https://padlet.com/jessehogan241998/v0g1svzahc419u1y Mise En Scene, Foreshadowing en-us 2020-09-11 07:02:46 UTC 2025-10-22 12:13:58 UTC hello@padlet.com jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737949733 Pan's Labyrinth. Directed by Guillermo Del Toro, Telecinco Cinema, 2006. Netflix, January 1, 2019 ]]> 2020-09-11 07:04:14 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737949733 jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737953232 (29:02)]]> 2020-09-11 07:07:32 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737953232 jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737955482 (1:04:41)]]> 2020-09-11 07:09:40 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737955482 jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737957741 (1:31:41 - 1:33:30)]]> 2020-09-11 07:11:52 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737957741 jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737958953 One of the skillful details Del Toro signals within "Pan's Labyrinth" is the eventual attack of Vidal at the hands of Mercedes. Early on, we see Mercedes cutting some food for breakfast and then wiping off her blade with her dress. At first this seems rather ordinary, however, what the audience may not pick up on during their first viewing is how Mercedes then tucks the knife away within her clothes. Within this close up, Del Toro is using Mise En Scene to show the audience that Mercedes is not only hiding the knife, but something about herself. We subconsciously understand that we may be seeing the knife again, but when we do it is used for cutting something else, not an early morning breakfast. ]]> 2020-09-11 07:12:56 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737958953 jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737967696 Later on in the film, Del Toro, as he does multiple times in the film, signals the eventual attack of Vidal. Not only does the imagery of the knife come back up, this time in the form of Vidal's razor, but Vidal is cutting his reflections throat. While some people may interpret this as Vidal simply being angry and wanting to kill someone, maybe even himself (although I believe he is too prideful to do that to himself), it is the way that the shot is framed that gives the audience context. By placing the camera over Vidal's back, we not only get a clear shot of him looking in the mirror, but it also foreshadows that he will be attacked from behind. ]]> 2020-09-11 07:20:51 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737967696 jessehogan241998 https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737980127 Toward the end of the film, we see Vidal has captured Mercedes in an attempt to interrogate her for working with the militia group that Vidal has been fighting against. She has been tied up to a post and, at first, seems helpless. Yet, as the audience, we remember how Mercedes always kept her knife tucked in her work clothes. As expected, she pulls out knife to free herself. Ironically, she pulls out her weapon while Vidal is relishing over his own. Del Toro places the torture tools in a place where Vidal will have his backed turned because, for one, Vidal is not scared of Mercedes and, secondly, it calls back to Vidal shaving in the mirror. He is using the placement of all the props we have seen to do half of the storytelling for him. By the end of this scene, we see Mercedes get her revenge on Vidal and get closure on the foreshadowing that Del Toro had set up from the moment Mercedes was cooking breakfast. ]]> 2020-09-11 07:32:51 UTC https://padlet.com/jessehogan241998/v0g1svzahc419u1y/wish/737980127