Week 9 ISP: Pan’s Labyrinth
- Review and complete your 20-mark analysis of one part of Pan’s Labyrinth exploring the aesthetic experience of the film- Pale man sequence.
In the Pale Man sequence of Pan’s Labyrinth aesthetics are explored through gender and age. In the scene fallopian imagery is used, through mes-en-scene, in Ofelia’s story book to represent her becoming a women and fruit such as pomegranates within the banquet to show Ofelia’s fruitfulness and fertility. This reflects how it is a coming of age story also known as a bildungsroman. As well as medieval-like paintings of children makes the audience feel sympathetic to Ofelia as she is a child, experiencing pity and sorrow for the younger generation. Aesthetic are also used in the sequence to convey the emotion of empathy. This is when the audience is shown a pile of grey shoes in the scene to symbolise the holocaust. This specifically provokes an emotional response as it uses binary opposites of death and income to emphasise the destruction of the fascist regime not only in Spain but from the second world war. Another way aesthetics are used is through editing. The use of continuity editing and parallel action, as the camera shows the hour glass running out as Ofelia runs along the corridor, provokes the audience to feel on edge and apprehensive, whilst emphasising the chaos and anxiety of the sequence. Within the sequence performance is used through the movements of the pale man to create a repulsive and intimidating response. The pale man appears as weak and blind, shown as his movements are stiff and rigid as well as having his eyes on his hands instead of his face. This suggests he is seen as disabled and therefore viewed as fragile as if he has awoken from a deep sleep.
Another way aesthetics are explored through the Pale man’s performance is through his demonic appearance. The Pale man’s thing sagging translucent skin, reflects the famine and starvation in Spain at the time due to rations being part of the fascist regime, making the audience feel sympathetic however repelled and disgusted by his appearance. Aesthetics are explored in the sequence through the use of binary oppositions in Ofelia’s performance. The binary opposites choice and defiance are used to provoke and emotional response of alarm and concern within the audience as Ofelia choses to eat a grape off the Pale man’s banquet. Sound is also used within the aesthetics of the sequence to create meaning. Close sonic perspective is used when the stone door moves and when Ofelia puts the key in the key hole. This creates a close emotional intensity with the audience and emphasising the movements of the objects in the fantasy world, provoking a feeling of wonder inside Ofelia’s imagination. In the pale man scene aesthetics can also be used within the mes-en-scene of the sequence, for example when Captain Vidal is compared to the pale man representing Franco in the image of the Banquet to show the audience the greed of fascism and create a sense of understanding towards the extreme selfishness and server famine of the Spanish civil war. Within the sequence the allegory of Saturn devouring his children is represented through the way the Pale man eats the female fairies. This demonstrates the cruelty of fascism and perhaps also reflects the sexism at the time and Captain Vidal’s hatred towards woman, causing the audience to feel upset and distressed. Lastly aesthetics is explored in the sequence through the uses of the binary opposites of the real world compared to the fantasy world that lives inside Ofelia’s head. The real world is viewed as a dark and place to be suggesting the emotions of misery and desperation, whereas the fantasy world, where light and warmth are represented, could represent happiness and show optimism in the society.
2. Review and complete your 20 mark analysis of one part of Pan’s Labyrinth exploring the social/political/historical contexts of the film- Pale man sequence.
Within the Pan’s labyrinth social, political and historical contexts are explored in the Pale Man sequence. Firstly, in terms of social contexts, the after math of the second world war is shown to result in famine and starvation. This is shown through the performance of the Pale man as he is seen with thin grotesque translucent skin, however is contradicted by a large banquet which he is sat at. The banquet contains an array of red fruit, the colour red representing danger and death. In this scene, the Pale man is positioned at the top of the banquet in comparison to Captain Vidal who is also seen sitting in a similar position and therefore is shown to represent Franco as ruler. This links to social contexts as the pale man is used to represent both physically starvation and is used as a metaphor for the greed and selfishness of the fascism regime. Also in the sequence, social contexts are explored through the binary oppositions of choice/defiance/obedience, shown when Ofelia makes the decision to defy the fairies and eat the grape from the Pale Man’s feast. This demonstrates how the younger generation represent hope and change for a new Spain and reflects the need for rebellion in order to provoke change and restore order within the fascist government system. Although as seen this can lead to destruction and give fascism more control and power, in which we see the awakening of the Pale Man. Another social context explored in this sequence is femininity. This is shown as we see fallopian imagery within Ofelia’s story book showing how this she is turning into a woman, reflecting the fact that this is a coming of age story. Femininity is also shown through the use of mes en scene, including fruit such as pomegranates in the Pale man’s feast. The pomegranates symbolise fruitfulness and fertility, linking to the way women were treated in the Spanish civil war and, in the case of Captain Vidal seen only as someone to carry his son. In terms of binary opposition social contexts are explored between the real world and fantasy world. Within this the real world is shown to be full of darkness represented through Del Toro’s colours however the fantasy word is shown to be a place of warmth and happiness which is actually the opposite of how it is portrayed in the pale man sequence.
Through the use of mes en scene, political contexts are explored as Ofelia choses the left key hole out of the three. The left keyhole is a symbol for Ofelia’s support for left wing politics and objection to right wing fascism. This is also shown to be more frail and older, suggesting how Fascism has taken over and is the new regime, emphasising their control over Spain. This politically demonstrates how Ofelia sympathises with left wing politics and purposefully goes against fascism. Also in terms of political context the Pale Man is used to reflect the rule of Franco through the representation of Captain Vidal. This suggest how Franco was perceived as demonic and intimidating. Another context that is explored is religion explored through the Spanish catholic church. In terms of mes en scene, the sequence shows the stigma in the middle of his hands covered in blood. This suggests how the catholic church held some responsibility for the deaths and loss caused in the civil war and how Franco had the blood of the church on his hands, demonstrating religious and political connotations.
In terms of historical context Pan’s Labyrinth is known as a ‘vanitas’ historical death story. This is shown in multiple occasions throughout the film as a whole when Ofelia, Carmen and the doctor die, and more specifically when the fairies are eaten by the Pale man, similar to the historical fable of Saturn devouring his children. This highlights the brutality of the fascist regime and the extreme extent they will go to, to hold power and control.
Another historical point which is explored in the sequence is the holocaust. This appears as we see a pile of grey shoes in the scene, reflecting the innocent deaths of children that took place under the harsh rule of Nazi Germany and demonstrates the same impacts which the fascist regime. Lastly, historical context is shown through the sound of screaming children as the camera pans round to show images of children being murdered. This also links to the holocaust in that it shows the innocent children haunting Ofelia, perhaps as a warning not to go near the Pale Man and therefore in turn not go near Captain Vidal. This suggest a sense of danger however highlights the innocent victims of not only the holocaust after the second world war but also the civil war in Spain at the time.
Emma Coe Film Studies 