This is especially the case in Guillermo del Toro’s film Pan’s Labyrinth, which juxtaposes fairy tale elements with aspects of Franco era Spain to explore some of its realities in greater detail. By comparing the evils of Vidal and of Ofelia’s fantasy world Del Toro presents the atrocities of Franco era Spain’s Fascist leadership. By contrasting the shapes, colors, and cleanliness of the two worlds, he presented some of the more basic principles of the Fascist regime, and by placing symbolic objects throughout the film, Del Toro emphasizes their symbolic importance to Vidal and again to the Fascist regime. Even with all of these comparisons, however, it is still impossible to determine for a fact if Ofelia’s make believe world was real or
During the 1920s and 1930s, it was not uncommon for directors to assign roles that were inconsistent with del Rio’s Latinx identity. Exotic storylines often told the common stories that are reminiscent of the colonization of countries inhabited by people of color. Although these films exemplified her “foreignness” to American culture, none portrayed del Rio as more “exotic” as when she starred in Bird of Paradise, a romantic drama directed by King Vidor (1932), as the “savage princess, Luana” (18). The Bird of Paradise portrays a native princess, Luana, who meets Johnny Baker, a South Seas American man who jumps in a ship and arrives on her island before the two fall in love with each other. Described as having an “alien beauty [that] fits in so effectively with her role” by the New York Herald Tribune, Dolores del Rio is represented as a “foreign” woman who is saved by a white man in the film and is ultimately viewed as the “white [male] hero’s desire” (18).
Although the story in the films rather simple, the narrative structure is very clever and complex, which demands constant attention from me. The reverse narrative structure of the color scene with its conclusion was revealed in the beginning of the
One major part of a story is the setting. Where the story takes place. In both stories, the settings are isolated, away from civilization. In "The Most Dangerous Game", the setting is based on Ship-Trap island in a tropical forest, great for hunting, but also unusual. "A suggestive name isn't it?
Men, women, and children were caught in the crossfire and sometimes even deliberately murdered by both sides. del Toro does not sugarcoat the brutality of the Spanish Civil War as even the first image the audience is shown is of a dying and bloody child. Indeed, much of the violence in the movie is experienced by the young and innocent. In The Transnational Fantasies of Guillermo del Toro, it is suggested that the violence in the movie “is commensurate with the brutality of certain fairy tales in their original form and also with a realist vision of the cruelty of war that uses the figure of the child to create greater empathy and affect the spectator”(Davies 192). While much of the cruelty in Pan’s Labyrinth is very graphic, it is the explicit nature of what is experienced by children that makes the movie hard to watch for some.
When you grow up learning and being taught about something, you want to continue the experience. All the way through school you find out important information on Spanish heritage and culture. Everything you see or do today has somehow been impacted by a foreign lifestyle. There are many people in the United States spreading Hispanic ideas like food, language, and religion based off other countries, especially Mexico. To keep up with the rapid growing of this style, you learn more about it in school.
Yet, Hispanic cinema has not forgotten the historic struggles. It has a fresh style revisiting the time of war. The vast array of mystical creature, including the faun, provide us with a metaphor for the multiple moral pathways available to Ofelia on her journey for the recovery of her memories. The film has an ability to surprise its audience with its violent scenes, mostly brought up by Vidal and his troops. This creates a stark contrast with the innocent mind of Ofelia and her quest to recover her past life as a
Furthermore, in Othello the author, Shakespeare, uses Othello’s and Desdemona’s death to illuminate the various consequences of love and the power of vengeance. The author develops important themes leading up to and after Othello’s death scene. The play serves to show the audience the myriad of consequences love yields. Due to Othello’s distrust in Desdemona, he believes that Desdemona “must die, else she’ll betray more men” (V.ii.6). Othello’s severe distrust towards Desdemona is largely because of Iago’s attempt to convince Othello of Desdemona’s affair with Cassio.
Dolores del Rio possessed light-skin, was white-passing, educated, and associated herself with the elite, as she had “parents of Spanish nobility” (11). Therefore, she was extremely privileged amongst her own Latinx community, who often did not hold as many advantages as she did. Although she was forced to assimilate to the social and cultural norms of the 1920s and 1930s, del Rio never fully embodied whiteness or upheld its notions. Despite the Americanization of Dolores del Rio in the movie industry, she continued to be exotified in her character roles and as a Latinx woman in
These major scenes from the story that take place in different settings give the moments different meanings. When in the apartment the scenes show the struggles the family faces together. When these situations happen outside of the apartment is makes them seem more like individual journeys or hardships. Leon, the director of the movie might have chose to put major scenes in different locations to make them seem more important. When an entire story takes place in one setting it can be hard to differentiate what is