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Pan's Labyrinth

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Angelli Camille

on 26 April 2013

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Transcript of Pan's Labyrinth

Pan's Labyrinth (2006) Director Guillermo del Toro Synopsis and General Themes Microanalysis Macroanalysis General Themes and Analytical Approaches Macroanalysis Synopsis Film Information Characters The Director's Biography Film and Director Information Written/Directed by Guillermo Del Toro Born on October 9, 1964 in Guadalajara, Mexico
Raised by his grandmother in a strict Catholic household
Found an interest in filmmaking at eight years old
He went on to study visual and special effects under Dick Smith (The Exorcist, 1973) and began screenwriting and making his own short films.
At 21, he produced his first feature film, Doña Herlinda and Her Son.
In 1993, del Toro received his big break when his film Crono won nine academy awards in Mexico.
Besides Pan’s Labyrinth, del Toro has directed films including Blade II, Hellboy, and The Devil’s Backbone. Set in 1944, post-Civil War Spain, Ofelia, her pregnant mother, and her new stepfather Captain Vidal are traveling to find anti-Francisco Franco rebels. At the mill where Vidal is stationed, Ofelia meets the Faun who gives her three tasks to complete to determine whether Ofelia really is the princess of the Underworld. She is unable to complete all three tasks, angering the Faun. All the while Vidal becomes increasingly cruel and vicious. Eventually, Ofelia is able to escape along with Vidal’s housekeeper Mercedes, who is also a rebel spy. The Faun gives Ofelia one last chance of proving herself by taking a drop of her baby brother’s blood but she refuses. Vidal eventually finds her; he takes the baby and shoots Ofelia. Ofelia’s sacrifice for her innocent brother proved her place as Princess Moanna. Ofelia reincarnates as Princess Moanna and goes on to rule the underworld with a kind and fair heart. Gender Roles and Resistance
Perpetuation of Xenophobia
Effects of Trauma
Violence inWar and Conflict 1) Post-Spanish Civil War during the Franco dictatorship 3) Mercedes (the housekeeper) as a rebel spy challenges perceptions of women’s roles in war. Del Toro wanted there to be a possible correlation between the Pale Man and the Faun, as the same person played them. Although this connection was not expressly shown in the film, he wanted it to be somewhat ambiguous as to whether or not you could trust the Faun. Mercedes even tells Ofelia that her mother always told her to be careful when it comes to Fauns. The correlation between the fantasy and real worlds shows an interesting combination, that neither can be separated from the other, that perhaps Ofelia is not imagining these things to escape the reality of her situation, but perhaps it is really the adults who simply can’t see the magic because they refuse to. Presentation by: Angelli Ancheta, Lauren Ing, Chae Kim, and David Mauro http://collider.com/wp-content/uploads/pans-labyrinth-poster.jpg Takes place in Franco’s Fascist Spain in summer of 1944, where rebels are urged on by the news of a successful landing of Allied forces at Normandy against the Germans. The movie was filmed in a Scots Pine forest situated in the Guadarrama mountain range, Central Spain. The film uses subtitles for its translation into other languages, including English. Del Toro wrote them himself, because he was disappointed with the subtitles of his previous Spanish film, The Devil's Backbone. In an interview, he said that they were "for the thinking impaired" and "incredibly bad". He spent a month working with two other people, and said that he did not want it to "feel like... watching a subtitled film". Jones spent an average of five hours sitting in the makeup chair as his team of three people applied the makeup for the Faun, which was mostly latex foam. The last piece to be applied was the pair of horns, which weighed ten pounds and were extremely tiring to wear. The legs were a unique design, with Jones standing on eight-inch-high lifts, and the legs of the Faun attached to his own. He also played the terrifying Pale Man, which took a lot of time to put on every time for filming as well. Ofelia/Princes Moanna Captain Vidal Mercedes Faun 2) Captain Vidal (the stepfather) is a strict and utilitarian Falangist and runs things in a very orderly fashion to maintain appearances. 4) Ofelia experiences childhood trauma and deals with it by escaping to the world of fantasy 5) Xenophobia between the rebels and the Army at the mill. Del Toro moves between many of these scenes with a moving foreground wipe -- an area of darkness, or a wall or a tree that wipes out the military and wipes in the labyrinth, or vice versa. This technique insists that his two worlds are not intercut, but live in edges of the same frame. The colors in the film are very drab and dark, until the very end when Ofelia goes into the kingdom and becomes the princess. Discussion Questions 1) How is the idea of choice rendered in the two clips? How do the characters interpret it?
2) How are light and dark colors played out in the film? What is significant about this?
3) What can you say about using fantasy vs. reality dichotomy in the film? What does it say about war? 4) How do Mercedes, Ofelia, and Ofelia's mother represent the strong female archetype? Are their roles or actions familiar to the characters we've read about in class?
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