Pan's Labyrinth Term Paper

Pages: 3 (1160 words)  ·  Style: MLA  ·  Bibliography Sources: 3  ·  File: .docx  ·  Topic: Mythology

Pan's Labyrinth: A Film Analysis of Camera Technique

Director Guillermo del Toro's Labertino del Fauno, or Pan's Labyrinth (2006), is a brilliantly directed film. The director has demonstrated his expertise and skill through the use of modern technology in special effects, the motion picture camera, and the simplicity of mythology to blend the otherwise separate dimensions of reality and fantasy, layering the fantasy over the reality, to create a unique film presentation. Many filmmakers have moved from fantasy to reality, or vice a versa, but Pan's Labyrinth is a film where the technique of layering allows the blending of fantasy and reality in a seamless way, a layering of the two dimensions, and this is done in simple story way, but employing the complexity of special effects and the camera.

The Camera

Like film theorist L.D. Giannetti (1976), Pan Labyrinth's director, Guillermo del Toro, believes that motion is expressive and will bring forth from the viewer strong emotional responses that help them connect to the character on the screen. Del Toro says that he relies on moments of the actor's looks, captured by the camera, to convey the sense of emotion or thought to the audience.

Film researchers Benjamin H. Detenber, Robert F. Simons, and Gary G. Bennett Jr. (1998) discuss the concept of involving the viewer emotionally in the film. They support del Toro's contention that the look conveys the sense of emotion to the viewer, and the viewer responds in a like manner either relating to, or not, to the expression of the actor's conveyance of emotion (p. 113).

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The looks of Vidal, the fascist captain is consistent with the evil that has come to be associated with World War II fascism. In the film, we witness Vidal as he is prepared to commit vicious acts of violence against the members of the resistance, and, in the end, even when he knows that he has lost his at least his war in place, he still shoots Ofelia.

Term Paper on Pan's Labyrinth Assignment

The reality of the war and the myth of the labyrinth provide stunning and intriguing contrasts. A young girl whose innocence provides the avenue for fairies and fauno to enter her life is the layering of fantastical myth over the reality of one of the most horrible wars fought by mankind. Even though Ofelia is able to defeat the monsters of her myth, she cannot defeat the monster of the reality of mankind's war or Vidal's cruelty.

Throughout the picture, the looks that convey the fascination of the young girl in the presence of the fauno and the colorful winged fairies contrasted against the dark sadness of her mother's hopelessness, and her mother's inability to see the evil in Vidal provide the viewer with the emotional range that invests them in Ofelia's struggle between the reality of war and the fantasy of the myth of the labyrinth.

The Technology

The technology employed by the filmmaker's is outstanding, and the costume of the fauno and the other creatures and the fairies are believable, unique, and provide the contrast of innocence against evil, against desire, against magic.

Using a piece of chalk Ofelia draws a door on the wall to exit the world of Captain Vidal, and to enter the world of the fairies, fauno and monsters. She is required to do but one thing, and that is to perform the task at hand using a special key, and not to eat or drink of anything while she is in the other realm.… [END OF PREVIEW] . . . READ MORE

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How to Cite "Pan's Labyrinth" Term Paper in a Bibliography:

APA Style

Pan's Labyrinth.  (2008, March 18).  Retrieved March 1, 2021, from

MLA Format

"Pan's Labyrinth."  18 March 2008.  Web.  1 March 2021. <>.

Chicago Style

"Pan's Labyrinth."  March 18, 2008.  Accessed March 1, 2021.