Exam questions: on Pan’s Labyrinth, Moon, Under the skin, Casablanca and Blade Runner
- Select one film form element and explore how it makes meaning in ‘Pan’s Labyrinth’. Marks will be awarded for exploration of social/political contexts and/or aesthetic effects. [20 marks]- mise en scene
In this question I will be showing how mise sen scene is used in the film Pan’s Labyrinth to create meaning, specifically in the pale man sequence. Firstly through the use of costume, the pale man himself appears grotesque and demonic presented by thin sagging skin and claw-like animal features. This represents him as an intimidating creature as well as being symbolic of the effects of the fascist regime. The thin skin creates political meaning as it reflects the hunger and poverty those in Spain suffered at the hands of Franco and his dictatorship, thus contradicting Franco’s concept that fascism make everyone stronger as the pale man clearly appears week and inhuman. Next, within a low angled tracking shot we see a pile of grey shoes. This supports social and political contexts as the shoes are used to represent the effects of the holocaust, specifically the mass amount of innocent children that suffered during the second world war because of the fascist regime, provoking sympathy and awareness of the extents it affected those in Spain and the war. Franco’s hatred can also be through the way Captain Vidal disrespects and badly treats Ofelia. Similarly another prop that highlights fascist attitudes is the gothic, medieval paintings of children being eaten and killed by the pale man, once again suggesting a hatred towards children and in this case woman. This imagery links to the allegory of Saturn devouring his children as the pale man is also seen eating the fairies. This demonstrates Vidal’s negative social attitudes towards women through the actions of the pale man and emphasises the blood shed during the civil war, especially those of innocent victims. Another piece of mise en scene that makes meaning in this sequence is the banquet. The graphical match cut of the pale man sitting at the banquet table compares to the one of Vidal in a similar position, showing how the pale man is a representation of Vidal and therefore Franco. The banquet itself however emphasises the greed and selfishness of the fascists and the rulers of Spain, living a life of luxury while the entirety of Spain go hungry, making them appear cruel and deceiving which they prove to be. Also within this banquet, in terms of props, the food appears red symbolising danger and acts as a warning to not only Ofelia, but the audience, that nothing good will come out of eating it. As well as this the food being mainly fruit, specifically the pomegranate, is symbolic of Ofelia’s fruitfulness and also represents her fertility, supporting the fact that Pan’s Labyrinth is a bildungsroman in which we see Ofelia grow into a woman. Next the concept of danger is also demonstrates through the use of the red blood covering the pale man hands in which we see a stigmata where his eyes should be. This suggest that the churches conservative values align with Franco’s views of family, women, homosexuality, and the prospect of greed, weakness and winning the war, and therefore turn a blind eye to the atrocities of what happened, creating meaning behind there being blood on the hands of the church. Similarly political ideologies are also conveyed as a POV shot is used inside the keyhole showing Ofelia choose the frailer left key hole showing how she supports the movement against fascism and strongly disagrees with it, shaming right wing political parties like the Franco. The fact that the keyhole appears fragile and deteriorating suggests the fascists are winning and Spain is at breaking point and becoming weak because of it. Next, the gothic architecture setting, incusing the fire, appears hellish and frightening as the fire appears to have eye and a mouth like a monster. This creates meaning as it suggests Ofelia isn’t actually in the underworld but instead is in hell, therefore contradicting her faith in the goodness and hopefulness of underworld, exposing her to reality and how fascism has taken over everywhere even in her fantasy. Lastly, socially Pan’s Labyrinth shows the progression of Ofelia from girl to woman, suggested by the reoccurring motif of fallopian imagery, seen in her story book at the start of the pale man sequence. This is socially symbolic of Ofelia woman hood and coming of age, implying to the reader that this will seen later on in the narrative, becoming one of the themes in the film.
2. How does narrative structure contribute to meaning making in the British films you have studied? You may consider binary oppositions, ideological perspectives and/or narrative devices. [40 marks]
In this question I will be discussing how narrative structure contributes to making meaning in British film, specifically ‘Under The skin’ and ‘Moon’, through the use of binary oppositions, ideological perspectives and narrative devices.
Firstly, the idea of ideological perspectives changes throughout the film ‘Under the skin’ contributing to the ever changing narrative structure of how the concept of beauty is seen, not only from Laura’s point of view but the audiences. An example of this is in the opening montage sequence where Laura is seen in a shopping mall picking out clothes and make up in order to present herself as more desirable. In terms of social contexts, this provokes a feminist critique of beauty, commenting on the need for perfection in order to obtain a particular look to appear attractive and seduce men/ her targets. This narrative device could also be seen as subjective positioning as Laura wants to look more desirable by taking away her identity and therefore her humanity, and replaces it with a fake beauty or a façade that she feels she has to hide behind. However this changes throughout the film as Laura explores her humanity and develops an emotional conscious, finally accepting her appearance and understanding how other people do as well.
Next, another similar narrative device used to create meaning in Under the skin is the binary opposition in which the contrast between Laura being presented as an abstract being vs her humanity in which the audience witness grow and develop in the film. At the start in the opening sequence Laura is seen heartless stripping another woman of her clothes showing little sympathy, however later in the scene goes on to sympathise with another creature in an extreme close up shot of an ant. This suggests how rather than recognising her own humanity she identifies more with a small, insignificant, alien-looking animal and feels as though she shares more in common with an animal than a human being. In terms of narrative structure however this develops as the film progresses as in the middle sequence Laura appears to stare at her own reflection in a mirror for over 30 seconds. This lingering close up shot of Laura’s face is the turning point at which she recognises her hidden humanity and gives the impression she is beginning to understand the way people see her. The fact that she is staring back into her own eye, demonstrates how she has discovered her own window to her soul and finds it fascinated by the way she continues to do so, as well as using the narrative device featuring Laura’s perspective and point of view in order for us as the audience to align with her and begin to develop a certain sympathy for the character. This narrative idea of humanity is finalised in the ending sequence of the film as instead of saving herself Laura looked back at her own skin, symbiosing how she has finally excepted her own humanity and choses this over old ways of survival. This therefore shows her accepting her fate and rejecting her physicality, learning humanity is what’s inside. Even though this acceptance is ultimately her downfall it suggests that in a social context humanity has greater value than your appearance. By showing this meaning it acts as an ideological narrative device as we see Laura’s self-progression over the course of her life, becoming a clear moralistic theme in the film. This similarly links with the binary opposition of mind vs body. and Laura’s relationship and experience with the words. For example in the middle sequence when Laura develops a moral empathic engagement with the men she is seducing and defies against her orders to kill them.
Lastly, in Under the Skin, narrative devices are used to create meaning, such as the use of an aperture ending with little exposition featuring throughout the film as a whole. Whether Under the skin had an open or closed ending could be debated for the reason that in the last sequence Laura dies however can be argued that her body will never be found, also leaving questions as to what happed to the man on the motorbike. The narrative ending to this is ultimately that Laura’s body will burn and will be gone from existence as if she never even lived. This emulates social ideologies of existentialism, offering the audience the question the question what’s the point to life and the reality of human existence. This is convey in the ending sequence through the use of the longshot of Laura’s burning body and then pan up into the sky. This creates meaning as the long shot shows Laura’s disconnection from the worlds as she dies, suggesting how she never really belonged to it and then the audience watches her soul/ humanity drift off into heaven or the unknown as we look up in a low angle shot of the bank sky, possibly a symbol for a tabula rasa, suggesting our existence is based upon a never ending cycle of humans being reborn only to live this life.
In terms of the film Moon, narrative structure contributes to make meaning in the film through its use of binary oppositions, such as technology vs humanity. Through the film’s narrative we see Gerty develop as a piece of artificial intelligence, for example in the opening sequence through the use of mise en scene Gerty appears graffitied and littered as well as the fact he looks almost like a photocopier with his disk tray being used as a coffee cup holder. This creates meaning as Gerty is shown to be neglected and uncared for, perhaps showing, how similar to Sam, he’s being treated just like a robot with no humanity or deeper emotions. Similarly to this Sam is presented to lack humanity as he is seen running aimlessly on a running machine getting nowhere as if he were a lab rat or on a hamster wheel in a long point of view shot looking into Sam from the outside. This comments on the theory of Marxism, suggesting how the ruling class use their control of economic power in society, like Lunar Industries o gain social dominance, meaning these ideas as therefore presented as common sense to then become exploitative and unequal, given way Sam never questions his place on the moon. However this changes as in the ending scene Gerty helps Sam escape, showing how emotions can’t be defined by whether you’re a machine or human. This is later supported as Sam recognises his humanity by personifying Gerty as a human as he says ‘we’re not programmed, we’re people.’ Overall this shows the development of technology and humanity through the narrative, acting as a key ideological binary opposition that creates meaning around the theme of humanity and questions the emotions behind machines like artificial intelligence.
Next, one narrative device used in moon to create meaning is the use of ideological point of view and perspective. For example in the middle fight sequence the protagonist shifts as we are continuously aligned with both Sam’s perspectives through the use of mid POV shots, implying a lack of emotion between the character, emphasising how they themselves are turning into machines and robots only designed to work instead of feel emotions. However as the narrative continues we are shown an increase in closeups of their faces, using a hand held camera to increase emotional intensity, which become more frequent as the tension and the character’s anger build, perhaps demonstrating how they are making a stronger connection with their own emotions. This creates meaning, in terms of social contexts, as the two exploited working class people share their identity but however chose to fight when they could be fining as solution to their plight, suggesting the value of money and profit is worth more than humans. In terms of performance we are aligned with new Sam as he appears as revolutionary, inquisitive and provokes change, whereas old Sam is seen in a state of denial, complacent and has his world view picked apart. This supports the use of POV shots, as we therefore see more of new Sam’s face and emotions thus aligning the audience with his change in thoughts, creating meaning and a response to his revolutionary and rebellious ideas.
Lastly, another narrative device that contributes to create meaning in the narrative of Moon is the argument whether the film had an aperture or closed ending. This can be argued, for example in, in terms of cinematography in the ending montage sequence we see a closed ending for old same by using a handheld camera we sympathise and align with both Sam’s, however as old Sam loses consciousness the camera focus shifts to new Sam, showing how we are moving on as the narrative comes to a close for him. It is debatable whether the film has an open or closed ending for new Sam as we see a POV shot of Sam heading back to earth as the camera shakes, perhaps to mirror the controversy he faces when he arrives back. This is also supported, in terms of performance, as he is called an ‘illegal immigrant’, showing how he is not accepted as a worker and portrayed as an outlaw due to the fault of the company Lunar Industries. Sound also contributes to make meaning with in the narrative as, through the use of parallel action, we see hear non-diegetic music of a lullaby/ music box/ baby mobile tune, to signify the rebirth of Sam 3 and the old Sam drifting off to sleep and dying. This therefore shows the end of one narrative but also explored the beginning of another, thus leaving the film as an aperture ending for Sam 3.
3. Explore the contexts and external influences on film makers working in Hollywood. Discuss the classical and New Hollywood films you have studied and compare how the films have reflect the times of their production. You may consider exploring the work of Auteurs, studio practice, social/political contexts and culture. [40 marks]
Classical Hollywood and New Hollywood Comparisons Casablanca and Blade Runner (1930-1990)
In this essay I will use auteur theory and exploration of contexts to comment on how the films reflect their time of production, comparing the Classic Hollywood film Casablanca (Curtiz 1942) and the New Hollywood film Blade Runner (Scott 1982) This heavily explores the socio-political issues of society during their time period, mainly reflecting on the way in which society deals with the ongoing anxieties of war. In terms of Blade Runner, the film highlights the historical fears of post-Vietnam in the time of the 80s and ongoing cold war. Casablanca however shares fears of the future and current period of time within the second world war, including personal influences from Curtiz’s European background, acting as propaganda to encourage America to join the war efforts.
Firstly, one influence that had contributed to helping the films reflect their time of production is the auteur theory, suggesting that the film makers themselves demonstrate and use the times of production as a signature style. For example in terms of mise en scene in Casablanca, Curtiz uses German expressionism in which he uses motivated functional and directional lighting to perspective the illusion of shadows against blank wall faces in the interior of his sets. This influence could be seen from his personal background of the time as Curtiz was born in Hungary and throughout his career leading u to Casablanca produced films in multiple European counties such as France and Germany. However this could also link to political contexts of the time during the second world war against Germany, commenting on the influence and power of the Nazi’s in Casablanca, suggesting the dominant feature in the film. Similarly Scott uses the recurring theme of historical events as a signature style, incorporating themes such as identity and technology in his other work. Specifically in Blade Runner the reoccurring theme of technology, reinforces the social and political fears of the current times revolving around living in fear of the potential development of artificial intelligence and robotics. In terms of performance in Blade Runner, replicants, such as Batty, are seen as corrupt, self-serving, manipulating technological advanced used to enhance the governments profit and power, perhaps mirroring the power of nuclear missiles at the time and emphasising the socio-political ills of their society. When comparing the cases of both Casablanca and Blade Runner one form of auteurship they both share in common is the use of the searchlight motif to suggest the theme of surveillance. This is used in both films to highlight the social effects of the war and the concept of no privacy throughout. An example of when this is seen in Casablanca is in the flashback sequence when Rick is sitting in the café before Ilsa arrives. This creates meaning to show how he is under constant surveillance of the Nazi government bit also could show how he can’t keep his secret hidden forever from Ilsa- the motivated high key lighting being used to show a conflict of emotions and double ideological meaning. Similarly with Blade Runner Scott commonly uses the searchlight to suggest how LA city is under constant surveillance, depicting them of their human rights, as well as possibly suggesting that Deckard cannot hide from his truth as a replicant forever. This is also supported by the fact that in the ending sequence the searchlight gives the impression Deckard is always being watched by Batty, even when he’s not on screen, creating a feeling of discomfort and apprehension, thus mirroring the feeling the audience would have felt during this period of events.
Next, similarly one social influence of Curtiz and Scott in Hollywood that reflect their times of production is the fear of the effects of war, for example the theme of escapism in which both films comment on the desire to escape to a new idealised world. In terms of Casablanca, the recurring plane motif seen in the opening sequence using a POV shot as well as in the ending sequence as Lazlo and Isla escape to America, suggests how America is portrayed as the promised land fulfilling everyone’s needs of liberty and independence. Linking this to popular social views at the time, America is presented as the world’s only hope to win the war, implying to escape to it will bring an unlikely however promised happiness and joy. Also in Blade Runner the ‘chance to begin again’ is advertised in the opening sequence as a blimp hovers above LA. This is suggesting how off-world colonies fulfil dreams of escape and pleasure, whilst simultaneously destroying the world, perhaps predicting the social disaster that will come in the future as well as expressing concerns and fears of the MAD theory in the cold war will destroy the world, thus promising escapism to a new idealised life. Another social issues that the films share in common that reflect the times of their production is the concept of immigration. For example, in terms of representation, the opening sequence of Casablanca presents a multicultural society and cast, demonstrating the immigration crisis in Casablanca. As well as using the opening montage sequence, in which documentary footage is used, to sympathise with the plight of the refugees that travel to Casablanca, thus linking back to the idea of escapism In comparison, Blade Runner highlights the effects of post-vitamin war, emphasising the mass immigration movement of immigrant from south east Asian to the US, represented in a mixed cultural society, portraying dominant Asian influences such as food and neon dragon signs. In the opening sequence we see mostly Asian and Hispanic people living on the crowed ground levels of the city while the ruler class live high above the city in pent-houses, also stressing the impact the class divide has socially on immigration during the period the film was made.
In terms of political contexts that reflect the film makers influence of times of their production, the concept of fear of war is highly explored in both films, acting as the main ideologies behind their meanings. Firstly in Casablanca, the political anxieties of American isolationism are shown in the middle sequence as Rick says ‘I bet they’re asleep in New York’, acting as a propaganda for the U.S to join the allied war efforts. In terms of representation, Rick acts a symbol for the U.S foreign policy through his performance, as he is tough and cyclical at the start, maintaining an isolated/ neutral stance however by the ending develops into a self-sacrificing and willing person to join the war effort. Political contexts can also be explored in the film based upon the second world war through mise en scene. For example in the opening sequence we see the date of pearl harbour written on the cheque which Rick signs as taking place four days leading up to pearl harbour, reinforced the involvement of America’s support for an allied war effort. In comparison Blade Runner also comments on similarly political issues around post-Vietnam war, one being the failure to defeat communism during the cold war. This is suggested as we see LA in Blade Runner living under the rule of a right wing dictator. This creates meaning and reflect the time of production as it emphasises the peak in communist society, shown through the mistreat of the replicant workers as they demands equality and revel as a result of it, portrayed through replicants Batty, Zorah and Pris. As well as exploring the social effects of political issues surrounding soldiers with PTSD, presented through Deckard being detached from society, violent and not able to form lasting relationships. Another interpretation of this could be to reflect the 80s period at the time, specifically demonstrating neo-liberalism through the obsession with commodities and image obsessed leader, like Regan. This contributes to the common use of neon billboards advertising companies such as coca cola and TKD in order to shake off post war concerns.
Lastly, studio and production contexts can also by influenced by their time of production due to limitations such as war affecting budget and influence. An example of this is in the opening montage sequence of Casablanca, an establishing shot of the globe is used as well as documentary reel footage due to the limited budget. This reflects the period in which the film was made as there was limed funding for propaganda films made to support the war effort, also linking to the use of smoke to hide the set. In Casablanca smoke was typically used in the ending sequence to hide the fact that they were filing in a set, once again explaining the lack of resources in order to film and small budget. Smoke was also used in Blade runner to hide the Hollywood hills in the background, however mainly to reflect environmental concerns of the time, suggesting the reliance of fossil fuels humans will have in the future, thus displaying concerns over an environmental disaster. On the other hand Blade Runner was influenced by new Hollywood studio production European influences such as Italian- Neo Realism, the idea of stories being set amongst the poor working class. This therefore stresses the immigration issues at the time leading to the class divide and, in terms of production, signified the collapse of the studio system for new Hollywood.
Emma Coe Film Studies 