*Pan's Labyrinth (2006) - Guillermo del Toro, Spain* FIRST SHOT: Camera Angle: Oblique/Canted • Camera is tilted to suggest transition & instability Kind of shot: Close-up shot •Shows very little background •Concentrates on Pan’s facial expression • Allows the viewer to get into her mind •Viewers can get uncomfortable with this shot Camera’s movement: CRANE SHOT •it moves gradually to the left, towards a 90° degree and then to an extreme close-up of Pan’s eye SECOND SHOT: Camera Angle: High Angle (left -> right) • The camera is elevated above the action using a crane to give general overview Kind of shot: Extreme long shot •It is the scene setting, the actual establishing shot •It shows the exterior of Pan’s “Underground Realm” Camera’s movement: CRANE SHOT + tilt low angle) •Sort of “Dolly shots” but in the air •It also moves up, then right, then left – similar to the first shot •It moves diagonally out of the action THIRD SHOT: Camera Angle: Eye level •Neutral shot; as if a human is observing the view(scene) Kind of shot: Crane shot •It shows the image corresponding to the real distance between the audience and the scenario Camera’s movement: DOLLY SHOT (Tracking shot) •Camera is placed on a moving vehicle •Camera moves around to show how Ofelia met the “outside world” FOURTH SHOT: Camera Angle: Eye level (low -> high -> extreme long) •Neutral shot, as if a human is observing the action •The camera is placed around 5feet from the ground Kind of shot: Long shot •Shows the scene approximately as if we would see in real life •Includes a FULL SHOT of the cars, and the figures inside Camera’s movement: DOLLY SHOT – possible pan or crane •Camera is placed on a moving vehicle •It moves alongside with the action •It follows the cars FIFTH SHOT: Camera Angle: P...

Lighting plays another key role here because Norton is the only one light up, leaving Kane and Gettys as darkened beings. This visual symbolism is apparent throughout the rest of the scene as well...

Then the music continues its build up until the end of the scene when Gruber falls to his death out of the window; the music cuts out just as we hear the thump of his body as it hits the ground...

By placing the camera at the exact location and height of the character, the viewer of the film is 'inserted' into the character's body, making the scene more personal...