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Pan's Labyrinth Scene Analysis

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In the movie Pan’s Labyrinth the director Guillermo Del Toro composes his breathtaking shots with a clever use of lighting and with a meticulous attention to the mise-en-scene, emphasised by the use of a beautiful cinematography and a fantastic sound-score, in order to convey the real purpose of life through the development of Ophelia’s character and the use of profound symbolism and implicit meaning. In order to differentiate the egoistic world, represented by the Civil War’s atrocities and the General Vidal, from the spiritual and pure world, represented by the fairies and the faun, Ophelia has to pass successfully three proofs which will allow her to rediscover who she really is and reconcile herself with the soul and inner spirit, refusing the materialistic ego.

The first proof that Ophelia has to face is “the toad proof” in which she has to defeat a monster a and retrieve an important key. This scene has a multitude of implicit meanings proving that Ophelia is not afraid of the oppressing external world. For this reason she gets rid of her mother’s constricting dress and to pass the proof she is not scared to put herself in a lower position crawling under the tree. Important are the colours which are more saturated and brighter in the fantasy world and more neutral and darker in the real world. Right after she defeats the monsters she can finally stand up and from high angle shots the directors starts using lower angle shots to prove the superiority of Ophelia. Besides, the contrast in the …show more content…

Ophelia invite the audience to follow her in the journey of depuration and to analyse that the real self is who we really are and not who the oppressing society is imposing us to

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Del Toro, additionally, contrasts the real world and the fantasy world through the use of colors, shapes, and varying levels of organization and cleanliness. Furthermore, he places objects of the real world into the fantasy one to draw relations between the two. Through these three singular parallels, Del Toro's Pan's Labyrinth explores the realities of fascism in Franco-Era

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Pan’s Labyrinth is unique such that the film’s storyline is based on a fairytale: it is parable; a simplified story of a greater spiritual or moral

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In How to Tame a Wild Tongue, Gloria Anzaldua uses rhetoric and personal anecdotes to convey and persuade her argument that Latin Americans are forced to relinquish their cultural heritage, and to conform to white society. The evidence she provides comes in a variety of platforms, both literal and rhetorical. Rhetorical, being through emotional, logical, and credible appeals through her text. Literal being explicitly stated, without any further analysis necessary. When she utilises the modes of appeals, they are subtle within the texts, which leads the reader to analyse as they read.

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Men, women, and children were caught in the crossfire and sometimes even deliberately murdered by both sides. del Toro does not sugarcoat the brutality of the Spanish Civil War as even the first image the audience is shown is of a dying and bloody child. Indeed, much of the violence in the movie is experienced by the young and innocent. In The Transnational Fantasies of Guillermo del Toro, it is suggested that the violence in the movie “is commensurate with the brutality of certain fairy tales in their original form and also with a realist vision of the cruelty of war that uses the figure of the child to create greater empathy and affect the spectator”(Davies 192). While much of the cruelty in Pan’s Labyrinth is very graphic, it is the explicit nature of what is experienced by children that makes the movie hard to watch for some.

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With this, some of their rights were being violated and those rights are slowly starting to perish. Pan’s Labyrinth is one of Guillermo Del Toro’s greatest masterpiece and it shows the reality about how unfair and cruel society can treat women. This movie depicts that society can do a lot of things that can hurt a woman’s dignity but it also showed us what a true woman is and what are they really capable of doing. In the movie, there are three main female characters in the story namely Ofelia, Carmen and Mercedes.

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Pan’s Labyrinth (2006), directed by Guillermo del Toro, is a gorgeously realised tale of fantasy and horror, set against the backdrop of post-Civil War Spain. The story follows a young girl, Ofelia, who travels to the countryside with her ill mother to live with her new stepfather, Vidal, a captain in Franco’s Fascist army. The film explores how Ofelia uses her imagination as a copying mechanism to deal with the monstrosities of her reality as well as to interpret the horrific events unfolding around her. Del Toro employs a number of cinematic devices including cinematography, sound and editing to effectively draw parallels between Ofelia’s reality and imagination, ultimately creating a powerful film that condemns the nature of Fascism.

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Thus, Ophelia’s “madness” is determined by the extent to which she subverts female gender expectations. The more she exhibits traits traditionally associated with men, the more “mad” she becomes. In this context, Ophelia serves as both a caricature and a warning against female enlightenment as told through a patriarchal lense. She is ultimately ostracized from society, implying that women who seek freedom will receive the same fate as

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Her use of scenic imagery helps to contrast Ophelia’s actions with the beauty around her while also distracting the reader from the somber events taking place. The “willow [that] grows askaunt the brook,/ That shows his hoary leaves in the glassy stream” portrays an almost dream-like reality, tinting everything with a touch of fantasy while minimizing the harsh pain of the real world (166-167). The willows drooping branches creates an image of demure sadness and, paired with the glassy stream, helps to create the physical embodiment of Ophelia’s sorrow. Gertrude’s use of excessive detail and imagery depicts Ophelia in a positive light despite her madness. This continues as Gertrude describes the flowers Ophelia picked for the “fantastic garlands” she made for her father’s funeral (168).

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He is disappointed to see that Ophelia is displaying irrational behavior when she begins to sing “They bore him barefac’d on the bier; Hey non nonny, nonny, hey nonny; And on his grave rains many a tear.” She is so mentally ill that she must be locked in a padded room during the day. At other times, she is in a straight jacket to prevent her from hurting herself. It seems as if nothing can help her mental madness.

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The setting of the movie is the first obvious difference that can be seen. The movie was set in New York City, New York in 2000 while the play was set in Elsinore, Denmark in the late middle ages. This greatly affects the way the movie is viewed because it is essentially an entirely different world. In the movie there are video cameras, cars, phones and skyscrapers, all things that obviously weren’t around during Shakespeare’s time. Even if the movie and the play had been based in the same year, the story still would have been slightly different.

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Where hamlets actions justified? Did he really avenge is father? Well I don’t think so. Because of him Gertrude was treated very poorly and because of the got her killed, the treatment to Ophelia was not justified and it made her go crazy, he delayed the killing of the king which caused a lot of bad stuff to happen, but the killing of Claudius was justified because he avenged his father. So, the question are his actions justified?

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Gone with the Wind Analysis While watching the film Gone with the Wind most people would pay little to no attention to details like camera angle or lighting. However, Gone with the Wind is a great example of mise-en-scene ,what is physically being shot in the scene without editing and can include, but is not limited to camera movement, lighting, focus and scenery, in many different ways. Mise-en-scene actually appears during the first scene when Scarlett is sitting on the steps of Tara, her family’s plantation, along with her two of her male companions. Scarlett is sitting on the top stair while the twins are sitting on stairs below hers almost as if they were worshipping her. Scarlett is also looking down upon the twins as if she were superior to them.

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Ophelia goes mad throughout the story. She is overwhelmed by the loss of her father and the rejection of Hamlet. Her character is seen spiraling down a dark path that also ends in death. Ophelia is depicted as not having control over her actions; speaking and acting erratically. While Hamlet is speaking erratically and behaving oddly, he still maintains control over his actions and movement throughout the story.

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but wherefore I know not—lost all my mirth.” His depression over his father’s illness is very real but often rolled up in his faked madness. On the other hand, Ophelia is genuinely “mad,” sick with grief over her father’s death and unable to fit in with the court society. Her scene with her brother, who just confirmed his father’s death, is heartbreaking. She doesn’t recognize him at all.

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