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Final draft - Auteur Project

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Final draft - Auteur Project

  1. 1. Guillermo Del ToroHow does Mexican director, Guillermo DelToro, portray children and childhood in his films?By Sophie Villalobos
  2. 2. Guillermo Del Toro• Born October 1964, in Guadalajara, Jalisco, Mexico.• Largely raised by his strict Catholic Grandmother.• Started making his own Super-8mm films when he was eightwhile attending a Jesuit-run boys’ school.• Studied script writing with Mexican director, Jamie HumbertoHermosillo.• Learnt Make-up and special effects from Dick Smith (TheExorcist 1973)• Started his own make-up design company in Mexico 1984called, ‘Necropia.’
  3. 3. Children and Childhood“I hate Hollywood movies with children ashappy, brainless creatures that spout one-liners. What I tried to put in The DevilsBackbone (2001) is how unsafe it is to be achild. Many times in my life I saw childrenalmost kill each other.” [1]
  4. 4. Mise-en-sceneA shot from a scene whereOfelia encounters The Faun inthe ‘real world.’ The strangebluish tint is used here.A shot of the ending scene from“Pan’s Labyrinth” where Ofeliareturns to the fantasy world. Theamber is used here.“You have the blue outsideworld and the golden magicalworld.” [20]
  5. 5. The Narrative Opening Of Pan’sLabyrinth
  6. 6. CinematographyThe camera is held at eye-level withOfelia. This shows her point of viewas being important: “The camera isalways at the height of the kid’seyes...” [15]The shots that show the adults arelow angle/over the shoulder shotsshowing how Ofelia views them fromher child’s perspective. In this shotThe camera shows how she views herstep-father.
  7. 7. CinematographySimilarly to Pan’s Labyrinth, DelToro also uses eye-level sots in TheDevil’s Backbone.Like in Pan’s labyrinth, a high angle/overthe shoulder shot shows theantagonist, who in this case is anotherchild. A low angle/over the shoulder shotis used to show how the protagonist viewsthe antagonist, all from a child’s point ofview.
  8. 8. Props: Fairy BooksThe close up of the fairy bookOfelia is reading during the carjourney in the opening .Screenshots from a scene later on inthe film where an insect enters Ofelia’sroom at night. Ofelia shows it anillustration of a fairy from one of herbooks and asks, “Are you a fairy?”The insect then transforms into a fairysimilar to the illustration.
  9. 9. Pan’s Labyrinth - Sound andEditingAn example of the vertical wipes used in “Pan’s Labyrinth” : Ofelia’sfascist step-father rides into the forest in search of rebels. A treetrunk wipes across the screen to reveal Ofelia walking in anotherpart of the forest while reading aloud a fairy story from one of herbooks.
  10. 10. Childhood Symbolism: Pale ManThe Pale Man’s feast is identical to the feast of Ofelia’s Fascist Step-Father.
  11. 11. Childhood Symbolism: The FaunScene 1: The Faun discovers thatOfelia has disobeyed his orders.He tells her that she can neverreturn to her kingdom, that allmemory of her will vanish and thecreatures will vanish with it.Scene 2: From the ending sceneof the film. The Faun and Ofeliaare talking, Ofelia’s stepfatherappears from behind. Thecamera switches to a point ofview shot. This shot is fromOfelia’s stepfather’s point ofview.
  12. 12. Childhood in Pan’s LabyrinthThere are religious overtones in this scene that arederived from Del Toro’s own Catholic upbringing.Ofelia’s narrative voiceover accompanies theimages of the rose on screen. Her story is about arose on top of a mountain that gives the gift ofimmortality. The flower represents Jesus and thepromise of eternal life.“I very deliberately designed the idea of the fantasyworld to be extremely uterine. We used a fallopianpalette of colours: we used crimsons and golds, andeverything in the fantasy world is very rounded whileeverything in the real world is cold and straight. Youcan see it in the not-so-subtle entrance to the tree.The idea is that this girls idea ofheaven, ultimately, is to go back into her mothersbelly. That is why the first time she goes to thefantasy world, she goes through the baby in hermothers belly. She starts talking to her brother, andthe camera goes into the belly and through that wego into the magical land where the rose grows and soon.” [11]
  13. 13. Brutality and ChildhoodA child is murderedby an adult in both‘The Devil’sBackbone’ and ‘Pan’sLabyrinth’. They areboth compositionallysimilar.In both ‘The Devil’sBackbone’ and ‘Pan’sLabyrinth’ the adultantagonist is abusivetowards the childprotagonist.
  14. 14. Children as open-mindedCronos:“What if the granddaughteraccepts him no matter howbad he looks, no matter if he isrotting away?” [19]The Devil’s Backbone: Carlosis not afraid to confront theghost. He does not deny ordoubt its existence.
  15. 15. Conclusion

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