to destroy the towing office with no casualties. He is imprisoned and the engineer soon becomes a local hero, being dubbed “Bombita” and instantly beloved by the prisoners.
“La propuesta” (The Proposal): A teenage son of a wealthy family arrives home after committing a hit-and-run on a pregnant woman. The parents settle a deal with their lawyer to have their faithful groundskeeper take the blame for $500,000. The local prosecutor subsequently sees through this plan and the lawyer attempts to renegotiate. The father calls off the deal and tells his son to confess to the media. The lawyer and father finally agree on a lower price. Finally, as the groundskeeper is taken away by the police, the dead woman’s husband repeatedly strikes his head with a hammer.
“Hasta que la muerte nos separe” (Till Death Do Us Part): At a wedding, the bride soon discovers that her groom has cheated on her with one of the guests. In utter distress, she confronts him during their first dance and soon runs away to the roof. As the groom finds her on the roof, he discovers her having sex with a kitchen worker. Chaos ensues, as the bride slams the woman her husband cheated on into a mirror. A brawl emerges between the groom’s mother and the bride collapses. The couple then resolves their differences and make love by the wedding cake.
I personally believe that the most effective tale is the third tale, “El más fuerte” as it aptly builds tension and suspense through various ways and ultimately ends in an extremely satisfying manner. The six stories are inspired by the pressures of Argentinian modern-life, and four are based on real life experiences of the director, Damián Szifron.
“Las ratas”
3. The literal translation of the title is Savage Tales. How is this a more appropriate title and how well does it apply to each of the stories in the film?
The six “deadly stories of revenge” all concern members of modern society who reach breaking point and unleash their primitive instincts upon the world. The adjective “savage” has connotations of being undomesticated and feral. Therefore, “Savage Tales” can be considered to be a more appropriate title for the film.
4. Explain the title sequence — how is it an appropriate choice for the tone, message and aesthetics of the film?
The title sequence depicts a variety of ‘wild’ animals, such as an eagle, shark and tiger thriving in their natural habitats. Accompanied by a composed score by Gustavo Santaollala, the title sequence symbolically reflects the primitive nature of the characters throughout the six tales.
5. What does the viewer learn about Argentine society from watching the film? Does this accurately reflect the political and social reality?
Throughout the film, it becomes clear that the film presents an Argentine society in which individuals persistently attempt to rebel against disagreeable social constructs. This stance presented by Szifron relates to the 1974 ‘Dirty War’ of Argentina in which a military junta led by Gen Jorge Videla seized control of the country. This led to around 30,000 terrorist-related deaths.
The ‘Dirty War’ of 1974
6. Are there aesthetic differences between each of the stories? How do the aesthetics support the story being told?
An over-arching aesthetic motif that emanates throughout the film is the juxtaposition between the mundanity of the characters’ lives and the extreme violence presented in each of the six tales. The abuse of power displayed in each tale varies, ranging from the pilot of a plane full of passengers to a notoriously powerful loan shark.
7. Are there any notable similarities or differences in the representations of men and women, rich and poor?
In tales such as “El más fuerte” the differentiation between the rich and poor is made explicitly clear through the use of mise-en-scène. The wealthier man drives an expensive new car and wears an elegant suit and sunglasses, subtly informing the viewer of his social class. Conversely, the poorer man drives a well-used car and wears cheaper clothes, including a basic shirt and cargo trousers to indicate his lower place in society.
Wealth divide presented in Wild Tales
The social divide between men and women are also presented in a similar way. Throughout the film, men hold highly prestigious jobs such as pilots, lawyers and engineers. On the contrary, women hold more domestic positions, such as cooks and waitresses.
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 have been tasked to answer a number of questions which detail the contextual implications of Pan’s Labyrinth.
1. Synopsis
There are two distinctive worlds featured throughout the film, being the gritty war-torn reality and the fantastical labyrinth realm. Through this, Guillermo del Toro manages to tell two intertwining stories which can never be fully explained without delving into details featured within the other tale.
Real world:
It is 1944 and General Francisco Franco is the fascist ruler of Spain. Captain Vidal and his falangist troops have taken control of a mill in the mountains of Spain. They stockpile food there, giving the civilians barely enough to eat so that they can’t afford to give any supplies to the leftist guerrillas in the woods. Vidal has married Carmen, who bares his child. He sends for her because he wants to be present at the birth of his son. Vidal has little time for Carmen’s young bookish daughter, Ofelia. Unbeknownst to Vidal, his housekeeper (Mercedes) has a brother who leads the rebel maquis. She and Doctor Ferriero secretly supply the guerrillas. The communist rebels retake the mill shortly after Carmen dies during childbirth. As the falangists are overrun, Ofelia kidnaps the newly born child. Vidal follows her into a nearby labyrinth where he shoots the girl and reclaims the baby. He is confronted at the entrance of the labyrinth by Mercedes and a large group of maquis. Pedro (Mercedes’ brother) shoots Vidal under the right eye and kills him. A weeping Mercedes cradles Ofelia. Ofelia dies.
Fantasy world:
Princess Moanna sneaks out from the underworld to become mortal and dies. Her spirit passes through countless humans. The king of the underworld vows to wait for Moanna’s return. A fairy leads Ofelia to a labyrinth where a faun tells her she is a reincarnation of Princess Moanna and that she needs to return to the underworld. However, to make sure that her magical spirit is still intact, Ofelia has to successfully perform three tasks — obtain a key from the belly of a giant toad (that is killing a tree where enchanted creatures rest); use the key to retrieve an item from a locked door guarded by a demon (the Pale Man); spill the blood of an innocent into the portal of the underworld. The faun instructs her in sorcery. Ofelia is distracted because of her sick mother and fails the second task. Ofelia passes the final test by sacrificing her life instead of her brother’s. Princess Moanna returns to the underworld where she rules with “justice and a kind heart”.
2. When and where do the events in the film take place?
The period featured, 1944 in Spain, is intriguing as it is clearly a period where the rumblings from the Spanish Civil War are still being felt despite the war itself having finished in 1939.
The film takes place in a military outpost located outside Madrid in rural Spain. The presence of the fascist Falangists as well as the cowering rebel Maquis are effervescent throughout the duration of the film.
3. Briefly, what was the Spanish Civil War about? When and how did it start and end?
The Spanish Civil War was a military revolt against the Republican government of Spain which lasted from 1936 to 1939. After an initiative coup d’état failed to win control of the country, a civil war ensued between the Falangists led by General Franco and the Spanish Republicans.
Falangist regime
4. Which of the factions does the Captain represent? Why is he stationed at the mill?
Captain Vidal is very much representative of the Falangists, who are in the process of exterminating the few remaining Spanish Maquis rebels who are currently residing in the mill.
5. Which of the factions do the people in the mountains represent? Why are they hiding?
The people hiding in the mountains are representative of the few remaining Spanish Maquis rebels. They are hiding from the malicious fascist Falangist regime, led by Captain Vidal.
6. Which of the factions do the political and religious elite support? Why?
Political elites featured throughout the film are clearly in support of the Falangist faction, due to most political parties forming an alliance to initiate the coup of July 1936. Religious elites are additionally in support of the fascists due to the power and wealth of the catholic church. Throughout the film, a priest is shown participating in the feast hosted by Vidal which emphasises that the church is on the side of the nationalists.
A local priest, attending a meal held by the Captain, dismisses the possible pain felt by the rebels on theological grounds. His representation lacks humanity and is clearly a barbed commentary on an out of touch and complicit Catholic church: “God has already saved their souls. What happens to their bodies hardly matters to him.” Del Toro uses the cinematic conceit of a banquet to heighten the corruption of the local middle classes and ruling elite. Despite his criticisms of Catholicism as a dogma and institution it is clear that Del Toro admires the spirituality of his native religion — in a later film Crimson Peak, a ghost story, he commented on his belief in ghosts. The scene above is strongly redolent of a stylised heaven with its church-like setting, a rosary window flooded with golden light and a grey bearded father figure flanked by a doe-eyed mother. It is all rather stuffy and formal befitting a royal court perhaps but not a fairy domain. That said it is clearly Ofelia’s (Princess Moanna’s) ‘happy place’ — she has come home to a loving warm family and an adoring people.
7. Which of the factions do the peasants support? Why?
Throughout the film, the peasants are shown to be in support of Vidal and the Falangists. Despite the Marquis rebels offering arguably more just ideals, the deprived peasants are utterly dependant on the fascists for food and other resources.
8. What role do women play in the two factions?
The representation of women is evidence of the social problems women faced in this patriarchal and macho era.
Women play a vitally important role in both factions featured throughout Pan’s Labyrinth. For example, pregnant women such as Ofelia’s mother represent the future generation of the fascists, due to the fact that Carmen is pregnant with Vidal’s unborn son. In addition to this, women are portrayed as subservient to the ‘superior’ male, holding roles such as a mere servant in the case of Mercedes. However, characters such as Ofelia recontextualise the role women hold when she shows a level of rebellion against the captain.
9. How is food an important symbol in the film?
The symbol of food presented throughout the film represent a variety of contextual ideas. For example, it is presented as a vital necessity as the peasants struggle to survive as Captain Vidal thinly rations the available resources. Moreover, in the realm of the labyrinth, food is symbolic of the biblical ideology of temptation when Ofelia is punished by the Pale Man for eating two grapes.
Temptation in Pan’s Labyrinth
10. How is poverty an important theme in the film?
The theme of poverty is expressed throughout the film through the depiction of the rebellion against the fascist regime that has conquered Spain. The deprived Maquis rebels are poverty-stricken by the Falangist political elite and this forges the motivations for the uprising by the peasants.
11. How is time an important theme in the film?
Time is important theme presented throughout Pan’s Labyrinth illustrated predominantly through the symbol of Vidal’s pocket watch. This watch holds invaluable sentimental value to the captain and is visually symbolic of Vidal’s necessity for rule and order.
12. How is disobedience an important theme in the film?
Disobedience is the underlying motif that emanates throughout the course of the film. It is representative of the motivations behind the Maquis rebels’ actions and this exemplifies how the choice of rebellion is sometimes morally correct. Ofelia must choose whether to blindly follow Vidal’s authoritative order, or disobey and overthrow the fascist regime.
Vidal’s watch
13. How and in what ways does Pan’s Labyrinth draw on fairy tale and fantasy tropes and archetypes?
The film pays homage to traditional fairy tales throughout the film. For example, Ofelia dons a stereotypical dress worn by both Dorothy and Alice from their respective tales. In addition to this, the Pale Man is representative of typical stories such as Hansel and Gretel by tempting Ofelia with grapes.
Pale Man
14. How is fascism portrayed in the film?
Fascism is portrayed throughout the film through the depiction of the Falangist regime. The authoritative portrayal of the fascists emphasises them as a threatening and overbearing presence. Punishments issued by Vidal are depicted in excruciatingly brutal detail and this invokes a visceral reaction within the viewer.
The negative depiction of Franco’s fascist forces is clearly intended to be extended to the imaginative poverty of fascism in general — in contrast to the more benign and sensitive (although hardly democratic) fairy kingdom. A more realist political representation is that of the guerrillas who are presented as resourceful and determined and egalitarian. Mercedes’ love of children (Ofelia and her baby brother) suggests a tenderness and a celebration of all things childish — indeed, unlike Ofelia’s weak and dismissive mother, Mercedes gives advice on the handling of fauns.
15. How does Guillermo del Toro employ uterine and yonic imagery in the film?
Del Toro utilises uterine imagery in a variety of ways. For example, the faun’s head has a striking resemblance to a uterus, fallopian tubes and ovaries. GdT has additionally confirmed the use of a “fallopian palette of colours”. The trees are also uterus-shaped and there is a detailed depiction of Ofelia’s unborn brother in Carmen’s womb. This could perhaps be symbolic of Ofelia’s developing maturity as the film progresses.
Uterine imagery in Pan’s Labyrinth
16. How are maternal instincts presented in the film?
Maternal instincts are presented throughout the film through the characters of Mercedes and Carmen. Both characters attempt to nurture Ofelia in vastly different ways. For example, Ofelia’s mother attempts to indoctrinate her into joining the Falangists and addressing Vidal as her father. Conversely, Mercedes shows Ofelia the way of the rebellion and guides her towards the path of uprising. Ironically, Mercedes’ role as a mother-figure to Ofelia holds greater importance to her than her biological mother.
17. What is the significance of faces and shaving in the film?
Throughout Pan’s Labyrinth, Vidal is often depicted shaving his face in an extremely precise and dexterous manner. He makes it a prominent part of his routine and focuses his full attention towards it. This is representative of Vidal’s obsession with being in control and the razor used is symbolic of threat and terror.
18. What is the significance of flowers in the film?
Flowers depicted throughout the film are representative of purity and authenticity. Appearing at the end of the film, Ofelia’s rose represents her everlasting presence as well as the journey she completed over the course of the film. The rose could potentially symbolise eternity, implying that Ofelia’s actions have made a permanent impact upon the fascist regime.
19. How does Guillermo del Toro operate a ‘one for them, one for me’ filmmaking policy?
After directing the critically condemned big budget blockbuster Mimic (1997), del Toro used the funds from this to produce and direct The Devil’s Backbone. This alternation between a studio project followed by a passion project became typical for del Toro, and this is the film that cemented it. Pan’s Labyrinth is a key example of a GdT passion project. After recently directing the Hollywood blockbuster Hellboy (2004), del Toro used the funds earned from this project to fully focus his efforts on Pan’s Labyrinth, the film he made for himself.
20. How far is Pan’s Labyrinth representative of Guillermo del Toro’s oeuvre?
Pan’s Labyrinth is an quintessential example of what makes a Guillermo del Toro film so recognisable. Firstly, the film is spoken in the director’s native language, Spanish, which reinforces just how much of a passion project this film really is. In addition to this, the film features heavy use of ultra-violent injury detail – especially in the facial area. This inordinately specific quirk is extremely typical of GdT’s filmography and Pan’s Labyrinth is no exception.
Del Toro as an effective and idiosyncratic fantasy/horror auteur is evidenced in his earlier films such as Cronos (1993), The Devil’s Backbone (2001) and Crimson Peak (2015) as well as in his much more mainstream Hollywood work such as Hellboy (2004) and Pacific Rim (2013).
21. How did the critical reception of The Devil’s Backbone influence the production of Pan’s Labyrinth?
Del Toro has stated that Pan’s Labyrinth is a spiritual successor to The Devil’s Backbone in a thematically linked trilogy of films. The critical reception of The Devil’s Backbone was mostly positive receiving an average score of 7.4/10 on IMDb at the time of writing. This positive acclaim encouraged audiences to go and watch Pan’s Labyrinth, which has contributed to its worldwide success.
22. Was the film financially successful?
Released in the UK by Optimum. Premiered at Cannes in May 2006 to great acclaim. Co–produced by a number of Spanish, Mexican and American production companies the $19 million budget is reflected in the complex production design, period dressing and relatively large cast. The eventual worldwide box office of $83.3 million was seen as a triumph.
Being released worldwide in December among a multitude of Oscar contenders such as The Departed (Martin Scorsese, 2006), Pan’s Labyrinth, the fantasy/war dark horse surprisingly grossed $30 million and is still running strong to this day.
23. Why is the year of release of The Devil’s Backbone and Pan’s Labyrinth significant?
The two films were released in 2001 and 2006 respectively. Being released 5 years apart from each other, the years that the films are set are additionally set 5 years apart being 1939 and 1944 respectively.
24. Why physical effects over CGI?
Employing a minuscule amount of CGI within its special effects, Pan’s Labyrinth predominantly utilises a vast amount of meticulously designed makeup and animatronics to illustrate a visually pleasing spectacle.
The key technology used in this film is the animatronics and green screen work as discussed above and its effective creation of a magical-realist production design.
25. Why did Guillermo del Toro write the DVD subtitles himself?
Del Toro wrote the subtitles for Pan’s Labyrinth himself after becoming disillusioned with the translation of The Devil’s Backbone — a film also with the Spanish Civil War as its backdrop and the informal prequel to Pan’s Labyrinth.
Del Toro was extremely disappointed with the subtitles for The Devil’s Backbone and described themas being for the “thinking impaired” and “incredibly bad”. Subsequently, he took action into his own hands and wrote the English subtitles for Pan’s Labyrinth himself.
26. How does Guillermo del Toro use distinct colour palettes in the film?
GdT implements two distinctive colour palettes in order to visually inform the viewer as to whether the scene was taking place in reality or in the fantasy world. The labyrinth realm features predominantly warm colours such as “deep crimsons and golden ambers, almost like amniotic fluids” as noted by del Toro. Conversely, the colours of the harsh reality utilise a much colder palette, making apt use of deep blues and greens, as well as accentuated sharp angles to reinforce the brutality of guerrilla warfare.
Use of colour palettes
27. Look at the “context starter questions” on the Contexts Of Film mind-map. How many could you answer? Add your answers to the end of this post.
Institutional Context- How films are funded, how the level of production budget affects the kind of film made and the main stages of film production:
GdT was offered a large amount of studio money to shoot the film, as long as it was spoken in English. Refusing this to reflect his creative vision, del Toro financed the film himself with the help of fellow auteur Alfonso Cuarón.
Political Context – The way political issues, when relevant to the film chosen, are reflected in a film:
Guillermo del Toro chose to set the film five years after the end of the Spanish Civil War, as he believes it is a topic swept under the rug by most Spaniards. The Falangist fascist regime are explicitly depicted as brutal and malicious, whereas the Spanish rebel republicans are depicted as heroic and courageous.
Historical Context – Aspects of the society and culture at the time when films are made and, where relevant, where they are set:
Being released in 2006, del Toro himself has stated that the 9/11 terrorist attacks are what inspired him to make Pan’s Labyrinth. He stated that his perception of “brutality, innocence and war” changed after the destruction of the twin towers. The film’s social commentary is not exclusive to the Falangist regime but is an overall critique of fascist ideologies.
The first component we are studying is Component 2a: Global Film. This section of the course entails two films of study, being Pan’s Labyrinth (Guillermo del Toro, 2006) and Wild Tales (Damián Szifron, 2014). These two specific films have been chosen due to the fact that both originate outside of the UK and are in a subtitled foreign language.One film is required to be European and the other must originate from a continent outside of Europe. Pan’s Labyrinth is a Spanish film (Europe) and Wild Tales is an Argentinian film (outside of Europe).
The core study areas of this unit are the key elements of film form, as well as context, aesthetics and representation. We are required to use these areas of study to construct and communicate meaning for a comprehensive analysis. We are not required to compare the two films but merely write about them separately, discussing the techniques used throughout.
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 in groups of two to share ideas about how representation is presented within City of God. Specifically answering the questions asked in the mind map below, we considered how representation can be perceived in many different ways across the film.
Representation can be defined as how the world of the film is presented to the spectator. This can be done through techniques such as embracing or denouncing common stereotypes associated with the themes presented throughout the film.
Representation in film refers to many topics such as age, culture, ethnicity and gender.
Otis Morley’s A-Level Film Studies Blog 
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