Cinematography: City of God and Pan's Labyrinth
Questions in the exam could focus specifically on the ways in which cinematography (camerawork and lighting) creates meaning for audiences BUT a number of other types of questions may require you to make reference to cinematography - even if the term is not in the title. Answers to questions on representation or aesthetics may be dominated by discussion of elements of cinematography and you should mention both camerawork and lighting in essays about institutional context (how choices may be as a result of the fact City of God and Pan's Labyrinth are low-budget, foreign language films, distributed abroad by Miramax and Optimum Releasing respectively). It is very likely that any question on cinematography will lead you to discuss the ways that cinematography is used differently to mainstream, Hollywood cinema, so you must be able to discuss what is different or unusual about the use of the camera and lighting in the films. Both City of God and Pan's Labyrinth employ different cinematic styles at different points in the movies, and these differing aesthetics are, at least in part, related to choices made regarding camerawork and lighting.
Remember that you need to write about City of God alongside Pan's Labyrinth, though there is NOT a requirement for you to compare both films. Instead, you should focus half of your essay on City of God and the other half of your essay on Pan's Labyrinth.
To refresh your memory about the key terms for cinematography, click on the links below.
Opening and closing scenes are always useful to know in detail. Try, also, to memorise at least one other key scene - and make sure that you are able to make brief passing references to a number of other moments in both City of God and Pan's Labyrinth.
Cinematography César Charlone. The film depicts the changing nature of the slum, the favela itself features as a major character that grows and changes. The open environment where there are spaces to play football gives way to the closed one with the cramped and narrow streets confined by apartment blocks, tin roofed shacks, and graffiti spattered walls. The characters become more and more hemmed in by the encroachment of these walls and barriers, their dimensions emphasised by overhead shots. The characters are imprisoned, the killings are speeded up.
Low angles of Ze to make him look powerful and sinister
Tight framing - to suggest characters are trapped by their poverty and social exclusion BUT also to suggest a degree of unity, togetherness against the common enemies of the Brazilian Govt and, in particular, the corrupt police. Tightly framed shots of the favelas in the 1970s scenes contrast with the loosely framed shots of the favelas in the less violent sepia-toned 1960s.
Lighting and colour (can use for mise-en-scene as well) - a cinematographers use of colour is an important part of COG's aesthetic, affecting the way the spectator responds to what they see (done through colour grading which ensures that colour palettes remain consistent, affecting the mood or feel of the film. COG uses two different colour pallettes in COG - the first half of the film, told in flashback (set in the Sixties) is golden in hue, a sepia tone which could indicate a number of things such as the heat of Brazil, the nostalgia of a 'golden age', a time that was safer, less violent (or where crime and violence were seen as a necissity or even as benevolent - robbing the rich to give to the poor to make up for a lack of investment or support), where their was a greater sense of freedom, where drugs hadn't taken a stranglehold on the community, where there was hope (despite the obvious poverty and lack of support from the government), ambition and innocence amongst the young population. It is certainly possible to argue that the colour reflects their optimism and enthusiasm for life. The film's second half (set in the Seventies) is narratively darker (more crime, more violence, police corruption, the deaths of many young children, a lack of hope for people trying to get out of the favelas and build a new life, a lack of opportunity) and the bright lighting has gone, replaced with darker browns and greys. This change in colour pallette reflects the change in fortune and the stark reality for the young people we witnessed in the lighter 60s, who have now become embedded in the criminla underworls, with little opportunity to escape their existence of the favelas (unless in a body bag or by being arrested).
The atmosphere created by lighting, cinematography and camera movement can be illustrated by looking at the disco scene where Bené is killed. Shots of the dancing crowd from the dancers’ eye line contrast with high angle shots from Rocket’s point of view as he puts discs on the turn table, emphasising his position as an observer and not a participant.
Camera in a fixed position for ‘The Story of the Apartment’, spectator watching from a place in the stalls of a theatre, not entering the Apartment or seeing things from the characters’ points of view, a marked contrast to the highly mobile style of most of the film. A wide-angle lens and deep focus give an exaggerated perspective to the room where figures appear large in the foreground, small in the background. The story is told with a series of dissolves where people appear, disappear and reappear in different parts of the room. In the Apartment the characters watch themselves. The walls change colour, the furniture moves, and objects change. The lighting gets darker and darker. The story appears like a series of tableaux.
shots in the opening scene
The series of tight close ups zooms in and out on further fragments of street life - faces, a guitar, a tambourine, hands with tumblers of drinks, hands scraping and chopping carrots, chicken feet and chickens being lowered into the cooking pot. The first mid shot of the film is of a live chicken on the table, tethered by its leg. A cut provides the first long establishing shot of the film. The chicken jumps down off the table making a bid for freedom. Brazilians describe a situation that appears to have taken off and be going but will soon crash to the ground as a “flying chicken”. This apparent freedom is illusionary – the chicken might try to fly but it can’t get very far. A close up low-level shot from the chicken’s point of view shows a plate of blood on the ground, a reminder of the chicken’s fate.
Typical questions related to cinematography can be found below. It is important that you attempt them, combining the notes above with your own analysis of key scenes. When practicing essays it will help with your revision if you re-watch moments from the film and pick appropriate scenes to analyse. Just remember to mention both films in your introduction and conclusion and to write about each film separately in the main body of your essay (spending roughly equal time on each film).
1. Explore how far cinematography reinforces the social, cultural and/or political messages in your chosen films.
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2. How far does cinematography contribute to the impact of your two chosen films? Refer to specific sequences in detail.
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