City of God essay

What is the importance of miss en scene and/or sound in creating meaning and generating resins in City of God?

During the ‘story of the apartment’ montage scene, we are first introduced with a cross dissolve edit comparing the tenants of the apartment to the previous owners. A constant long shot introduces Dona Zelia as a female recluse drug dealer, describing her as not really understanding what she was doing. The social exclusion of this woman relates to the treatment of women in general in Brazil, especially in the favelas and how they are often treated with disrespect. This is emphasised by the violent treatment from her ‘customer’ big boy who takes over her business. Before big boy becomes the tenant of the apartment, the mise-en-scene displays a relatively clean and well-looked after apartment, reflecting the values held by women and reinforcing their stereotypical roles as cleaners, cooks and mothers. The long shot in which Dona Zelia gets dragged away by big boy, pulling the table cloth with her, not only portrays the fading influence and respect of women in the favelas, but also conveys the way she takes anything remotely positive with her. The mise-en-scene of the wallpaper falling, the floors getting dirtier and the depletion of the furniture as different people begin to take over the apartment, represents the decay and downfall of the favelas which only propels with the increase of drug use and sales. A mid-shot of big boy and a runt shows the mise-en-scene of a package of drugs being passed on to the runt to sell, conveying the moral injustice surrounding the favelas at the time and how children are indoctrinated from such a young age to deal and take drugs as a way of life. This aspect of narrative runs throughout the film and especially links to the drug montage scene which explains the hierarchy in the favela’s drug cartel.

The initial long tracking shot of the montage depicts silhouettes throwing drug packages across rooftops, emphasising the illegality of the act and the mise-en-scene of the setting sun in the background enforces the idea that these acts were conducted at night to minimise chance of capture or interruption. The sequence is so regimented that the production and sale of drugs seems like a daily routine, which at the time the film was made, when 70% of people in favelas were involved in drug sale or consumption, it practically was. The mise-en-scene of the cocaine in a trivial drinks can really emphasises the desensitisation of attitudes towards drug culture in the favelas and the following close-up of a book being ripped to make rolls of cannabis portrays the lack of care or time people have for education, as most people could not read anyway and lived by selling drugs or working in production/delivery of illegal substances. A close up of the mise-en-scene of the book page being rolled accentuates the disregard for education and the heavy focus on the influence of drugs on a young male’s life. The sequence then cuts to a selection of mid-shots focusing on the mise-en-scene of children walking around the favelas, delivering drugs, while the voice-over narrative describes the hierarchy and the rise of status within the drug industry, relating to the way children aspire to be drug dealers from a young age and enjoy being a part of the community. When describing the ‘soldier’ in the hierarchy, a sharp diegetic whistle is sounded whir simultaneously the mise-en-scene of a gun is drawn from the boy’s pocket. Both of these techniques together portray the progression of the roles in the industry and how the status within the cartel impacts the innocence (or lack there of) of the young males who grow up in this disassociated world full of violence, drugs and desensitisation. 

Essay Practice question

What is the importance of mise en scene and/or sound in creating meaning and generating response in the films you have studied?

La Haine (1995) frequently uses and depends on the unique style of verisimilitude to tell its narrative. Embedded in the sequences is a vast array of carefully selected mise-en-scene and choice of sound in order to create meaning based on social and cultural issues and also generate a personal response to the issues raised and addressed within the film. 

Upon the introduction of Vinz, we initially see a long shot in a dark underpass. The mise-en-scene of the graffiti behind him emphasises the emphasis of typical American culture that has taken over the lives of the lower class in France. This kind of representation implores the audience to consider the effects of western globalisation and the way popular culture has become a form of escapism for those across the world who have little to cling to. The non-diegetic sound in this shot where Vinz is pictured dancing, is typical Jewish music - giving the audience an insight into Vinz's cultural background. The mise-en-scene of his clothing and appearance, however, juxtaposes everything expected of a typical Jewish individual and this makes him seem separate to his own culture, almost emphasising not only his marginalisation in his own country, but also the way he is separate and distant from his lifestyle and the way he's been raised. This shot then cuts to Vinz asleep in his bedroom, making it quite clear that this was a dream - perhaps a glimpse into Vinz's unconscious mind and his desire to fit in and be equal to others in the country. This also establishes his role as 'the dreamer' in the film and makes the audience aware that he only seems to be happy in his dreams. When Vinz does wake up, the camera pans around his room to show the mise-en-scene of Nike trainers, Marilyn Monroe and Bruce Lee posters and a cannabis poster. This, along with his spiderman T-shirt further emphasises the impact of American culture on the lower class in France and how the culture is being taken over by western globalisation. 

Later on in the sequence, we are introduced to Vinz's family in the dining room. The mise-en-scene of the Menorah in the back of the shot conveys the strong Jewish culture in Vinz's home and makes his diversion from his family's religion seem much greater. There is, in the house, a notable lack of a father figure which begs the question where Vinz learns his behaviour from, as an ongoing message of the film is how behaviour is imitated and learned. It is likely that Vinz has learned most of his behaviour from other lower-classed men and boys in France on the streets. The mise-en-scene of the television in the back of the shot in the dining room emphasises the impact of the media in society and its presence everywhere - always watching and waiting for the next big story. This highlights how characters struggle to shut off from the world, and unlike the television, they can't just 'turn off' and stop living or witnessing the troubles they see on a daily basis. 

Annotated catalogue

Subject/Topic of Study: Guillermo del Toro

Focus of study: Fantasy style/Auteur

Resources: 3 x Chosen Films

Books/Websites: 

Title/Question

To what extent does Guillermo del Toro’s unique fantasy style throughout his films make him an auteur?

Films

Item 1 

Hellboy - (2004) 

I chose Hellboy as my focus film, mainly due to the fact that it clearly displays Guillermo del Toro’s auteur presence - focusing on fantasy fiction protagonist Hellboy, who is half-demon, half-man. The film explores fantasy and morality as a comic-book adaption and through other unique monster creations like Abe Sapien and Sammael, lends credence to the ‘weird fiction’ type style that del Toro has become known for. A further theme often explored by del Toro, which is clearly present in this film, is antiauthoritarianism and the fight against dictatorship, hyperbolised by the science-fiction genre.

Item 2

The Devil’s Backbone (2001)

The Devils’s Backbone is my second film choice, based on its horror genre still in-keeping with del Toro’s fantasy style through the creation of Santi, the ghost child. This film also explores del Toro’s relationship with antiauthoritarianism, much like Hellboy and also conforms to the dark undertone found in most del Toro films. 

Item 3

Pan’s Labyrinth (2006)

I chose this as my final film as it is perhaps del Toro’s most captivating film yet. Its fantasy world of weird fiction is easily recognised as a creation of del Toro and explores his stylistic monster creation through the pale man and the faun. Much like Hellboy, the film’s monsters are the key indicators of del Toro’s auteur presence. 

Interviews 

Item 4

Pop Matters Interview (11th January 2007)

This interview mainly focuses on Pan’s Labyrinth, but explains del Toro’s conception of ideas for his fantasy works through myths and symbolism. He talks about his symbols being individual and interpreted in different ways, while also maintaining a focus on his personal battle with fascism. He compares it also to Devil’s Backbone and Hellboy with the idea that all of the films challenge ‘unnatural’ order and subverts the ordinary acts of characters to create the ‘weird fiction’ style he’s known for. I can use this to explore the subversion of genres and actions that gives del Toro his style. 

Item 5 

Fangoria’s Screamography Interview

An interview and overlook of del Toro’s life that shaped him into the director and producer he is, explaining his passion for strange creations from a young age and want to create horror. He described himself as always thinking about creatures and stories. Growing up in Mexico, he was exposed to great deals of violence and witnessed corpses and gore from a very young age. These sorts of sights always disturbed him and further inspired him to only use such garish elements as a subversive tool. He describes how things he had seen as a young child have been transferred to his films and how he saw monsters in nearly everything as an infant. I can use this as insight into del Toro as an individual and the influences of his life on his works.

Item 6

Guillermo del Toro: A Conversation on Horror and Filmmaking (October 2014)

A conversation with del Toro about his methods of filmmaking open insight into how he uses storytelling and filmmaking as a tool to explain the world. He says the two basic models for horror and weird fiction are the sources of horror, whether it be from the outside world or from within the person. Quotations can be used from this interview to explore del Toro’s stylistic methods. 

Item 7

BBC Film 2010 Interview

Talks about his experience with lucid dreaming and how it inspired his weird fiction and monster creations. Devil’s Backbone and Pan’s Labyrinth explore what it is to be a child and with Hellboy, evil is explored in all forms, such as personal and social. I can use this interview to discuss the themes of evil and horror interpreted in films made by del Toro. 

Magazines

Item 8

Slant Magazine - Cabinet of Curiosities

Describes del Toro’s personal notebooks- the ‘cabinet of curiosities’ and insight into his creations and thought process. The book contextualises his films and shows insight into del Toro’s recurring motifs, like damaged eyes or clockwork machinery. I can use the article describing the book to show the impact of del Toro’s work and the way it has captivated audiences, while also keeping his undeniable presence in every creation he works on. 

Item 9

Slant Magazine - Angels and Insects: The Cinematic Spawn of Guillermo del Toro

Described del Toro as one of the most significant directors of horror since the peak of horror in the 70s. Use quotations like about imagery to emphasise del Toro’s auteur presence in his works. I can also use this article to explore the theme of ruined heroes, definitely present in Hellboy and other works. 

Books 

Item 10

Horror Movies Rough Guides

This book features a section on del Toro and his works. I can use this to support the auteur presence of del Toro in his films and use quotes about his care for the art in the genre. It also discusses Hellboy as ‘the best film in the horror comic sub-genre’ and continues to explore themes in The Devil’s Backbone like supernatural dread and sophisticated political commentary. 

Item 11

Total Film Interview with del Toro

Describes del Toro’s favourite creations as being the Pale Man and Pan in Pan’s Labyrinth and Santi in The Devil’s Backbone because of the emotional connection he had with them. He talks about his inspiration in illustration and painting because film monsters have a worn-down track and they all look the same, making him draw more symbolistic approaches to diversify the appearance of his creations, giving him an easily recognisable penmanship when it comes to his creations. He relates with monsters as they represent the fact that our defects are what make us special, not our qualities.

Item 12
The Director's Style
This book covers the 'auteur theory' and I can use it in my presentation to discuss how del Toro has become an auteur due to his unique style of creation in his films. There are quotes I can use concerning the concept of style which will aid the answering of my question about del Toro and his fantasy type style and creations. It also discusses what is considered to be an auteur which I can mention in my presentation script.

Item 13

Dark Dreams 2.0: A psychological history of the modern horror film

This book talks about the popular success of Hellboy worldwide and del Toro’s amazing work into fantastical mythology. It goes on to talk about political horrors, Pan’s Labyrinth and The Devil’s Backbone that allow for the clearer expression of del Toro’s personal obsessions like politics, childhood and the central role of fantasy in our lives. I can use this to discuss the ‘rich fantasy worlds’ created by del Toro in order to create symbolism and meaning within themselves. 

Newspaper 

Item 14

New York Times - A Director Digs Deep to Escape From Reality

I can use quotes from this article, describing del Toro’s works as ‘some of the most unsettling and darkly poetic films of the last two decades’ - emphasising his effect on the genre and filmmaking in general, adding to his presence in film as an auteur. It goes into detail on Pan’s Labyrinth and Devil’s Backbone and how del Toro will originally get an idea of a theme before he moves onto developing images and creations in his notebook. 

Item 15

The Telegraph - ‘I try to pour a lot of me into every film’

This article delves into del Toro’s dedication and commitment to his films, describing one account where he was almost detained by police due to the special effects he’d used smelling like rotting flesh and giving the impression that he had possession of a decomposing body. He describes in this article how important fairy tales are for storytelling. I can use this article to explore the themes of fairy tales in the films he has directed and produced. 

Podcast

Item 16

The New York Times - The Two Sides of del Toro

Talks about del Toro’s relation to the horror genre in ‘low-brow’ entertainment films like Hellboy and also in more art-house-esque productions like Pan’s Labyrinth and The Devil’s Backbone. Describes del Toro’s explorations into the catacombs under Guadalajara and into the sewers - transferred into the underground imagery in his films - a recurring setting where fantasies come to life. This represents the isolation and inner-feeling of individuals in terms of the ‘underground is always better’ state of mind. It explores his two styles when approaching films, one for the more pulp comic films which is fast paced and laden with camera movements, and the other which is slow and contemplative for the art house films and how they somehow combine to create del Toro’s easily recognisable style.

Photos

Item 17
Photo of del Toro
I am using an image of del Toro to open my presentation in order to provide a visual aid to my audience and allow them to develop a familiarity with the director I am discussing. 

Item 18
Image of Hellboy in Cabinet of Curiosities
Guillermo-Del-Toro’s-Cabinet-of-Curiosities-trailer-del-librodiario-realizzato-dal-regista-di-Hellboy-e-Pacific-Rim-2.jpg 
I will use this image in my presentation when discussing how the character of Hellboy ties in with the fantasy style used by del Toro and the relation he has with other character productions. The image will provide a visual aid of the preconceived ideas used to style the character. 

Rejected Items

Film: Hellboy II: The Golden Army

Originally, I had thought that Hellboy II could have explored more into the themes of childhood used in del Toro’s works, as some parts of it focus more on protagonist Hellboy as a child and his political wars growing up. However, upon comparing it to the first Hellboy, many fantasy elements remained the same and themes were consistently similar to the original, thus compelling me to choose the first film, as it was made first and seemed to be a more appropriate choice in order to observe the presence of del Toro as an auteur. 

Website: http://deltorofilms.com 

While this website provided lots of information about what del Toro’s works are and his current projects, as well as appearances he’ll be making worldwide, it didn't provide any useful insight into him being an auteur or any sort of analysis into his films. 

Website: http://www.imdb.com/name/nm0868219/ 

This site mainly gave me information I had already come across from other articles and websites and only really offered trivia that, while it was interesting, had no real purpose and was not helpful towards my research. 

Interview: Hey U Guys - Pacific Rim

This was an interview I originally thought would be interesting but upon watching it, came to realise it only spoke of the creation of the film Pacific Rim and didn't really contribute towards my research on Guillermo del Toro being an auteur.