Aesthetic qualities essay

To what extent do aesthetic qualities contribute to the impact of your two chosen films? Refer in detail to specific sequences

In Pans Labyrinth aesthetic qualities are used to depict the brutality of violence in a patriarchal, authoritarian regime, such as in Franco's fascist Spain, as well as the suffering it is responsible for. Similarly to City of God the the youth are the main victims, but in contrast adults are the sole perpetrators of violence in this film. This immense suffering is inflicted to the utmost upon the young protagonist Ofelia, in the final scene where she is shot dead by the antagonist Vidal. The bluish colour palette sets the sombre tone, as well as reflecting Vidal's cold demeanour in which he unceremoniously executes Ofelia. Vidal's performance sees him carry out this brutal violence in a swift efficient manner, not taking a second look and walking away soon after pulling the trigger, reflecting how this kind of systematic violence takes place in such authoritarian regimes as the one in the film (Fascist Spain in 1944). Aesthetic qualities further empathise the suffering in this scene, as cinematographically a shallow depth of field is used to focus the spectator on the foreground, Ofelia suffering. This also works in tandem with the low angle medium close up, to trap the spectator in this painful moment as the dying Ofelia fills the frame, and the spectator is placed on the floor with her through the low angle. This all works to also increase empathy for Ofelia in the spectator, which works to evoke disgust at this violence and emphasise its brutal nature as its impact is amplified by the spectators affection for Ofelia. The brutality of this regime's violence is also seen in its dehumanising nature, as when we return to dying Ofelia, an even shallower depth of field is used to blur our her face, reducing her to a near faceless victim of this violence, in this fascist system that seeks to dehumanise, those who do not comply are worthless. This depth of field focuses on Ofelia's bloodied hand, a symbol of lost innocence emphasised by the contrast of the red blood with Ofelia's pale white hands (which is connotative of innocence). This innocence is also seen in Ofelia's out of focus childish clothes, which again builds empathy for Ofelia emphasising the brutality of this violence. This is similarly used in City of God.

In City of God violence is equally brutal but as well as being the main victims of this violence, the youth are also the main perpetrators. This is best captured in the 'hand or foot?' scene, where Lil Ze goads a young member named 'steak' into shooting one of the runts. Aesthetic qualities work to emphasise just how young these children are, one child appears younger than ten, which a medium close up exaggerates. The medium close up pans down from the boys snotty face, to his pyjamas with dinosaurs on revealing the costume which emphasise his young age. Lil Ze then hands the gun to 'Steak', telling him to kill one of them. The cinematography of this scene reflects 'steaks' thought process as he is goaded into killing one of the runts. From a low angle the camera tracks into steaks face into a close up, reflecting him coming to the conclusion he has to murder one of them. The close up reveals his fearful expression, something childish, the chiaroscuro however puts part of his face in darkness externalising the internal conflict within him, between childhood and manhood. An over the shoulder places Steak between the two runts, either side of his shoulders, this places us into Steaks perspective. The camera then pans, slowly blocking out the younger child and leaving the remaining option of the older boy, reflecting his thinking as he decides to kill the older boy. Cinematographically displaying steaks thought process, externalises it, allowing the spectator a deeper empathy for arguably the antagonist of this scene, but this technique paints him as much a victim of this violence as the boy he his shooting. A later close up on Steaks face after he shoots the boy, reveals that this internal conflict is settled, as the lighting loses its contrast and his face becomes emotionless and with the words from Lil Ze “your one of us”, steak has ascended to manhood through this violent act and will continue the cycle of patriarchal violence.