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The music of Pan's Labyrinth: Conveying emotion in the realm of Magical Realism - Research Paper Example

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The paper is dedicated to juxtaposing in movies - it's mixing two or more genres in one piece, make the feelings spectrum wider. And music has become a primordial essence in making the transition between these two modalities less apparent to the viewer. …
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The music of Pans Labyrinth: Conveying emotion in the realm of Magical Realism
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The music of Pan's Labyrinth: Conveying emotion in the realm of Magical Realism

Magic Realism makes a statement of two juxtaposed events. "It is a combination of realism and fantastic ideas in a way that magical elements are portrayed as reality...The realistic narration is mixed with the fantastic and supernatural elements. Hereby a decline of the familiar imagination of reality leads often to a challenge of the truth in general. (Deitrich 2007). The transition is made by the turn of a page and the imagination of the writer and the reader. Early renditions have been seen in the Soviet Union with Master and Magerita by Boughalkhov and in Germany, the Metamorphis by Kafka. In the cinematographic genre, the narrative modalities are two separate entities. The transition between the subversive or violent world and the magical, or mythic world are full of incongruencies, moments of silence and cacophony. Music has become a primordial essence in making the transition between these two modalities less apparent to the viewer. The object of the producer is to make the transition so unapparent that the viewer no longer notices that he has changed worlds. Music is Magic Realism has become a genre of its own. As music was once composed then used in a film, the magic realist writes his film with the composer collaborating at his side. Pan's Labyrinth directed by Guillermo Del Toro and composed by Javier Navarette is the exitensional culmination of music, literature and art. Three points would like to be developed to show how music in magic realism has become such an important element in cinematography. In Del Toro's Pan's Labyrinth the transition between the worlds can heard through the different melodies and how they a juxtaposed in harmony to show how the worlds are co-existing. In Tim Burton's Big Fish, the different styles of music told the listener which type of setting to anticipate. In literature, magic realism was used by Gabriel Marquez in his One Hundred Days of Solitude setting the geographical landscaping for South American film makers. Tim Burton's Big Fish will have a dual function to show the influence this film had on future use of magic realism and to show the naive way music was used to switch between the juxtaposed worlds. Guillermo Del Toro's Pan's Labyrinth has taken the influence of South America and combined it with the mythical world of Moana. The use of Mercedes' Lulluby is full of metaphors and symbolism which will be fully discussed in the body of the paper. Magic Realism took its strength from the writings of the South American writers in the 20th century. The tumultuous political situation, the diverse folkloric culture and geographic natural landscape created the perfect imagery for both the writer and future screen writers. A genre of writing of putting reality and fantasy at the same level without giving a chance for the reader to be able to differentiate between the two, is the essence of magic realism. Gabriel Marquez, One Hundred Years of Solitude, responds to a need to explain the horrors of the reality of the Columbia government by introducing the irony of magic. His winning of the nobel prize of literature put a label on the genre that was typically Hispanic genre which was never intended to be labelled by the genre "magic realism". In the 1980's there was a rebirth in genre as coming from South America. The film, El Norte in 1985 received accolades. In one Hundred Years of Solitude, the farmer workers are killed by government officials when they go on strike. Marquez presents this as a banal event which is so mundane that it is not even worth reporting. Jose Arcadio Segundo cannot get any support in proving it happened. The mundane has become non -existent. In contrary, Colonel Aureliano is an imaginary "real" character. 'He organized thirty two armed uprisings and he lost them all, he had seventeen male children by seventeen different women and they were exterminated one after the other in a single night before the oldest one had reached the age of thirty-five. He survived fourteen attempts on his life, seventy three ambushes and a firing squad. ... Read More
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