Global Practice Question

With close reference to the two films you have studied, explore how mine-en-scene and cinematography is used to create meaning (40 marks)

Mise en scene and cinematography are used in Pan’s Labyrinth and House of Flying Daggers to create meaning as both films use specific colour pallets and lighting elements. In Pan’s Labyrinth Del Toro utilises colour to establish distinctively different worlds, juxtaposing the fantasy world from the real world, however these colours begin to cross as violence and chaos starts to appear. For example Del Toro uses low key lighting with a blue/ grey colour tint, typical of when Captain Vidal appears in a scene to reflect the harsh and cold fascist regime. This contrasts the opening sequence when a similar colour pallet is used to represent the under-world, as the narration states ‘lies no pain’, thus using dramatic irony to contrast the two worlds. In contrast to this, high key lighting, along with warm yellow and gold tones are used when we see Ofelia in the fantasy world, giving the impression that this is where she belongs as a princess. Yimou similarly explores colour in a unique way that emphases the impressionist ‘free form’ style, which doesn’t conform to the typical style of traditional Chinese cinema. Especially in the opening sequence Yimou uses high contrasting high key lighting and a bold saturated colour pallet, consisting of pinks, reds and blues. This is important as it holds cultural and artistic significance to represent the emergence of the Tang Imperialist Dynasty AD859, showing a grand and wealthy setting in the Peony Pavilion.

In Pan’s Labyrinth one way in which mise en scene is used to create meaning is through the use of religious iconography. An example of this is during the Pale Man sequence in which we see the bloody slits in the Pale Man’s hands, symbolic of a stigmata. The stigmata reflects the religious views during the Spanish Civil War, linking to the churches conservative values that align with Franco’s fascist views of women, family and homosexuality. This is significant as it shows they turned a blind eye to the atrocities and are thus complicit to what happened, representing how the blood and deaths are on the hands of the church. Also in this sequence, we see religious connotations through the gothic architecture resembling a church, specifically the fire in the scene which appears as if it is a monster with eyes and a mouth. This juxtaposes hell and heaven, linking the binary oppositions of Christianity and death. This connotes to the fact that the bible is a fairy tale itself and draws parallels between the bible and the Pale Man.

Also in the Pan’s Labyrinth mise en scene is important as we see the reoccurring use of fallopian imagery, linking to how the film is a bildungsroman. In the Pale Man sequence we are shown a close up of red fruit, specifically a pomegranate, symbolising Ofelia’s femininity, maturity and fertility. This links to the biblical reference of Adam and Eve, suggesting how by eating the piece of fruit Ofelia is rebelling, foreshadowing her actions at the end of the film, concluding her to be the true princess of the fantasy world, similar to how the rebels rebel against Captain Vidal. Fallopian imagery is also seen in Ofelia’s storybook, the carvings on the walls of the Pale Man’s lair and the Labyrinth, linking Ofelia’s feminine nature and her fairy tales, two main themes in the film.

In terms of mise en scene and cinematography in Pan’s Labyrinth, political imagery is used to comment on the effects of the Spanish Civil War and the facist regime, for example the use of the low-level tracking shot of the pile of grey children’s shoes. This acts as a visual metaphor for the suffering during the holocaust at the hands of the fascist regime. This creates the binary opposition of life and death, demonstrating the lack of mercy or regard to human life Franco had, presenting the facist regime as cruel and wrong. This links to political and historical contexts as over 500,000 people were brutally killed in the Spanish Civil war in 1936 and over estimated 6 million were killed in the holocaust. Similarly a graphical match cut is used in the Pale Man sequence to compare the Pale Man and Captain Vidal sitting in front of the banquet, relating to the previous scene where we see a similar image. This presents the Pale Man to be embodying Vidal and therefore Franco at the head of the table, commenting on the greed and selfishness of the facist regime. This links in with the appearance of the Pale Man as his skeletal and demonic-like figure represents the famine and starvation that Spain faced as a result of the greed of the fascist dictatorship. The banquet full of red food is symbolic of the bloodshed and foreshadows the danger and power of the Pale Man. Another way in which political imagery is used is through the Point of view shot inside the key hole in the Pale Man sequence. In this scene Ofelia choses the left keyhole suggesting how she is opposed to the facist regime and right wing political parties. However the left key hole appear frailer and more fragile, suggesting fascism has overpowered and weakened Spain as a country and its political power. This links in with historical and political contexts linking to Marinetti’s manifesto about the future of fascism which explicitly states its hatred of all things women, as well as it’s declaration citing its ‘contempt for woman,’ giving indication to how Captain Vidal treats Ofelia.

In terms of the directors influence of Cinematography and Mise en scene, Del Toro often made referenced to mythology and fantasy. For example during the Pale Man sequence, the paintings on the walls show the the pale man eating children, acting as an allegory for ‘Saturn devouring his son’, a painting by Francisco Goya. This also represents Franco’s hatred towards women as later on the Pale Man is seen eating the female fairies. This evokes the violence and true morals of traditional fairy tales and pure fables. Del Toro’s use of cinematography is also inspired by surrealist photographers like Man Ray. In the opening and ending sequence, we see the camera spiral using a zoom from long shot into an extreme closeup of Ofelia’s eye. This connects the real world and fantasy world together, as the eye symbolises the gate way to Ofelia’s soul, suggesting her soul is returning to the fantasy world, as well as the fact that the camera tilts upwards to represent re-incarnation and rebirth. This offers the debate whether this is all happening in Ofelia’s imagination or memory.

In House of Flying Daggers cinematography and mise en scene is used to create unique and highly stylised visuals, for example the use of point of view tracking shots on objects like the Lotus seed, in order to emphases the kineticism of the camera movement. This uses close ups as the camera follows the object showing how we are more immersed in the action and compliments the fantasy aspects of the film. This is also used in the bamboo fight sequence as we see a similar shot tracking the movements of the dagger, bringing it to life and highlighting its importance. Similarly cinematography is used to create meaning through the use of dynamic camera angles, for example the use of the crash-zoom from long shot to extreme close up of the characters to draw attention to their eyes and facial expressions, typical of the Wuxia genre. This also uses action reaction shots to show the connection between Mei and Jin, linking to the romantic sub-genre of the film, specifically using long shots to emphasise the triangular and symmetrical imagery, suggesting how they are caught in a love triangle with Leo. Dynamic camera angles can also be seen, specifically using dutch camera angles. These are more common in the bamboo fight sequence, but are also used in the opening as Mei is sexually assaulted by Jin. During this scene the camera is disrupted from being fluid and smooth to a shaking and jarring close up dutch angle using a handheld camera to mimic the chaos and violence. The use of camera angles could be influence by the 1971 film ‘A Touch of Zen’ which uses dynamic shots and extreme long shots.

In terms of mise en scene we see ornate carvings and grand settings, particularly in the Peony Pavilion, to showcase the traditional Chinese architecture, wealth and high class setting, despite its nature of business. This links to the Tang Dynasty time period as is referred to as the golden age known for its art, painting and ornate architecture, as well as its economic growth due to its development in culture. Similarly props like the lotus seed is used, symbolic of a full wallet and traditionally meaning wealth and money, linking to the traditions of Chinese culture. We also see ornate cravings on the drums, linking to the circular imagery as Mei is entrapped in a prison of drums.

Also in House of Flying Daggers feminine imagery is commonly used, for example the reoccurring butterfly motif in the Peony Pavilion. The butterfly is symbolic of new life and transformation, suggesting Mei has the ability to transform into a warrior, while also emphasising her delicate and gentle female nature. The butterfly is influenced as Mei begins to fight Leo, suggesting how Mei challenges the historical dominance of Peking Opera, showing the evolution of gender roles which is central to the narrative. The blue colour of the flower represents undying love in traditional Chinese culture, foreshadowing her relationship with Jin. Similarly, floral patterns are used to symbolise Mei’s powerful connection with nature and the significance of changing seasons, foreshadowing the ending sequence. As well as this, Mei says ‘Real flowers bloom in the wilderness’ suggesting that Mei is true to herself and unlike the other girls in the Peony pavilion as it is implied that they are fake and artificial.

In House of Flying Daggers, the Wuxia genre iconography is used, in particular the motif of the sword. In the opening shot, the swords are the first thing we see, initially establishing conflict and the war setting, however this object is also is symbolic of the power imbalance between genders as the sword is presented as a masculine object, acting as a phallic symbol. In the opening scene we see Jin use the sword to undress Mei before sexually assaulting her, sexualising her. The daggers and swords are used throughout the film as Yimou pays homage to the history of Chinese martial arts films known as ‘Wuxia’ as it is said ‘swords, magic, fantasy and the supernatural are central to wuxia mythology.’ This focused on heroes who followed codes of honour and chivalry defending the helpless against corrupt leaders and officials, linking to Mei and Jin. It is said that Yimou ‘blurs the line between dance and combat,’ as Zhang stages the confrontation in a much more aestheticized way which can be seen in the bamboo sequence. This could be influenced by the 1967 film ‘Dragons Inn’ due to its highly stylised and choreographed movements of the Wuxia genre.