'With close reference to two scenes from 'Pan's Labyrinth', explore how cinematography and mise-en-scène create meaning.'

'The Place Beyond The Pines' (2012) Scene Analysis

The scene opens with a wide shot that also acts as an establishing shot as it reveals where the scene takes pace, which is the fairground where the main character Luke (Ryan Gosling) works as a motorcycle stuntman. After this we see him in a meeting with a man who is seemingly his manager. The mise-en-scene features low key lighting with subtle shadows cast, suggesting that he is an unpleasant character, or that it is a place where Luke feels unhappy. In addition to this the whole film appears to have a certain aesthetic to it, a somewhat ‘gritty’ feel that expresses how the subject of the film focuses on the more unpleasant side to modern day American life and that not everyone lives the ‘American dream’ that is often presented in movies, I found this particularly interesting as I noticed that Luke is often framed with an American flag behind him (eg. In the office scene and the scene on the porch), and I wondered if these two subtle factors of mise-en-scene may be linked. The scene is shot entirely in close ups in order to show the emotions of the two characters, with one of each side of the screen to represent a divide between the two of them. The mise-en-scene of these two shots show a lot of information, particularly in the background. Behind Luke’s manager is a poster but the sides have rolled up and is looking quite unkept, suggesting that he doesn’t care much for his office, and perhaps this transfers into the way he treats his staff. Further costume details suggest this such as his un-cut hair, unbuttoned shirt and him being cleanshaven. Behind Luke there is a pristine poster for the fairground, it’s bright colours contrast the dark clothing that Luke is wearing, and the fact that it has been placed behind him suggests that he is leaving the exciting life of the fairground behind in order to live a more serious life. The camera remains focuses on Luke when his manager is speaking in order to show us that Luke focuses more on his cigarette rather than his manager, suggesting a lack of respect.  

The next scene opens with Luke arriving at a house and knocking the door, while he waits there is a mid-shot where mise-en-scene reveals through his costume, an inside-out worn-out t-shirt, that the character isn’t perfect and has many flaws, perhaps he has little care for the superficial things is life, and focuses on more important matters – I personally feel as though this reveals that there many layers his character. The next shot is a close up of him staring at the door waiting for it to be opened, the black door casts a shadow over him which suggests to me that what lies behind the door will be a disappointment to him, and that future events that take place in the house will cause trouble for him. The choice of a close-up shot is important as it shows the emotion of the character, we see him look down and then look straight up in hope as soon as he hears footsteps. Another significant feature of this part of the scene how we hear the diegetic sound of Malena's voice before any other, which is notable because she is also the first person to tell Luke about his son, not Romina, and now she is informing Romina that Luke is at the door – suggesting that there is a direct communication problem between the two characters. After a short conversation Romina is joined by her partner Kofi who is holding Luke's son – although his face is mostly hidden by Kofi which I feel represents the fact that Kofi is keeping the baby from Luke, the tension between them is further shown by the use of close up camera shots as either character is always framed on the opposite side to each other. Another important feature is the diegetic sound of Kofi locking the door which I felt portrayed the way that he is locking away the family, and shutting Luke out of his son's life. Interestingly this part of the scene is the only part that doesn’t feature any non-diegetic sound.  As the family get into the car and drive away, leaving Luke left behind and uninvolved, we hear the diegetic sound of the baby crying, which appears to be louder than the sound of the engine firing up or other cars in the background although these would usually drown the noise of the crying out, it is louder as it very important to Luke as he cares for his son.  
                                     

The following part of the scene is set in the church for Luke's son's baptism, it opens with another wide shot that also acts as an establishing shot – I felt that the aesthetic of this shot gave me a sense of holiness and supremacy that is often associated with a church, as the shot features a lot of symmetry and high-key lighting. There is non-diegetic sound of a holy-like harmonious music used throughout to give a sense of peace and happiness in this important event of the child's life – an event that Luke has not been invited to. There is a close-up shot on the baby, almost as though we are looking through Luke's eyes as that is his main focus and priority. Through Ryan Gosling's acting and the mise-en-scene of the setting we can see that Luke feels uncomfortable in a church, suggesting to me that he is not a particularly religious man, contrary to the religious tattoos that he visibly has, on his hand for example. A wide shot also reveals that he is seated away from the rest of the congregation, suggesting that he is somewhat of a social outcast. The scene closes with a close-up shot featuring low-key lighting as Luke begins to cry over the disconnection he has with his son, while the rest of the guests quote the Lord's Prayer, adding to the recurring religious themes of the scene.