Meaning making and mise en scene in ‘Pan’s Labyrinth’
One example of how mise en scene creates meaning in ‘Pan’s Labyrinth’ directed by del Toro is the horrific and gruesome images around the paleman’s room. Not only does these images aesthetically encourage a gross and scared feeling in the audience, but they contextually link to Goya’s painting of Saturn eating his son, which links to how the film sometimes references world war 2. This is because Nazi’s often targeted children, as they believed this was cutting Judaism off at the source which some audience members might link to the context of Goya’s painting, as he ate his son at the fear of them growing up and overpowering him. This would make sense as it’s not the only world war two reference in the scene. The mise en scene of the pile of shoes can be interpreted as being a reference to the holocaust and the piles of clothes, as well as being symbolic of the incorrect princesses and evoking tension in the audience as it shows that Ofelia is in danger. Another way that mise en scene evokes the feeling of tension in the audience during the paleman scene is the red food. This is because red has the connotation of violence and anger. This is an example of del Toro’s common aesthetic choices, as he tends to use colour to create meaning in his films such as in ‘The Devils Backbone’, which he describes as the sister film to Pan’s Labyrinth, partly because they both explore the theme of how wat effects children. The sense of danger in the scene that is brought about through mise en scene such as the red food links to the representation of children, as Ofelia continues and completes the task despite it being scary, therefore representing children as strong and able to do difficult things.
Representation of Gender in ‘Pan’s Labyrinth’
At the beginning of del Toro’s ‘Pan’s Labyrinth’, the representation of women is that they need help from men. For example, Carmen, Ofelia’s mum, gets help from all males when she has pregnancy pains and problems. Plus, they are also shown as submissive through Carmen, as she sits in the wheelchair as it’s what Vidal, a male, wants her to do. This negative representation of women was built up to be brought down later in the film with characters like Ofelia and Mercedes. For example, Ofelia’s performance in the pale man sequence. The mise en scene of the blade that she finds, and the non-diegetic fantasy sharp sound that comes with it, aesthetically emphasises the danger of the situation to the audience. Other things that aesthetically bring tension and fear to the scene and audience are mise en scene like the red food, as red has connotations of danger and violence. Plus, the horrific images around the room which contextually link to Goya’s painting of Saturn eating his son. Ofelia, a girl, manages to survive this scary situation as well as not using violence, such as the dagger that she finds. This is a positive representation of women as they are shown as non-violent as well as brave and strong in a scary and tense scene that was also made tense with the action reaction shots of Ofelia and the paleman and the parallel action of Ofelia and the timer, creating time pressure and tension in the audience.
Meaning making and cinematography in ‘Pan’s Labyrinth’
The cinematography in the opening of Pan’s Labyrinth creates meaning in many different ways. For example, the blue low-key lighting at the very beginning when Ofelia is shown dying in reverse has connotations of coldness and sadness. It’s also dramatic irony as we know as an audience that Ofelia is going to die. This links to the theme of how war effects children, specifically the Spanish civil war as the film was set shortly after it, as Ofelia is shot by Vidal which we learn later who is a fascist. This links to del Toro’ aesthetics, as he often uses colour in his work to make meaning and explores how war effects children, such as in his “sister film” to Pan’s Labyrinth ‘The Devils Backbone’. The blue low-key lighting’s aesthetically negatively feel is emphasised to the audience when contrasted against the high key slightly yellow lighting once we are above ground. The opening also includes close ups of the stairs that the princess climbs up, this links to the production context and how del Toro took inspiration from the initiation wells when designing this piece of mise en scene. After the fairy-tale voice over that links to these close ups, we get a close up of Ofelia’s fairy-tale book with the silhouette of a girl, suggesting to the audience that Ofelia is the lost princess.
Social/political contexts in ‘Pan’s Labyrinth’
Pan’s Labyrinth directed by del Toro is a film set after the Spanish Civil War, which lasted from 1936 to 1939. Because the film is set shortly after the Spanish civil war, there are many explorations of politics and the war throughout the film. Such as, the symbolism of left- and right-wing politics throughout the film. Captain Vidal, a fascist, shown by the fascist symbol on the cars, favours his right hand symbolising right-wing politics. For example, his performance of shaking with his right hand, and telling Ofelia she should too. Too contrast, Ofelia favours the left symbolising left wing politics. Not only does she shake with her left hand, but during the paleman sequence, the mise en scene of the book she is given by the faun, shows her that she should open the middle lock, this is shown by an image of her left hand covering the middle lock. However, Ofelia ignores this and the fairy’s advice and opens the left lock which is the correct one and allows her to complete the second task. Not only does this add to the theme of disobedience but it also links to the representation of children as it’s showing hope in the future generation and hope that the children will grow up and fix the political problems. This links to how the effects of the Spanish Civil War lasted after it ended in 1969, it didn’t just all stop suddenly. This is explored in the film, as del Toro explores the theme of how war effects children which is a common theme that he explores, often through use of colour. He also does this in what he describes as the sister film to Pan’s Labyrinth, ‘The Devils Backbone’.
Aesthetic effects in ‘Pan’s Labyrinth’
Colour is a technique that del Toro often uses in his movies to get across meaning aesthetically, it is an example of one of his auteur signatures. During the ending of Pan’s Labyrinth, the blue and low-key lighting when Ofelia dies has the connotations of coldness and sadness, aesthetically emphasising the cruelty of Vidal and the Spanish Civil War which the film was set shortly after to the audience, as well as aesthetically evoking sadness. This contrasts to the yellow and high key lighting in the fantasy world after she dies, which aesthetically has happy connotations that makes the audience feel as though she is safe and away from the effects of the war now, and the people involved. This is a common theme that del Toro explores in his movies (how war effects children), he also explored this theme in what he calls the “sister film” to Pan’s Labyrinth, ‘The Devils Backbone’. During the endings sequence, there are many references to other movies. Such as, the mise en scene and close up on Ofelia’s red shoes. Not only is red associated with the fantasy world throughout the movie, but it contextually links to ‘The Wizard of Oz’, and how tapping the shoes takes Dorothy home. The performance of Ofelia tapping the shows aesthetically makes the audience feel like she is now at how and where she should be. The positive connotations of the cinematography such as the high key lighting also get across this feeling/idea.
Georgia Newman Film Studies 