Pan's Labyrinth: Revision Guide

Global Film (COG & PL)
- Film Form
- Meaning & Response
- Contexts

https://jordanilanjcossfilmstudies.blogspot.com/2017/11/pans-labyrinth-essay-representation-of.html -> Representation of Gender Essay

Explore how either performance or mise-en-scène create meaning.
Performance:
- Discussion of performance in terms of casting, the use of voice and non-verbal gesture, performance style, interaction between actors and the broader 'choreography' of movement
- Consideration how these aspects of performance convey meaning, communicating messages and values to spectators
- Recognition aspects of performance may give rise to multiple connotations and consequently different meanings and competing interpretations.
- May consider the ideological implications of performance.

- Look at stance of character; what does it tell us about them
- Facial expression: what does it tell us about character within scene
- Delivery of the dialogue: what does it tell us about character within scene
Cinematography: Scene 3
Scene: introduction of Vidal to Ofelia
Theme/representation/meaning: showing the tension between the two characters

- Ofelia visibly shaken when Vidal moves her hand, her shoulders shuddering conveys that her stance is shaken by the fear of Vidal as Ivana Baquero's performance represents that Ofelia feels threatened by Vidal and refuses to accept him as her father. Her facial expression however remains still though which depicts that Ofelia knows she has to oblige to Vidal's rules or will face drastic consequences.
- Sergi Lopez makes Vidal seem imposing during this scene through his stance. He looks down at Ofelia when he shakes her hand which depicts that Vidal has a high confidence of himself and believes that he is of upmost importance, especially in comparison to Ofelia. Lopez also asserts his character's confidence in this scene when he looks away from Ofelia as his facial expression infers that he feels that he has achieved a sense of control over Ofelia.
Mise-en-scene: Scene 7
Scene: Ofelia goes to the stone where the insect flies out of at the start of the film
Theme/representation/meaning: Ofelia's imaginative and inquisitive nature

- Baquero looks at the stone and then looks around both sides of the forest; the stance of Ofelia leads to her wandering around the forest so through performance, Baquero emphasises her character's inquisitive nature as the stone has drawn her into an adventure. Baquero's facial expressions also convey a puzzled look when she heads towards the bigger stone which conveys that she is focused on the task that she has in her mind.
- Baquero's face lights up with a smile when she watches the insect move around the forest; Baquero's performance through her facial expressions tells us that her character is experiencing wonderment in this scene as she is compelled and interested by this insect as her eyes are completely focused on the insect.

Mise-en-scene:
- Discussion of mise-en-scène in terms of, for example, setting, costume, props and staging
- How these aspects of mise-en-scène convey meaning, communicating messages and values to spectators
- Recognition aspects of mise-en-scène may give rise to multiple connotations and consequently different meanings and competing interpretations.
- May consider the ideological implications of mise-en-scène.

- Colour- dull wash of grey/navy blue to create a frightening, and unpredictable atmosphere,- Hidden knife resembles how the women have to hide their true selves (her power, and cunning skill) as they are seen as subordinate to the men- this directly contrasts the scene- the reveal of the knife shows the reveal of Mercedes true self.
- The hammer - imagery of Vidal taking down communism, shows the fascists have complete control -> makes audience more fearful of them, Vidal dropping the hammer shows the fascists losing their power
- Vidal stands over Mercedes. She has a kitchen knife to show her strength and bravery, or to show that she was expecting something like this would happen to her.
- Vidal undoing his shirt as the scene begins how he isn't threatened by the situation/Mercedes. 

Pale Man Scene:
- The appearance of the pale man: nails stained with blood & the eyes in hand present a threatening image to the audience and the blood represents danger will occur in this scene.
- The pile of shoes in the room represent the Pale Man's evil intentions as this depicts that he has killed children before; this is also emphasised by the paintings of him eating children which represents the Pale Man as malevolent and violent.
- The paleness of the Pale Man represents the colour of the leader of the Church, the Pope; Del Toro uses this to represent that the Church are guilty and as impure as the fascists - the Pale Man has this banquet but still eats the innocent, the Catholic Church have the wealth but still threaten people in Spain with threats & violence.
- The red & purple colour scheme of the food represents blood, foreshadows the danger that the food will cause.

Hunting Scene:
- Props: guns, represent the violent nature of the fascists.
- Clothes represent the difference of affluence between the fascists and the hunters. The fascists uniform, in particularly Vidal's, is in perfect condition which depicts the fascists wealth that they have earned during their regime and their need for perfection in all scenarios. The clothes of the hunters are bland in comparison to the fascists as they are wearing normal clothes which conveys the juxtaposition of the people in Spain trying to survive by just getting on with life and the fascists obsession with uniformity and control over Spain. The uniform also infers how the fascists are affluent and they like to show their wealth outwardly as they are proud of the 'achievements' that the fascist movement has brought them.

Del Toro has fashioned a reputation for a detailed and idiosyncratic approach to miseen-scène. Most of his production designs originate from sketch work that he produces in notebooks. He is consequently someone who prefers the physicality of animatronics and model work to CGI. As the film received Oscars for its Make-up and Production Design we’ll focus here on these areas. 
• Make up: 21:11: The first close-up of the Fawn in the centre of the ancient Labyrinth. It is he who acts as Ofelia’s guide and Proppian dispatcher/donor. He tells Ofelia that she is in fact, Princess Moanna, daughter of the King and Queen of the Underworld. The Labyrinth is the last remaining portal between that kingdom and her current reality. In order to pass through the portal and prove that she has not become entirely mortal, she needs to complete three tasks – all of which will appear before the full moon in a magical book called the Book of Crossroads. Later he is revealed as the benign advisor of the Fairy King and Queen. However throughout most of the movie we are never quite sure of his intentions. The sinister blue light seen above certainly develops this idea of his possible malignity. The makeup and design work is clearly remarkable. 
• 57:31: The standout sequence in the film is that involving the monstrous Pale Man who, woken by Ofelia’s transgression, chases her from his lair. The use of make-up and CGI achieves a truly terrifying creation (see more below). This first close-up of the Pale Man who is seeing Ofelia for the first time is truly horrifying – not least because of the eerie juxtaposition of eyes in hands. The fact that the Pale Man later devours two cute fairies makes him even more detestable. 
• Production Design: 04:45: The first proper hint of a gothic production design – a remnant from an older time, a ceremonial standing stone, indicates that this film will unleash primal forces that will haunt the present and derange it. Ofelia gives the stone its right eye back (having found it in the path nearby) and an insect – a very large cricket emerges from its stone mouth. The insect will later transform into a Fairy. 
• 18:37: The locust that has been following Ofelia since the start of the film transforms into a friendly Fairy. Now we know the movie is a magical-realist text – having just witnessed sickeningly violent murder, we are now in the land of make-believe. Note the other worldly blue suggests that Ofelia may be asleep in her mother’s arms. 
• 34:49 : Ofelia completes her first task – dealing with a giant toad that lives under a great tree in the forest. The model of the toad is particularly realistic and visceral – fitting Ofelia’s descent into the mud and ooze underground. Del Toro voiced some of the sounds of the Toad himself and similar animatronics and CGI was used in the construction of the Fawn, The Pale Man and the Mandrake. 

Another film that uses mise-es-scene to create meaning is Pan's Labyrinth by Guillermo Del Toro. This is especially prevalent in the scene in the Pale Man's lair due to the appearance of the character. Del Toro presents a threatening image of the Pale Man to the audience; his blood stained nails and eyes for hands creates meaning as this alerts the audience that he is a villain and the use of blood foreshadows that danger will occur in this scene. This impression is emphasised by Del Toro's use of mise-en-scene as he shows a pile of shoes in the corner in the room and paintings of the Pale Man eating children which depicts his evil intentions and presents to the audience that this is a malevolent and violent character. Del Toro's presentation of mise-en-scene in this scene also presents religious connotations as the paleness of the Pale Man represents the colour of the Pope; Del Toro uses this to represent that the Church are as guilty and impure as the fascists as the Pale Man has a banquet but still eats the innocent whereas the Catholic Church have the wealth but still threaten people in Spain with threates & violence. Del Toro also uses mise-en-scene to criticise the fascists in the scene where Mercedes escapes from Vidal as Vidal uses a hammer which conveys imagery of Vidal taking down communism which shows the fascists have complete control. This makes the audience fearful of Vidal but his dropping of the hammer symbolises the fascists losing their power as Del Toro uses props in this scene to convey the character's statuses. Mercedes hides a knife at the start of the scene before revealing it during a crucial moment; the reveal of the knife parallels to the reveal of Mercedes true self and represents how women had to hide their true power as the fascists saw them as subordinate to the men. Del Toro uses mise-en-scene in Pan's Labyrinth for character development and to depict the dangers of fascist regimes.

One element Del Toro uses in order to construct representations in Pan's Labyrinth is mise-en-scene. This is presented through the characters of Captain Vidal and Mercedes when Vidal turns his back to Mercedes as he is inspecting the torture devices that he is planning to use on Mercedes. This conveys that the fascist regime is violent and brutal and that they will harm anyone of any gender in order to eradicate any threats to their regime. The use of the weapons in this scene also conveys the differences in gender in Spain in 1944 as Captain Vidal turns his back to Mercedes which conveys that he thinks so little of Mercedes as she is 'just a woman' which depicts that women were seen as inferior in patriarchal society as Vidal is happy to be left alone with Mercedes and is willing to turn his back on her as he feels that he can't be threatened by a woman. This also constructs the film's message regarding the representations of gender as Vidal's underestimation of Mercedes allows her to enact her revenge of Vidal as Mercedes uses her invisibility- due to the patriarchal society- to her advantage as Vidal's obsession with power blinds him from seeing the quiet power that women hold in Spain beneath the fascist regime. The hidden knife that Mercedes uses to stab Vidal reflects that women are quietly powerful as the knife represents how the women have to hide their true self in order to outsmart the men in fascist Spain. This allows the audience to sympathise with Mercedes as they root for her during this scene as Mercedes is finally given the opportunity to fight back against the gender restrictions that have been inflicted upon her by Captain Vidal. The weapon of the hammer is also important in this scene; the hammer presents the imagery of Vidal taking down communism which infers that the fascists have complete control in Spain which makes the audience fearful of the atrocities that they are committing, but when Mercedes attacks Vidal, he drops the hammer which represents that the fascists are losing which creates the message that the uprising of women in society allows for the falling of fascism. This also conveys that the male leaders in a patriarchal society are focused on imposing the rules on their regime amongst others and this takes upmost importance over anything else in their lives so Del Toro's presentation of Vidal, a fascist leader, conveys to the audience that the men use violent and brutality in order to convey their power.

Cinematography:

- Close ups of weapons - foreshadows danger/violence
- Framed around Vidal and Mercedes throughout the scene tending to focus on the person in control of the situation, binary opposition changing.

- Heavy saturation - shows how bleak the situation is- High contrast, creates strong patches of over exposed areas on the actors faces, compared to other parts, of the scene. highlighting their emotional state.
- Low angle shot on Mercedes, high angle shot on Vidal
- Low angle for Vidal (@ start of scene) and mid shot for Mercedes shows we are meant to feel more intimidated by Vidal and Mercedes is meant to be seen as invisible and goes with the furniture as if she was meant to be there as the camera is more balanced 
- Low key lighting created by natural from windows and cracks in walls, which focuses on Vidal at the start of the scene.
- Mostly static shots.
- Vidal close up of putting stitches in his mouth.

Pale Man Scene:

- The camera moves away from Ofelia as she enters the Pale Man's lair; conveys how Ofelia is insignificant and is swallowed by the massive surroundings.
- Close-ups of Ofelia and Pale Man. The close-up of Ofelia presents a facial expression of fear which conveys the horror that victims of a patriarchal society go through and the close-up of the Pale Man inflicts fear on the audience.
- Lighting represents the difference between fantasy & reality. Ofelia's room is darkly lit whereas the Pale Man's lair has brighter lighting. This conveys that Ofelia's reality is miserable and despite the danger she faces in her fantasy, she feels more comfortable as there is a bit of light remaining.

- The overall lighting, including the background behind the Pale Man, is very dark which represents the dark atmosphere during this scene.

Hunting Scene:

- Vidal is presented at a low angle which represents that he is more powerful than the hunters as this presents him as threatening and controlling.
- Nighttime setting & dark lighting is used: the lighting represents the cold nature of the fascists and mirrors the dark actions they commit; such as killing the hunters.

- 01:23: The camera zooms into an ECU of Ofelia’s eye and beyond into the black of her pupil. The male narration has a fairy tale styling and we are literally transported, through the zoom and a cross dissolve, into the magical faery kingdom. The suggestion is of course that this world is in Ofelia’s mind…’A world where there are no lies and no pain.’ The blue filter is both otherworldly and cold – befitting the death of a young girl. 

• 02:25: ELS. Stark contrast with the ethereal blue shots of the previous scenes we are in ‘another place, at another time’. The ruins of a church speak of the violence that has engulfed the hot, parched, sun-baked landscape. Ofelia’s ominous entourage arrives in the region. 

• 05:21: The first shot of Captain Vidal is preceeded by his watch. His punctilious, preening precision is mirrored in this watch. It was his father’s, a famous general, and the glass was shattered as he went into battle and died. The watch is then a symbol of Vidal’s macho need to ape his father’s bravery as well as evidence of his own fastidiousness. His attention to detail however involves more than just repairing watches (something we see him do later in the film) – it has a darker connotation in the torture scenes where he clearly delights in the sickening tools of the torturers trade such as skewers and pliers. 

• 02:41: The first two shot. Ofelia and her mum (Carmen). Mum is sickly and pregnant. Ofelia is immersed in a fairy story. Later in the film her mum will tell Ofelia that life is not like fairy stories and that she will have to grow up

Explore how either editing or sound create meaning
Editing:
- Discussion of editing in terms of the shot to shot relationships of continuity editing, montage editing, examples of stylised forms of editing and visual effects created in post-production
- How these editing convey meaning, communicating messages and values to spectators
- Recognition aspects of editing may give rise to multiple connotations and consequently different meanings and competing interpretations.
- May consider the ideological implications of editing.

- As danger is imminent the pace of the scene begins to build (could reflect of the pace Mercedes heart is racing at). The continuous flow disappears.
- By cutting on action, the pace is increased, gradually. Although the cuts do not get extremely fast, creating a blurry scene for the audience.
- Continuous editing to enable the audience to maintain engagement with Vidal.
- Cutaways to Vidal holding torture instruments.
- Extremely long cuts, slowing down the pace.- Simple cuts- not to over complicate the action.- The quick transitions in-between each action and the pace of the editing builds up which reflects on the determination of Mercedes trying to escape.
- The scene begins with continuous shot, we able to embrace and maintain focus in the scene. It completely slows the pace down and builds suspense.
- Pale Man Scene: Continuous cuts to build tension, the continuous nature represents how the Pale Man's torture of innocent children has continued over time which presents a critique of fascism as this juxtaposes to fascist Spain and how their cruelty over others is continuous.
- Hunting Scene: a continuous shot to represent how this a regular occurrence in Fascist Spain.
- The styling of the editing is conventional although a number of diegetic wipes are used or cross-dissolves to and from black – thus forging a link between the real and the fantasy world. One example of this is when Ofelia, in close up lying on her mum’s tum, tells a story to her as yet unborn brother and the shot literally tracks into the womb. 

Sound:
- Discussion of sound in terms of parallel and contrapuntal sound, diegetic, non-diegetic sound, foley sound, examples of expressive uses of sound the relationship between dialogue and ambient sound and the uses of multi-track sound mixing and layering
- How these sound convey meaning, communicating messages and values to spectators
- Recognition aspects of sound may give rise to multiple connotations and consequently different meanings and competing interpretations.

- May consider the ideological implications of sound.

- All the diegetic sound is very over exaggerated such as the sheathing of her knife from her dress. The exaggerated sound creates suspense and builds focus on smaller aspects such as the individual stabs
-Intense sound effect is used when Vidal lifts up hammer to build up tension and we are made to feel uncomfortable and believe Mercedes is in trouble - this mislead builds suspense. We empathise with Mercedes.
- No sound so the audience are independent of their emotions. There are no guidelines to how we are supposed to feel about the scene.
-Quiet non-diegetic music is played when Mercedes is stabbing Vidal to portray retaliation and the audience is inevitably taken aback.
- Sound of rope tying her up is exaggerated and enhanced which suggests how powerless she is and reflects how restricted she is. the rope is a symbol of her inferiority and so the enhanced sound on the rope helps to reflect this- Suddenly a slow chromatic violin scale starts playing, creating tension and fear. The subtle change of notes creates a very uneasy , and unpredictable atmosphere.
- The scene starts with all diegetic sound, all background noises are faintly heard such as a horse and the creaking of the door.

Pale Man:

- The non-diegetic music represents Ofelia's fear of the unknown that she is about to face.

- Very few spoken lines which allows tension to be built naturally; tension is also represented through the ticking of the sandglass which adds suspense to the film as it presents the urgency of the mission.

Hunting Scene:

- The diegetic sound of the hunters crying in pain as they are beaten/watching the other hunter getting killed represents their inferiority in the political system as they have no means to defend themselves against the regime without getting into even more trouble. The diegetic sound also represents the fear of fascism in Spain which conveys that the fascist leaders imposed fear on their subjects to get them to oblige to their rules.
- Gun shot emphasises the brutal nature of the fascists and depicts that they value violence and murder over trying to sort a situation out by talking.
- Non diegetic music starts playing during the attack, represents the tense nature of the situation which also reflects the tense relationship between the fascists and rebels.

16:13: A gruesome murder. Captain Vidal executes two farmers (possibly rebels). The first is killed brutally with the base of a glass bottle – supposedly based on a bar fight Del Toro had once witnessed. Shot in sinister low key light this is our first insight into Vidal’s brutally violent and psychotic character. Prior to this we have seen him as an emotionally cold man, austere and stiff, but this level of violence comes at the spectator from nowhere and is profoundly shocking. It is also a harbinger of the extreme violence that will follow in some scenes – in particular those involving Vidal. As with all scenes of violence it is the sound design (sweetened in post-production) that adds to the horror of the event depicted.

Extra Scene notes that don't fit into the above 4 categories:

Scene 1: Pale Man

Representation - critique on fascism:
- The Pale Man is conveyed as a fascist like leader (Vidal) as the Pale Man is a symbol for brutal oppression in Ofelia's world as he is an obstacle preventing Ofelia from completing her task which juxtaposes with Vidal oppressing the people in Spain (such as Mercedes) under the fascist regime and prevents them from showing an outward display of their belief against fascism.
- The duality of the two worlds allows Del Toro to criticise society by showing the evil nature of these characters; the pale man's frightening appearance mirrors Vidal's personality. They also both kill innocent people and are both blinded by the amount of harm they cause; the Pale Man literally blind & Vidal figuratively blind.
- The Pale Man & Captain Vidal are both shown as indifferent to hurting anyone, including children, which emphasises that no one is safe from these regimes.
- The Pale Man sitting at the head of the table echos back to Vidal sitting at the head of the table; the evil characters have the power in a patriarchal society.

Scene 2: Hunting Scene

Political Representation:

- Political representation of fascism, critique of unnecessary brutality of the fascist regime

- Presents power of Fascism: Vidal is powerful and is willing to prove a point to the officials to not waste his time without checking people properly before accusing them of being on the opposition
- Conveys the brutality of the fascist regime as they are willing to hurt anyone in order to enforce fascism on the inhabitants of Spain.
- The scene where Vidal attacks the first of the hunters represents the brutality of the fascists as the constant hitting shows that the fascists show no respect or mercy to the people of Spain. 

Representation:
- Refers to way that film presents people/communities/experiences/events/ideas (e.g. political ideologies)
- Analysing how film presents world to spectators: what messages/values it's promoting with regards to people/places/ideas
Analysing Representations:
- Important to consider film's contexts, have impact on why representations are as they are
- Is representation influenced by director/filmmakers/studio values or experiences
- Representation of person/group/ideology refers to dominant social/political/cultural ideologies at the time of the film was made/set or does it purposely represent these in a different way?
Important to consider key elements of film form are working to contribute to a film's representation:
- How's cinematography/lighting/sound/mise-en-scene work to make you think/feel certain way about characters.
Key points: Blue Light = Cold/mysteriousness, Red Light = Anger, Props = Mise-en-scene

Traditional male roles/qualities in PL
- Dominant, - Brutal, - Aggressive Masculinity, - Strong
- Simple Minded, - Self Assured, - Arrogant, - Narcissistic, - Depraved
Traditional female gender roles/qualities in PL
- Determined, - Quietly powerful, - Strong: hide at beginning, conforms to social norms
- Damsel in distress, - Cunning, - Brave, - Daring, - Oppressed, - Outwardly inferior
- Outwardly submissive -> submissiveness is an act, - Restrained, - Self reliant

Ofelia

Representations in Gender:
- Clear binary opposite in terms of representation of gender in Pan's Labyrinth
- Male characters (except rebels/Doctor Ferreiro) are representative of a patriarchal society
                     - A system of society/government where men hold power, women largely excluded
                     - Spain in 1940's/under Fascist rule = example of patriarchy
- Del Toro presents link between oppression of fascism & how patriarchal systems of authority oppress women. Best represented through actions & behaviour of Captain
- Female characters generally represented more positively
- The women (Ofelia/Carmen/Mercedes) all suffer at hands of patriarchy
- There is a clear binary opposite in terms of the representation of gender at work in the film. Captain Vidal is obsessed by his father’s military exploits and is equally determined that his own son (he refuses to believe the child can be anything other than a male) is born close to him. The health of his sick wife is of only secondary importance. Indeed he scolds her for discussing their romance in public and is equally dismissive of his step-daughter, Ofelia. The final scene where he tells the rebels who will soon execute him that his son must know who he was and (a reference to his own father – what time he died) shows the final exhaustion of the patriarchy he represents, as Mercedes tells him that his son will never know who he was. 
• Vidal’s self-loathing (never quite able to step out from the shadow cast by his father) is most evident in the scene above where he commits metaphorical suicide by cutting his reflection’s throat. The broken face of his watch (which he has just glanced at) is also suggestive of his own broken identity – an immaculate and precise mechanism but flawed. The fact that Mercedes will later slit his mouth open, and that he will be shot just below his right eye, are all mirroring scenes, reflecting the precise deconstruction of the watch face and his own. 
• The main women in the film, Ofelia, Carmen and Mercedes all suffer at the hands of patriarchy. When Mercedes is caught by Vidal towards the end of the film Vidal laughs at the suggestion that he should not be left alone with her – ‘She is just a Woman!’ Mercedes then replies that she was able to support the rebels precisely because she was ‘invisible’ to Vidal. Later Ofelia is killed by her step-father for stealing his son and defying him and Carmen dies in child birth unmourned by her new husband. Only Mercedes triumphs in the end through her ingenuity and bravery and through her love for her brother. However her final scene is one of profound grief as she holds the dying Ofelia in her arms and weeps for the loss of childish innocence at the hands of a brutalising patriarchy.
Representation in Gender: Captain Vidal
- Obsessed by his father's military exploits + equally determined his own son (refuses to believe child won't be a boy) is born close to him. More important than health of sick wife
- Scolds wife for discussing romance in public, dismissive of Ofelia (stepdaughter) -> examples of misogynistic attitudes in patriarchal society
- Appearance & actions (narcissistic grooming - shaving, polishing his boots, spotless uniform, precise way he fixes his father's watch) point towards excessive display of masculinity & desire for order and to control - linking masculinity & patriarchy to fascism/oppression
Representation in Gender: Ofelia
- Positive female representation: Strong willed, brave & independent in thought
- Resists fascism/Vidal through love of literature/fairy tales/imagination
- Scene which Ofelia ruins dress -> demonstrates her rejection of patriarchal values & rejection of conformity.
Representation in Gender: Carmen
- Passive character, subject to her husband's wills
- Allows herself to be controlled by her husband, confined to wheelchair at his request (representing her lack of agency/freedom), silenced at banquet when discussing their romance by him
- Her death during child birth -> unmourned by Vidal = extreme representation how women are oppressed in patriarchal society (Vidal's only concern = son/heir to continue his patriarchy)
Representation in Gender: Mercedes
- More positive representation to Carmen
- Caring/compassionate towards Ofelia, resourceful, strong willed
- Actively resists Vidal/fascists, supports Rebels by smuggling supplies to them
Representation changes throughout film:
- Start: timid/doubts own strength (suffers under same patriarchy as Carmen)
- End: More empowered + proves her strength
- Demonstrated through changes in key elements of film form as they relate to Mercedes: especially mise-en-scene, performance & cinematography
- When Mercedes caught by Vidal towards end of film, Vidal laughs that he should be left alone with her 'she is just a woman', shows undermining of women in a patriarchal society
- Mercedes able to support rebels as she was 'invisible' to Vidal = comment on how women are excluded in patriarchal society. (staging in this scene worth noticing: after short exchange, Vidal turns back to Mercedes to inspect his torture devices, thinks so little of her he turns his back to her + makes himself vulnerable)
- Key use of cinematography in scene show how Mercedes goes from a sufferer to empowered. Camera moves/tilts as she stabs Vidal, cuts to low angle shot of Mercedes standing over Vidal & subsequent reverse high angle shot of Vidal on his knees -> connotes Mercedes new-found empowerment.

Representation in Politics/Religion:
- Del Toro's negative views on fascism/Catholicism evident through the way they are represented in the film
- Banquet scene: Vidal/Priest attending meal represented as uncaring authoritarian. Represent middle class & ruling elite, manner they are represented suggestive of Del Toro's negative opinions on authoritarian groups that oppose free thought (embodied by Ofelia + her love of stories/fairytales)
- Negative representation of Catholicism -> linked to Del Toro's own beliefs as his negative feelings towards his own Catholic upbringing evident in banquet scene
- Contrast: rebels represented fairly positively + are shown to be more compassionate & comradely/humanised/freedom loving/empathetic than fascists
Representation - Summary:

- How film creates meaning and generates response through cinematography, mise-en-scène, editing, sound and performance (including staging and direction)

- How all aspects of film form including narrative contribute to the representations of cultures and societies (gender, ethnicity and age), including the ideological nature of those representations. 

Key questions when looking at films & their representations:
- How does film challenge/reinforce stereotypes?
- What's emphasised by the representation?
- What does representation neglect to tell us?
- Is a particular group under-represented or omitted entirely? Why?
- Dominant messages of film & how are they reinforced by representations?
- Dominant ideologies presented/criticised by representation on screen?
- Film's social & political contexts?
- How are elements of film form used to construct representations?

Age:
- In the Pale Man’s lair we see a chilling shallow focus close-up of all the shoes of the Pale Man’s victims. Such an image evokes comparisons with scenes from the Nazi death camps and combined with other images such as the murals of The Pale Man devouring babies and of course the sumptuous banquet that cannot be touched we are left in little doubt that this representation of a fantasy monster can also be read as a critique of a ruling elite (perhaps the Church) which systematically and brutally crushes innocence and life. Youth is clearly at odds with the adult world in this film – fantasy is perhaps the only escape.

Ethnicity/Nationality 
• There are no multi-ethnic representations in the film which is excusable given its setting in Northern Spain in 1944 however the representation of nationality is absolutely foreground. The Falangist’s (supporters of the dictator, Franco) are aligned to corrupt officialdom, a morally bankrupt church and a sadistic and brutal military (no prisoners are ever taken – headshots to the wounded being the preferred means of dispatch – and if they are captured, they are then sadistically tortured). Vidal alone executes his step-daughter, a doctor, two farmers and an injured rebel as well as torturing and taunting a captured rebel with a stutter – ‘Count to three without stuttering and I’ll free you.’ Our sympathies are absolutely aligned with the rebels who are depicted as compassionate and comradely – as much a simplification as that of the Falangist’s as anyone who has read Orwell’s Homage to Catalonia will know. However this is not a realist film and Del Toro is clearly outraged by fascism, dictatorships, militarism, propaganda and patriarchy – all enemies of the imagination as much as anything else. As the doctor says to Captain Vidal just before Vidal shoots him: ‘To obey… for the sake of obeying, without questioning, that’s something only people like you can do, Captain.’ The Spanish rebels are thus depicted as a significantly more humanised, freedom loving and empathetic group of democrats. 


Aesthetics:
•Analysing aesthetics starter questions:–How are the elements of film form used to create aesthetic effect in this sequence?–Does the beauty of this moment in the film also propel the narrative forward?–Does the narrative pause to allow the spectator to appreciate the aesthetic qualities of the film? –Does the decision to create a strong aesthetic effect suggest something about the film’s key message?–Is the aesthetic effect in this sequence typical of this filmmaker?–How is the pace of the film being managed?–How is the look of the film being created?–How is sound design contributing to effect and audience response?–How is choreography of actors within space being exploited?–How is set design contributing to the film at any given moment? 

- Number of important key uses of elements of film form in the Pale Man that provides a range of meanings & responses
- Mise-en-scene: saturated in red -> connotes blood and violence (which mimics the setting as being of violence/death) which links to the political context of the period (even in fantasy world, Ofelia unable to escape violence of Civil War/Fascism)
- Shoes in corner connote the Holocaust & extermination camps - refers to political context of period (end of WW2 & liberation of extermination camps by the Allies - war consumes innocent lives)
- Holes in Pale Man's hands where he places his eyes has religious connotations - references to stigmata and Jesus's crucifixion -> links to Del Toro's strict religious upbringing and Catholicism is a recurring theme in his work.

- The film is a magical realist text – combining beautifully constructed but very dark fantasy sequences, some verging on horror, with a graphically violent rendering of factional fighting in Northern Spain in the early years of Franco’s dictatorship. 
• Del Toro has referred to this film as a very lose sequel to an earlier feature horror, The Devil’s Backbone – itself set in the aftermath of the Spanish Civil War. 
• In Pan’s Labyrinth, as we have already seen, Franco’s army unit is represented as a brutalising force of occupation and its commanding officer, Captain Vidal, as a sadistic epitome of evil: cruel to everyone including his wife and step-daughter. His evident pleasure in torture is straight out of a psycho-horror film. The ruling elite who attend a banquet given by him are equally venal and corrupt and Del Toro clearly has little empathy for the priest and the organised Catholicism he represents. In contrast however we find the guerrillas and their supporters, such as Mercedes and the Doctor, are presented as honourable and caring people. Del Toro makes it very clear with whom we are positioned to side. Indeed the narrative triumph of liberalism over fascism is literal as the movie ends with the Captain’s execution by the victorious rebels and Ofelia’s imaginative or real resurrection in the Underworld. 
• Another motif, aside from the Gothic and gore discussed above is paganism. The moss-covered ruins of the Labyrinth and associated standing stones, and the tree beneath which Ofelia finds the toad and from which blooms her own resurrection (see above – endings) all suggest a sophisticated and elemental pagan past now acting as rare portals to the fairy kingdom. 

Aesthetics inspiration in Pan's Labyrinth:
One of Del Toro's key visual inspirations for PL: artist Francisco Goya (1800's)
Specifically 3 periods of Goya:
1) Fantasy & Invention (occurring in Goya's mental breakdown)

• Dark combinations of fantasy & nightmare
• imaginary of loneliness, fear and social alienation

2) Black Paintings (covering Goya's descent into madness)

• Focuses on imagery of witchcraft & nightmares: includes Saturn Devouring his Son which closely resembles Pale Man devouring the fairies

3) The Disasters of War

• Shows the Battlefield Horror of the Peninsula War (France v. Spain) & images of death/destruction

- Another inspiration for Del Toro for PL (in particular the Pale Man) was a statue of St. Lucy, who is depicted in statues/paintings with her eyes on a platter and blood pouring from her sockets.
- This aesthetic decision (design of Pale Man) can be linked to religious contexts that relate to the film, such as Del Toro's religious upbringing & his negative views on religious institutions.

Aesthetics: Pale Man & Vidal comparison

- Similarities in mise-en-scene between banquet table & Pale Man's lair suggests a link between the Pale Man & Vidal
- Both sit at the head of the table and are 'monsters' feeding off the lives of innocents
- The Pale Man devours children (Del Toro states it represents 'institutional evil feeding off the helpless (i.e. fascism)) whereas Vidal/Fascists devour innocent lives through their oppressive values
- Further reference to religious context/Del Toro's religious upbringing is connotations of banquet tables & the last supper. This can be taken further as Ofelia eats the food despite a warning can be seen as a reference to Adam/Eve & the forbidden apple.
Del Toro on Aesthetics:
- 'What I didn't want to do is show fantasy = good, reality = bad;
I wanted to juxtapose violence in both worlds, in both contexts. So the fantasy has a lot of violence as well'
- ^ This is evident through the mise-en-scene & aesthetics of the Pale Man scene.

Context:

Spain 1944:

- Civil war in Spain from 1936 to 1939. The Republicans were loyal to the democratic & left-leaning Second Spanish Republic -> they allied with the Anarchists. They fought against the Nationalists, a largely aristocratic conservative group led by General Francisco Franco. The war is a battle between democracy (Republicans) and fascism (Nationalists).

- Falangist -> characteristic of Spanish Falange Movement (e.g. 'he was executed by the Falangists')

Despite the film taking place in 1944, 5 years after Franco had taken over Spain, there was still a major resistance to fascism in Spain. 

- Captain Vidal is hunting the resistance. His character is a symbol for punctuality & military formality as he wants his son to be born into Franco's 'new Spain' + is willing to use brute force to get what he wants by killing all resisters. Much like Franco's regime, Vidal controls those around him through means of fear and violence rather than compassion.
- Mythology of heroism: Vidal carries a watch that his father broke when he died, wants his son to know his time of death so that the son knows the time of death of a 'brave' person. Mythology of heroism is a part of building fascist Spain. The fascist mythologies also link to the use of fantasy throughout the film. The film presents the fascists as undermining women; Vidal fails to notice his housekeeper (Mercedes) is spying for the resistance and she refuses to let him torture her. Also presenting as uncomprehending, e.g. he killed Dr. Ferreiro after he disobeyed his orders.
- Ofelia's fantasy begins to mimic the terror occurring in Spain; the pale man mirrors Spain's brutal reality. The Pale Man is shown as a totalitarian ruler, an all-powerful entity ruling with fear & violence that punishes any act of freedom or defiance (e.g. Ofelia eating the grapes). Del Toro creates a link between The Pale Man & Vidal; uses a similar image for both as they are both sitting at the head of a grand and lavish table in scenes shown in quick succession. Placing these images next to each other emphasises the link between them as their connection is solidified by their cruel actions.
Pan's Labyrinth is an allegorical commentary on the Spanish Civil War.

Vidal = Franco

Ofelia = Spanish nation (specifically the martyrs that fought/died for Republican cause)

Ofelia's brother = Reminiscent of King Juan Carlos (current Spanish monarch who endured decades as seeming enabler/supporter of Franco only to emerge after his death as full-fledged democrat/saviour of the nation)

Del Toro on context:

'You think of the transit of Spanish society from the 1940s to the incredible explosion of the post-Franco period. The 1980s in Spain were like the 1960s in the rest of the world! In the movie, Ofelia is a "princess who forgot who she was and where she came from", who progresses through the labyrinth to emerge as a promise that gives children the chance never to know the name of their father - the fascist. It's a parable, just as The Devil's Backbone was a parable of the Spanish Civil War.'

Why are films made:
- Political reasons
- Inform people of events occurring in the world
- To make money
- To earn awards

How are different types of films made:
- Hollywood studios: aiming for commercial audience
- Independent studios: less restrictions/more control

Films & their contexts:
- Films are depictions of people/places/events, reflect values & culture of society that produces them. - All circumstances that a film was produced in & shape its reception are a film's context
- A study of context looks at when/where/how/why film is set where it is (time/place/circumstances)
- Study of context focuses more on appropriate context of when films were made, as opposed to set (Pan's Labyrinth is a reflection of 2005 society)

Social:

- A look at the relevant society's dominant attitudes & beliefs including debates about ethnicity & gender where relevant

Cultural: - two kinds of cultural context

1) One is general & includes sense of what fashions were significant at the time of the film's production. This general cultural context is less important than any particular cultural context that has directly influenced by the film's look and style.

2) The latter might include a studio style or an art movement, like expressionism or surrealism.

Political:

- An exploration of impact of contemporary political climate on themes of films, their representations & production process itself

Institutional Contexts (including production):

- Who made the films, what institutional frameworks are they working within?

- What funding was available to filmmakers & how did all of this impact the restrictions placed on the filmmakers.

Guillermo Del Toro & Pan's Labyrinth

3 key biographical facts about Del Toro (especially with relevance to PL):

- Raised in a strict Catholic household which led to him rebelling against Catholicism

- Del Toro began experimenting with his father's camera from the age of 8 and he made 10 short films before his first feature

3 key facts about his career as a filmmaker:

- Del Toro views the horror genre as inherently political, 'much like far tales, there are two facets (sides) of horror. One is pro-institution, which is the most reprehensible type of fairy tale: Don't wonder into the woods, and always obey your parents. The other type of fairy tale is completely anarchic and antiestablishment'.

- Two of Del Toro's films (The Devil's Backbone & Pan's Labyrinth) are set in Spain in the context of the Spanish Civil War under the authoritarian rule of Francisco Franco. These films share similar settings, protagonists and themes with the 1973 Spanish film 'The Spirit of the Beehive'.

3 key facts about the production & reception of Pan's Labyrinth:

- Received universal critical acclaim

Del Toro was born in Guadalajara, Mexico in 1964

He works as a director, scriptwriter, producer & author & has credits on a number of Spanish language & Hollywood films:

 - Spanish: Cronos, The Devil's Backdone

 - English: Mimic, Blade 2, Hellboy 1 & 2, Pacific Rim, Crimson Peak, The Shape of Water, the Hobbit (Screenplay credit)

Prior to working as a director, he studied scriptwriting & special effects & formed his own SFX company (Necropia) and production company (The Tequila Gang)

Del Toro has been described as an auteur director (a director who strongly exerts personal influence on films they make & whose films tend to feature recurring trademarks)

His films feature recurring visual/thematic trademarks, some of which are informed by his own upbringing & experiences.

- Violence/children/family/horror/solitary hero + heroine & 'permeability of the membrane between reality & fantasy' are all recurring features in his films

- Del Toro prefers prosthetics & make-up to CGI and tries to use practical effects wherever possible in his films

- Catholicism and religious imagery frequently appears in his films, inspired by his own Catholic upbringing which he has described as traumatic

Pan's Labyrinth produced for budget of $13.5m, produced by Del Toro's own production company The Tequila Gang

Debuted at Cannes Film Festival in May 2006 to great critical acclaim + received wider release later that year, accumulating $83.2m at worldwide box office -> highest grossing Spanish language film released in the US

In total, Pan's Labyrinth was nominated for 76 major film awards, winning 3 Oscars + 9 Mexican Ariels & 7 Spanish Goya Awards

Despite its success, the production of Pan's Labyrinth was troubled; financing for film fell through several times & film rejected by every single major/independent producer/distributor in the US.

By producing Pan's Labyrinth independently & outside of modern Hollywood studio system, Del Toro able to exert personal control over Pan's Labyrinth

Allowed him to make a film that's deeply personal to him, reflects his political/religious views which he may have not been able to include if PL was produced by a Hollywood studio.

Fascism: political ideology characterised by a single party system led by a dictator, that promotes aggressive nationalism & forcefully surprises opposition.

Social/political: Spanish Civil War

- Spain under Fascist rule following Spanish Civil War (1936-1939), fought between Republicans & Nationalists.

- Nationalists led by General Francisco Franco who ruled over Spain as a dictator following the Civil war until he died in 1975

- Upon his rise to power, Franco implemented policies that were responsible for repression & death of as many as 400k political oppressors & dissenters.

- Following conclusion of Civil War there was continuing conflict between Franco's forces & guerrilla forces who fought against dictatorship

- Pan's Labyrinth's setting in Northern Spain (Galicia) is significant as not only was it Franco's birthplace, it was here that the first Spanish guerrilla movement established in 1942, making the film's Spanish Civil War themes even clearer

Social/political: Ofelia confronts the giant toad
- Frog is essentially killing the tree, represents Fascists destroying Spanish structure -> Fascists killing from inside (centre of power), frog killing from inside tree
- Toad feeding off the bugs -> shows bugs weakness, compares to Fascists feeding off the weaker people
- Shows the monsters = in both fantasy and reality
- Fascism painted as absurdity, presented in extreme way

- 'Pan's Labyrinth uses fantasy & supernatural to confront the malevolence & violence of the real world' (Spain under franco, taken from podcast on Pan'sLabyrinth.com)

- Fascism in PL: represented as violent, oppressive & repressive
- Seen when Vidal brutally/remorselessly kills farmers & in callous/uncaring way Vidal/other generals/priest talk about revolutionaries & handing out rations to local citizens
- During banquet, Vidal says wants son born in 'a new, clean Spain' -> Fascist idea
- Clear in this scene, Del Toro sees link between Fascism/Catholic Church as priest shown as uncaring as the fascists towards the guerrillas/local citizens living off rations -> suggests both are as abusive/oppressive as each other.
- In comparison, guerrillas presented as resourceful, determined & more democratic than Vidal/Fascists. Tells us film in message/values is anti-fascist & can be described as libertarian in messages/values
- Further references to fascism in dialogue b/ween Doctor Ferreiro/Vidal after Ferreiro euthanises revolutionary Vidal has tortured
- 'to obey, just like that, for obedience's sake...without questioning. That's something only people like you do'
- Reveals more about film (and Del Toro's) negative views on fascism -> how it demands unquestioning obedience & oppresses people. Extended further to Del Toro's personal views on religion + religion requires unquestioned obedience from its followers.
- Furthermore, fantasy elements of PL can be interpreted in multiple ways
- One interpretation is Ofelia imagines faun/other fantasy elements as way of coping with horrors of war + oppression of fascism (whether these elements are real/part of Ofelia's imagination is intentionally left ambiguous)
- Impact of fascism evident in fantasy elements (toad destroying tree = clear allegory for who France regime sucking life out of Spain)

- Ultimately political/social contexts of PL are reflection of Del Toro's personal negative views on political/religious institutions & authoritarianism
- 'I hate structure. I'm completely anti-structural in terms of believing in institutions. I hate them. I hate any institutionalised social, religious or economic holding' (Del Toro)

Social 

• The representation of women referred to above is evidence of the social problems women faced in this patriarchal and macho era. 

• A local priest, attending a meal held by the Captain, dismisses the possible pain felt by the rebels on theological grounds. His representation lacks humanity and is clearly a barbed commentary on an out of touch and complicit Catholic church: “God has already saved their souls. What happens to their bodies hardly matters to him.” Del Toro uses the cinematic conceit of a banquet to heighten the corruption of the local middle classes and ruling elite. 

• Despite his criticisms of Catholicism as a dogma and institution it is clear that Del Toro admires the spirituality of his native religion – in a later film Crimson Peak, a ghost story, he commented on his belief in ghosts. The scene above is strongly redolent of a stylised heaven with its church-like setting, a rosary window flooded with golden light and a grey bearded father figure flanked by a doe-eyed mother. It is all rather stuffy and formal befitting a royal court perhaps but not a fairy domain. That said it is clearly Ofelia’s (Princess Moanna’s) ‘happy place’ – she has come home to a loving warm family and an adoring people. 

Historical 

• The period featured, 1944 in Spain, is intriguing to the non-specialist as it is clearly a period where the rumblings from the Spanish Civil War are still being felt despite the war itself having finished in 1939. Political 

• The negative depiction of Franco’s fascist forces is clearly intended to be extended to the imaginative poverty of fascism in general – in contrast to the more benign and sensitive (although hardly democratic) fairy kingdom. A more realist political representation is that of the guerrillas who are presented as resourceful and determined and egalitarian. Mercedes love of children (Ofelia and her baby brother) suggests a tenderness and a celebration of all things childish – indeed, unlike Ofelia’s weak and dismissive mother, Mercedes gives advice on the handling of fauns. 

Technological 

• The key technology used in this film is the animatronics and green screen work as discussed above and its effective creation of a magical-realist production design. 

Institutional 

• Released in the UK by Optimum. Premiered at Cannes in May 2006 to great acclaim. Co– produced by a number of Spanish, Mexican and American production companies the $19 million budget is reflected in the complex production design, period dressing and relatively large cast. The eventual worldwide box office of $83.3 million was seen as a triumph. 

• Del Toro as an effective and idiosyncratic fantasy/horror auteur is evidenced in his earlier films such as Cronos (1993), The Devil’s Backbone (2001) and Crimson Peak (2015) as well as in his much more mainstream Hollywood work such as Hellboy (2004) and Pacific Rim (2013). 

• Del Toro wrote the subtitles for Pans Labyrinth himself after becoming disillusioned with the translation of The Devil’s Backbone – a film also with the Spanish Civil War as its backdrop and the informal prequel to Pan’s Labyrinth.

Pan's Labyrinth as a political film:

- Pan's Labyrinth has a political message due to its context of being set during the era of Fascism after the Spanish Civil War has concluded (early 40's). Del Toro presents that the political message that fascism is a danger and a threat to the citizens of Spain and is a harsh imposing regime that uses brutality in order to assert its power over its subjects.
- Pan's Labyrinth is a political film to a large extent as politics shape many of the films main scenes:
- Captain Vidal is presented as a Franco-like character (the Nationalists leader in real life) with his harsh brutality emphasised throughout the film; Vidal shooting the two men in the hunting scene conveys the fascists lack of respect for anyone who isn't committed to their regime.
- The juxtaposition of Ofelia's fantasy and real world life also conveys the political message that fascism is a threat to society. Ofelia faces oppression from Vidal in the real world which conveys his evil nature and Ofelia also faces oppression from 'monsters' such as the frog and the Pale Man in the virtual world. The Pale Man scene parallels to the scene of Vidal at the banquet which depicts the similarities between the characters and how they 'devour' people in order to satisfy their needs. The frog scene also depicts the political message of PL; the frog killing inside the tree conveys how the Fascists are destroying the Spanish structure from inside Spain and the toad feeding off the bugs compares to the Fascists feeding off the weaker people. This emphasises the political nature of the film as Vidal's 'devouring' and 'trampling' presents fascism in a negative light.
- Pan's Labyrinth is a political film through Del Toro's representation of fascism. Del Toro conveys that fascism is violent and oppressive and Del Toro's political representation is a reflection of Del Toro's negative views on political institutions and authoritarianism which emphasises why Pan's Labyrinth has a significantly heavy negative tone towards fascism throughout the film.

Mise-En-Scene Essay Plan:

P4: Mercedes/Vidal scene:

Another film that uses mise-en-scene to create meaning is PL, directed by Guillermo Del Toro, a Spanish film that intertwines a fantasy world with the reality of the devastation caused by the Spanish Civil War.

One way MES creates meaning is during scene Vidal tortures Mercedes

- Colour- dull wash of grey/navy blue to create a frightening, and unpredictable atmosphere -> creates meaning as makes audience empathise with M as lighting reflects her mood.

- Creates meaning through props such as The hammer - imagery of Vidal taking down communism, shows the fascists have complete control -> makes audience more fearful of them, Vidal dropping the hammer shows the fascists losing their power

- Hidden knife creates meaning as resembles how the women have to hide their true selves (her power, and cunning skill) as they are seen as subordinate to the men- this directly contrasts the scene- the reveal of the knife shows the reveal of Mercedes true self. Makes audience shocked at extent women suffer in patriarchal society. Emphasised by Vidal undoing his shirt as the scene begins how he isn't threatened by the situation/Mercedes

P5: Pale Man scene:

Another scene Del Toro uses MES to create meaning is the Pale Man scene

- Mise-en-scene: saturated in red (such as the colour scheme of the food on the banquet table.-> creates meaning as connotes blood and violence (which mimics the setting as being of violence/death) which links to the political context of the period (even in fantasy world, Ofelia unable to escape violence of Civil War/Fascism). Also creates meaning 4 audience as foreshadows danger for food will cause which makes audience fearful & wanting to warn Ofelia from eating the food -> draws the audience’s attention.
- Shoes in corner connote the Holocaust & extermination camps - refers to political context of period (end of WW2 & liberation of extermination camps by the Allies - war consumes innocent lives). Extreme image creates meaning as emphasises creepy nature of pale man to the audience as depicts killed children before. Emphasised by graphic paintings of him eating children and devouring the fairy, shows PM as malevolent + creates meaning 4 audience as seen as detestable to the viewer.
- MOS in this scene influenced by Goya’s paintings and Statue of St. Lucy. Influence of Goya’s paintings shown through picture of PM killing children -> shows chilling nature as Goya’s painting combinations of fantasy & nightmare + imagery of fears makes audience more fearful due to Del Toro’s inspiration. St Lucy depicted in statues/paitings with eyes on platter + blood pouring from sockets -> creates meaning as links to appearance of PM which creates fear 4 audience + empathy for Ofelia facing this beast.

P6: Pale Man Scene - Appearance

- Appearance of PM using MOS creates meaning. Nails stained with blood -> threatening image to audience + represents bloodlust/danger. Make-up/CGI created truly terrifying creation. Holes in Pale Man's hands where he places his eyes creates meaning as has religious connotations - references to stigmata and Jesus's crucifixion -> links to Del Toro's strict religious upbringing and Catholicism is a recurring theme in his work. Shows the audience DT against Catholicism and makes an extreme outward show of it in PL.

- The paleness of the Pale Man represents the colour of the leader of the Church, the Pope; Del Toro uses this to represent that the Church are guilty and as impure as the fascists - the Pale Man has this banquet but still eats the innocent, the Catholic Church have the wealth but still threaten people in Spain with threats & violence.
- This aesthetic decision (design of Pale Man) can be linked to religious contexts that relate to the film, such as Del Toro's religious upbringing & his negative views on religious institutions.

Also emphasised through Similarities in mise-en-scene between banquet table & Pale Man's lair creating meaning as suggests a link between the Pale Man & Vidal
- Both sit at the head of the table and are 'monsters' feeding off the lives of innocents
- The Pale Man devours children (Del Toro states it represents 'institutional evil feeding off the helpless (i.e. fascism)) whereas Vidal/Fascists devour innocent lives through their oppressive values
- This creates meaning for audience as the vile creature is juxtaposed with the fascist leader which depicts to the audience the brutality and unpopularity of the fascist movement to the audience.

Del Toro: 'What I didn't want to do is show fantasy = good, reality = bad;
I wanted to juxtapose violence in both worlds, in both contexts. So the fantasy has a lot of violence as well' - This is evident through the mise-en-scene & aesthetics of the Pale Man scene.