Exam practice questions (10,20 and 40 mark) on Pan’s Labyrinth, British film and Casablanca:
- With reference to ‘Pan’s Labyrinth, explore how cinematography makes meaning’ [10]- Opening sequence
In terms of cinematography in the opening sequence the camera uses a wide angled birds eye shot as it spirals into Ofelia’s eye. This is significant as it is used to show the window into the soul and represents Ofelia’s memories and imagination. Next, the camera uses an extreme close up of Captain Vidal’s watch which we are shown before we see his face. This close up is used to highlight the significant of his watch throughout the entirety of the film and shows Vidal’s obsession with the time of his own death, linking to the legacy he tries so hard to leave behind for the birth of his son. As well as this the camera uses a point of view shot as it follows the fairy’s perspective round the stone statue in the forest. This relates to the later significance of the underworld and the fairies in the film as they come to help Ofelia discover her fate. This suggests how Ofelia’s is already seen as part of the underworld and this is the turning point in the start of the film for Ofelia finding out who she really is. In terms of light in the opening sequence, the colour blue is used in the flashback to show the cold harsh world that has become of Spain after Ofelia is shot, in contrast to the red blood which suggests a sense of danger and harm. This use of colour is used to emphasise the effects of the civil war not only on Ofelia’s but represented through the low-key light to show deterioration and the deprivation of Spain. Lastly, in terms of lighting in cinematography, a bright burst of light is used a transition from low key to high key light to suggest that the princess from the underworld is being reborn as Ofelia. This could also emulate the opening of Ofelia’s eyes and how the princess was blinded by the light in the fable, linking the real world to the fantasy underworld.
2. Explore the representation of Gender in Pan’s Labyrinth [20]
Gender is explored in Pan’s Labyrinth through the characters of the fairies. For example, in the pale man sequence the three fairies that travel by Ofelia’s side throughout the scene are all female, suggesting how this is a feminist story and that the fairies are a representation of Ofelia’s mind in the fantasy underworld. This links in closely with the representation of the Pale man as he emulates Captain Vidal and Franco. In the sequence, we see the pale man eating the fairies which could be seen as an allegory for Saturn devouring his sons. The fact that the pale man is eating the female fairies, perhaps demonstrates Franco’s hatred towards women during the time of the Spanish civil war and his closed off and narrow mindedness. As well as this linking to Captain Vidal, his hatred towards woman is also explored as Vidal grabs Ofelia’s writ in the opening sequence suggesting his dominant power over Ofelia as a young girl coming of age, as well as never hearing about Vidal’s mother yet only his father’s legacy. Another time which Vidal demonstrates his sexist view and the disrespect towards the female gender is also in the opening sequence when he touches Carmen’s baby bump holding his future son before looking up and greeting his wife. This not only emphasises the prejudice against women during the war but highlights the overwhelming power of fascism in society and how it set an example to the way which women were treated. Similarly, another example of this is in the ending sequence where Ofelia is shot by Vidal in her womb highlighting his ongoing resentment to Ofelia and perhaps how he feels threatened by her womanhood. On the other hand, the character of Ofelia is represented as a strong rebellious girl which we see growing into a woman. An example of this is in the ending sequence when Ofelia sacrifices her life in order to protect her baby brother who is yet to be named. This is used to show the extremity of innocent deaths during the war and the holocaust of unnamed innocent victims. Another explanation for this could be simply to show the kindness of Ofelia’s personality and her willingness to go to length to protect those she loves. Also in terms of strong female roles within Pan’s Labyrinth is Mercedes who n a number of occasions rebels against the oppressive rules of the fascist regime and ends up killing Captain Vidal. This takes place in the last sequence as Vidal is shot in the right-hand side of his eye, giving the impression that men have become blinded by fascism and that Mercedes is ultimately portrayed as the protagonist that helps save her brother and the other rebels.
3. How does mise en scene make meaning in Casablanca’? [10]- opening sequence
In terms of mise-en-scene in the opening sequence to Casablanca an aeroplane is used as a repeated motif which is firstly shown to represent the escape and freedom to a new world, as well as being used as a narrative device for Ilsa’s escape to America at the end of the film. Also in terms of mise-en-scene a searchlight is used to create a sense of panic and the feeling that the characters are being watched on, suggesting a recurring theme of surveillance and emphasising how there was little security during the war. Another important part of the opening sequence was Sam’s piano which is significant as it was used to hold the transit papers, as well as holding Rick’s memories of Ilsa and past heartbreaks. This suggest and reveals Rick’s motivation for his sense of isolation where he resents Ilsa, linking to the classic Hollywood narrative device logic. Another key part of mise en scene was the use of the close-up of the bishop on the chess board. This highlights Rick’s strict moral code and how he is a patent and strategic thinker, which is later proven in the film. Lastly in terms of mise-en-scene in the opening sequence the date of the cheque which Rick signs in his office is dated the day of the pearl harbour attack, which was five days before US involvement began. This was used as a form of US propaganda as well as highlighting American isolationism and the financial support that needed to be given American allies.
4. To what extent might we recognise the work of an auteur in Casablanca? [20]
In the film Casablanca, we might recognise the style of Michael Curtiz as the work of an auteur. An auteur consists of a director with a recognisable camera style, reoccurring themes, ongoing collaborations and technical codes, and I believe Curtiz demonstrates these quality through his work in Casablanca. Firstly, Curtiz has an ongoing collaboration with multiple actors including Davies and Crawford as well as Humphry Bogart who features as Casablanca’s main character ‘Rick’. Also in terms of the auteur theory Cutriz uses a recognisable ‘camera stylo’ in which he uses the dolly to perform a tracking shot. For example, in the middle ‘Rick’s café’ sequence of the film, a long tracking shot from outside the café and into Sam playing the piano is used. This then turns into a close up of Sam playing the piano which is significant part of mise-en-scene important to the narrative. Another instance when the tracking shot is also used is as the two men walk out the plane in the opening sequence. Curtiz uses this to create meaning and give a sense of urgency using these long drawn out shots and build up to a key turning point in the film. In terms of genre, Curtiz’s recognisable idea is through using a range of genres in his films. For example in the opening sequence we see propaganda war documentary footage, a comedy sequence followed by a police procedure and a crime thriller style theme. Curtiz uses this to change the emotions of the audience and perhaps sin the case of Casablanca represent and mirror the changing politics and social chaos of the time of the war. Another signature element of Curtiz’s work is snappy and witty dialogue. Throughout the film Rick says ‘I stick my neck out for nobody’. Curtiz used this as Rick’s character represents American isolationism, which is a running theme throughout, and show how Rick is a reflection of America as a whole, whilst acting as a symbol of propaganda during the war. Next in terms of the auteur theory, a reoccurring technical code that is used in Casablanca in the opening sequence is the use of functional directional lighting against white walls to project shadows. This is reminiscent of German expressionism through Curtiz’s European and Hungarian background influences. Similarly, in term od lighting to support the auteur theory, a reoccurring theme of a searchlight is repeatedly seen. This creates a sense that the characters are constantly under surveillance and always being watching, showing how there is no privacy and nothing can be kept a secret. As well as this the motif of a plane is used in the opening and ending sequence. This represents the freedom that Rick wishes he had and the idea of escaping to an idealised new land that is America. Lastly, I believe Casablanca is an example of the work of an auteur as pathetic fallacy is demonstrates in the flashback scene as we see the later watching away, mirroring how Rick’s future with Ilsa have disappeared, whilst also symbolising his tear and the mise-en-scene of rain.
5. How does editing make meaning in the British films you have studied? [20]
In the British film ‘Moon’ editing is used to make meaning firstly through its use of montage editing in the opening montage advert sequence by Lunar Industries. This is used to emulate the development of technology into a new age and the new idealised utopia it is believed to have become. This fast pace editing also caret as sense of the chaos in the world as well as internally inside Sam Belk’s mind up in space. Another editing technique that was sued in the opening montage sequence was multiple cross fades, for example from a dry sand dune to a green desert. This suggests to the audience that Lunar Industries can save the world which uses dramatic irony as this is far from true, as well as exploring the climate change problem that the world suffers from today. A cross fade is also used in the opening sequence to compare seagulls, humans and rubbish/litter. This cross fade suggests how humans are to blame for the world’s hunger and it’s our responsibility to fix it. Another interpretation of this could be suggesting that humans are seen and portrayed as animals, once again criticising humanity. Also, in terms of editing a graphical match cut is used throughout the montage sequence, to highlight the use of circular imagery when comparing the earth and sun to a Ferris wheel and round green fields in a desert. The circular imagery highlights the narrative issue of Sam being trapped on the moon and acts a constant reminder to Sam’s existence which is not mentioned by Lunar industries during the advert. Next in terms of editing as film progresses continuity editing is used to show the balance slowly being restored by new Sam, as well as being used in the ending of the opening sequence to demonstrate the mundane repetitive constant nature of Sam’s life on the moon. Lastly, in terms of editing parallel action is used in the ending sequence of the film, showing the perspective of Sam 1, Sam 2, Sam 3 and the Eliza spacecraft. This is shown to build tension and emphasise the sacrifice that Sam 1 made for the other clones as the emotional intensity increases.
In the British film ‘Under the skin’ editing creates meaning, for example in the opening sequence a graphical match-cut is used to explore circular imagery. This is seen as the abstract imagery represents planets which then switches to a small ball of high key light and then a close up of an eye. This creates meaning as it shows the importance of the eye, this being a symbol of the gate way to the soul, demonstrating Laura’s first glance at humanity which later becomes an important theme in the film. Next in terms of editing continuity editing is used in the opening sequence to show the mundane nature of Laura’s actions ad emulate the lack of emotion she has using a constant and slow-paced edit. In contrast to this montage editing is used in the montage sequence as Laura stalks the men in her van. This could suggest the jarring pace which increases tension and creates a documentary style image to show the stalker-like atmosphere. Another ending technique explore in the film, specifically at the start of the ending sequence is an imposed lingering cross fade between Laura and the forest. This suggests how lunar is wrapped up in the storm and her alien subconscious is connecting which nature which later will ultimately be her downfall. Lastly in terms of editing an action/reaction shot is used in a 180-degree tracking shot which changes perspective between Lunar and the man. This is used to demonstrates the sudden jump from fast pace to slow pace and the confusion the characters feel, creating a distraught atmosphere.
6. Explore the binary oppositions in the British films you have studied [40]
In the British film ‘Moon’ binary oppositions are explored to emphasis the isolation and mistreatment of the worker Sam. An example of a binary opposition is the moon vs the earth. In the opening montage sequence to the film the earth is represented as a place that can be transformed by Lunar industries from deteriorating to happy and reformed. Whereas, in opposition to this, the moon is shown as somewhere that helps the earth and doesn’t even mention Sam living there in the advert. This is a contraction as the opposition suggests how Sam is neglected and seen as part of the machinery, not being considered a human being or valuable enough to feature in their advert. In reality, the world cannot be fully reformed by Lunar industries thus portraying the company with a lie. Next in moon, binary oppositions are through the ideology of modernism, using the oppositions of Artificial intelligent vs humanity. This is shown in the opening sequence as Sam runs aimlessly on a treadmill, suggesting that he is considered a lab rat that can be taken advantage off. This later proves the theory of modernism as the system fails due to human nature, taking emotions and fault into consideration as Sam is treated like a machine and is cloned. Also in the opening sequence the opposition of the company vs the worker becomes clear as the character of Sam is represented as the default worker as he is s white American man. This relates to the theory of Marxism and is suggestive that the capitalist company that controls Sam is using him for his work and exploiting him and is given no voice to rebel against Lunar industries. Another opposition that is featured in the opening sequence is through use of mise-en-scene to show dirty vs clean. In the sequence, we see the white clinical/hospital looking rooms where Sm lives on the moon, suggesting the sterile nature he live sin, highlighting how it is lonely and hostile. Whereas, in contrast Sam’s dirty space suit as well as Gerty being shown as dirty and graphited, represents how the machinery has adapted well to life in space but this is impossible for humans. An important opposition in the film ‘Moon’ is the different in character and performance between the new Sam and old Sam. For example, the new Sam appears to be inquisitive and revolutionary, whereas the old Sam is portrayed to be set in his ways and in a stage of denial to what is happening. To me this shows how the old Sam is willing to sustain their own exploitation and could also emphasise complainant nature old Sam has to support the narrative. This links with another binary oppositions seen in the middle sequence of moon could be the difference between humanity and loneliness. For example, Sam is shown to be building a model of a village, showing how he wants to sustain his false memories and recreate and live in the idealised world in his head. Lastly, in terms of music in the opening montage sequence, the advert explores oppositions through the upbeat music in the advert cutting to the constant repetitive music. This highlights the mundane nature of Sam’s life as a worker and the suffering of his life as if he were repeating the cycle as a clone.
Binary Oppositions are also explored in the British film ‘Under the skin’. An example of an opposition shown in the film, specifically the opening sequence, is the different use of cinematography between low key and high key light. In the scene the black colour, in which we see Laura’s silhouette, is used to suggest that she has no emotional and lack of sympathy/personality, setting an intimidating and tense tone for the rest of the film. Next, another opposition included is real beauty vs fake beauty. For example, in the montage sequence Laura believe she has to take away her identity and replace it with makeup in the hope to obtain a particular look. Later on, this is contradicted as it is explored that humanity is shown from what’s inside as Laura become comfortable with her appearance. Similarly, to this, the montage sequence features the binary opposition of humanity and female nature, linking closely to the ideology of feminism. For example, Laura represents a subjective view of people and a feminist critique of beauty being within not external. At the end of the film Laura looks back of her own skin as she recognises her humanity which overall is her ultimate downfall. Another binary opposition is the difference between nature and urban mise-en-scene. In reality nature is known to be a place of freedom and naturalism, however in ‘Under the skin’ appears as a place with no safety and is the place where Laura is assaulted. In contrast to this the urban location is represented to be where Laura feels safest driving her van and where she is seen as the dominant female in control of the men, instead of her being the one that’s vulnerable. Linking to this is the opinions of male vs female which is explored throughout the film. For example, Laura breaks social conventions by driving van which stereotypically is seen as a something a man would do, as well as being a female that is seen as superior to and manipulates men for her gain. This suggests how Laura goes against the social norm and is seen as different in terms of their gender representation. Lastly another binary opposition is mind vs body. This is explored specifically in the ending sequence when Laura reflects back on her own skin, showing how she excepts the way people see her and accepts her fate whilst rejecting her physicality. This highlights newly developed her moral empathic engagement with the world around her. This closely links with the opposition death vs creation as this is shown to be her downfall ad what end up getting her killed. However, provokes the theory of essentialism as it questions the point of her existence and how her life impacted others in the film.
Emma Coe Film Studies 