CITY OF GOD and PANS LABYRINTH - ESSAY

Discuss how aesthetics are used to communicate themes in your two chosen films. Make references to specific sequences in your answer. 

Throughout both Pan's Labyrinth and City Of God aesthetics are used to communicate many themes which are presented in both films. These themes include; power, conflict, corruption, crime, patriarchy and violence. In this essay I will talk about how aesthetics are used successfully in order for the spectator to understand these themes. 

In Pan's Labyrinth Del Toro uses the aesthetic quality of sound and mise-en-scene to communicate the theme of power and patriarchy and the difference between good and evil. In the scene where Vidal is at the head of the feast table and his followers surround him, a chilling atmosphere is conveyed via the diegetic sound of the crackling fire behind him. This is further complemented by the mise-en-scene of the raging red flames behind him, which help to show how Vidal is a devilish figure as the fire has connotations to hell and everlasting pain. The camera then changes from a medium close-up of Vidal to a tracking shot of Mercedes running away into the forest. As this change occurs visually, a motif starts to play when Mercedes comes onto the screen. This motif is played in a major key and represents the heroic nature of this character. Del Toro uses this motif throughout the film when the rebels come on screen to show the difference between good and bad and to show who the spectator should align themselves with, as they would often chose characters with happy and light motifs. This is mirrored by the Pale Man sequence in which the framing of the scene is the same as the feast scene: the Pale Man is seated at the head of the table surrounded by cracking fire as food is scattered around the table as there are many close-ups of this horrible figure. This shows how this scene could be Ofelia's subconscious projection of the feast scene; as she sees the Pale Man as a monstrous manifestation of Vidal and the fascist ideology he represents. This tells us how Del toro wanted to show the spectator a destructive man who is overwhelmed with power is a monster as he destroys the lives of so many, as the Pale Man has done.

In City Of God Fernando Meirelles uses the aesthetic qualities of mise-en-scene and cinematography to present the themes of power and male violence and how bad these ideas have become in the favelas. Due to being based on a true story, this would give more the spectator involvement and insight into how this violence has affected people and give them a clear idea of the importance of the message of the director. During the Knockout Ned sequence where many recruitments take place, there are many whip pans and close-ups which add to the sense of discomfort for the spectator when looking upon the violence in the favelas. The handheld camera and these edits, create a documentary-like feel to the movie which makes the spectator feel entangled with the hardships of the favelas and are unable to escape. Furthermore the use of elliptical editing adds to this message of ongoing violence in the favelas. This is also present in Pan's Labyrinth where Vidal's untamed violence is shown via the cinematography in the scene with the poachers. Whilst the poachers are being beaten until death, the camera tilts up towards Vidal as though the spectator is the one being beaten up. This would make the spectator feel sympathy for the poachers as the pain they are being caused is for no reason. This tells us that both Fernando Meirelles and Del Toro want to both show how overwhelming power for someone, can cause the destruction of so many lives as violence occurs due to this untamed strength.

Del Toro wants to show the spectator the devastating consequences for so much violence and does this via the use of mine-en-scene and performance. In the end scene when Ofelia lays on the ground, lifeless, she dreams of herself being with her family and a better place. She created a better world for herself rather than the world she actually lived in. The bright colours of her imagination juxtaposes the harsh blue-black colours of the real world. This shows the spectator that the violence and pain that Vidal put upon the world, ultimately leads people to try and make a better world for yourself by escaping the reality they live in. Ofelia was born into the cruelty of the real world and deserved rest and release but was unable to attain it due to violence that Vidal set in motion. Ofelia did not seem happy with her life throughout the movie as this is shown via her dispirited facial expressions. However once she managed to escape Vidal's consequences, she smiled and became joyous that she saved her brother and any other children from experiencing what she experienced and created a new and better world for herself. 

This is also present in City Of God as Benny grew up in the harsh living situations of the favelas and when he tried to escape, the consequences forced him his death. The consequences of the violence that Lil Ze had started, destroyed him as he grieved his best friend the most out of anyone. The long shot of Lil Ze holding Benny in his arms and showing the gun in the air, shows the spectator the pain that people have received due to the amount of violence in the favela. This shows the spectator that Fernando Meirelles wanted to show how there is no escape from the violence and poverty in the favelas and the consequences are drastic for anyone who tries to escape. 

In conclusion, both Del Toro and Fernando Meirelles want to show the destructive capabilities of overwhelming power and how this affects everyone drastically. They both show the consequences for actions to be horrible, and they both mainly show this via the mise-en-scene in their films.