Documentary Film Script

Transcription

1 Documentary Film Script Pan s Labyrinth You Are What You Wear A comparative study about how clothing represents character development in young women in films. Spirited Away

2 Rationale My documentary explains how clothing choices in the films Spirited Away and Pan s Labyrinth portray the character development of the young female main characters. This documentary is also looking through the lens of feminist film theory. Feminist film theory deals with the representation of women from realistic portrayals, to the ideal beauty, to a level of toughness many aspire to be. I decided to choose the films Spirited Away and Pan s Labyrinth because they both feature young ladies as the protagonists and the two characters go through a journey that highlights their transition into adolescence. Word count: 95 Films Director Country Year Spirited Away Hayao Miyazaki Japan 2001 Pan s Labyrinth Guillermo Del Toro Mexico 2006

3 1 MLS of Alice holding her dress and looks at it as the flowers comment on her "petals" (Alice in Wonderland 00:30:38-00:30:40) Mulan catching and twirling the sword she stole from a Hun (Mulan 1:14:29-1:14:32) Ofelia MCU walking with books (Pan s Labyrinth 00:07:20-00:07:23) MS of Chihiro in water (Spirited Away 00:13:09-00:13:13) Establishing shot of Flying Snow sitting on a rock while the leaves are blowing all around her (Hero 00:34:49-00:34:51) Mulan tying up her hair and opening the closet to unveil her father s armor (Mulan 00:19:00-00:19:04) Mercedes touching Ofelia s green dress, MS (Pan s Labyrinth 00:29:11-00:29:14) MLS of Chihiro looking over the balcony (Spirited Away 1:12:10-1:12:14) Fades to black, fades up on Narrator, WS that slowly zooms into a MS Small still of a Spirited Away poster with a CU of Chihiro at the top pops up on screen on one side of the Narrator NARRATOR (VOICE OVER): Clothes are not only used to cover up our bodies, but are also used to express our personalities. The same applies to costume design in films. Costumes are used to give an impression about a character to the viewer and play a role in the aesthetic of the film. Transforming one s clothes can also indicate character development, the color of one s clothes may be a symbol for a trait of a character or the outfit a character dons may represent a central theme in the film. NARRATOR: This study will be focusing on how the two young female lead characters of the films NARRATOR: Spirited Away

4 2 Still of Pan s Labyrinth poster w EWS of Ofelia pops up on screen on the other side of the narrator (Spirited Away poster can still be seen) Giant Alice crying (Alice in Wonderland 00:09:56-00:10:00) WS of flying snow spinning through the air (Hero 00:50:09-00:50:13) Sequence of shots: Mulan running ahead of the male warriors (WS), Mulan fighting with Shang (LS, two shot) (Mulan 00:40:47-00:40:49) LS of Chihiro lying down in her car with flowers in her hand (Spirited Away 00:00:28-00:00:31) Ofelia sitting by the tub reading her book, LS (Pan s Labyrinth 00:28:23-00:28:25) WS of Chihiro carrying a rock (Spirited Away 27:21-27:28) Narrator MCU NARRATOR: and Pan s Labyrinth are represented through clothing. We will be focusing on how the costume choices and designs played a role in their path to developing into young women. Women are often portrayed in films as damsels in distress. However, that norm is changing with films that include women who are equally, if not stronger than their male counterparts. In these two films, the protagonists are young females beginning to enter the world of adolescence Their characters develop by learning how to deal with dangerous situations on their own, not by someone helping them out of it. NARRATOR: So how exactly do the two films connect a young lady s clothes to their character development and personality?how are they being portrayed differently compared to the "normal" woman in film? And how are these two characters similar to each other? Let s find out.

5 3 : MS Chihiro standing in Kamaji s workshop then walking over to him (Spirited Away 00:24:34-00:24:42) LS of Chihiro straining a towel (Spirited Away 00:52:34-00:52:37) Wide Shots of Chihiro walking around the spirit festival in her white and green t-shirt and shorts (Spirited Away 00:10:02-00:10:12) MCU of Chihiro doing her hair (Spirited Away 1:51:22-1:51:25) Cut to silent footage of Hayao Miyazaki interview (Making of Spirited Away Part 1 00:02:06-00:02:11) Chihiro and the rest of the workers in the bath house pulling stuff out of the stink spirit (Spirited Away 1:04:10-1:04:22) LS of Chihiro slipping on the floor of the big tub room (Spirited Away 53:56:53:58) Different clip of Miyazaki talking about Chihiro s character (Making of Spirited Away Part 1 2:45-2:49) First off let s analyze how the clothes of Chihiro, the main character of Spirited Away directed by Hayao Miyazaki portray her development and identity throughout the film. Chihiro dons an oversized t-shirt along with pink shorts at the beginning of the film. What s exactly the big deal about her outfit? You ask. Well, that s exactly it. Her clothes are an absolute normal thing for any 10-year-old girl to wear. Hayao Miyazaki, the director of Spirited Away along with many other hit Studio Ghibli films, based his characters and the events that occurred in Spirited Away on people and real-life situations he had experienced and Chihiro on the modern 10-year old-girl MIYAZAKI: She s kind of a lazy bum. Which is exactly the way my favorite 10-year-old girls are.

6 4 Clip continues to play but is silent this time (Making of Spirited Away Part 1-00:02:49-00:02:54) Chihiro running around the field (WS) then Chihiro sliding down dirt (MS) (Spirited Away 1:58:56-1:59:05) Blurred still of Chihiro CU w/mouse in foreground and frogs in background with text appearing as the narrator quotes Miyazaki. Series of shots Chihiro running down the stairs like a maniac (LS to ECU as she runs down, MS as a follow shot) (Spirited Away 00:21:59-00:22:07) Chihiro saving her parents: The contract in Yubaba s hand is destroyed while the pigs are turned back into their original forms (1:57:32-1:57:39) LS of Chihiro and Sen cleaning the giant tub (Spirited Away 00:54:03-00:54:09) MS of Chihiro asking Kamaji for work (Spirited Away 00:24:51-00:24:56) Miyazaki intended for 10-year-old girls to relate to this film and relate to Chihiro s character. Which explains why Chihiro s costuming fits in with the current time period and is what any young girl might wear. Miyazaki also states in a different interview: "I felt this country only offered such things as crushes and romance to 10-year-old girls, though, and looking at my young friends, I felt this was not what they held dear in their hearts, not what they wanted. And so I wondered if I could make a movie in which they could be heroines." Spirited Away breaks those stereotypes that Hayao Miyazaki stated. Chihiro is a character who is depicted as a normal girl on the brink of adolescence and is able to be a heroine at the same time. It s a different goal for young girls, and a more modern one at that. Rather than dreaming of a man to save them so they can live in a castle, little girls can strive for goals themselves and work hard, as they develop into strong, independent women. Not only does Chihiro s clothing portray the character as a realistic young girl;

7 5 Chihiro runs and waves goodbye to the spirit world (Spirited Away 1:57:56-1:58:01) MCU profile of Chihiro eating a rice ball and crying (Spirited Away 00:49:51-00:49:53) WS Chihiro and the bath workers clean the floor (Spirited Away 00:52:21-00:52:27) LS of Chihiro receiving the contract (Spirited Away 00:39:20-00:39:26) Yubaba s hand taking the characters of Chihiro s name off of the paper (Spirited Away 00:40:18-00:40:21) CU of Yubaba giving Chihiro her new name, MS of Chihiro standing (Spirited Away 00:40:22-00:40:26), English subbed WS of Len giving Chihiro her new work outfit (Spirited Away 00:42:43-00:42:52) Two-shot of Haku comforting Chihiro crying (Spirited Away 00:50:05-00:50:09) which in turn sends a message to other young girls that being the heroine is an option no matter their gender or age, but it also represents her identity As the heroine, Chihiro takes up work at a bath house for spirits in order to free her parents who have been turned into pigs Chihiro convinces Yubaba, the owner of the spirit bath house to let her work in order for her family to be turned back to human, She signs her name on Yubaba s contract, only for her name to be taken away and be given a new one: Sen YUBABA: From now on, your name is Sen (in Japanese) She is also given a new outfit to wear which represents her losing her own identity. As well as symbolizes her transition into adolescence and adulthood. As one gets older, they are faced with more difficult choices and responsibilities.

8 6 LS of Chihiro signing Yubaba s contract (Spirited Away 00:40:01-00:40:05) MS of Narrator Two shot of Ofelia and her mother in the car (Pan s Labyrinth 00:03:11-00:03:18) Sequence of shots that switch from a CU of the fairy popping out of the stone, CU of Ofelia s reaction, back to the fairy, then an OTS of Ofelia watching it (Pan s Labyrinth 00:04:48-00:04:56) Follow shot of Ofelia walking through the woods while in the background soldiers are running (Pan s Labyrinth 00:31:24-00:31:27) Two shot: OTS Mercedes, MCU Ofelia with lead space (Pan s Labyrinth 00:08:28-00:08:34) Chihiro exemplifies that transition by choosing to sacrifice her identity in order to save her parents, and this is shown through her new outfit. NARRATOR: Like Spirited Away, Pan s Labyrinth focuses on a young girl about to face her adolescence. However, the main goals of the two films are entirely different. While Spirited Away is targeted towards girls who are the same age as the main character Chihiro, Pan s Labyrinth is directed at a more adult audience, since the rating is "restricted." Ofelia s clothing in Pan s Labyrinth when she is in the "real world" consists of earthy, neutral colors such as green and gray. This can tie in with her interest and her constant encounters with nature, her innocence, and as well as the fact that she is in the normal world we know as earth, rather than the one she belongs in.

9 7 Series of still shots of Ofelia s dresses (in collage form; one appears, then another, until the screen is filled w/a collage) Series of shots of Ofelia and her mom (MS) interacting, Ofelia is in the bathroom, mom is outside (Pan s Labyrinth 00:28:33-00:28:37) Continuing the shot sequence from the previous, but this time with audio (Pan s Labyrinth 00:28:37-00:28:46) English subtitles Follow shot to zoom out into an establishing shot of Ofelia as she encounters the tree with the giant toad in it (Pan s Labyrinth 00:31:38-00:31:53) MCU with lead space of Ofelia hanging her dress up, then camera pans and zooms out as she enters the tree. (Pan s Labyrinth 00:32:18-00:32:28) Pan over to Ofelia s hung-up dress (Pan s Labyrinth 00:32:39-00:32:42) LS Ofelia standing in the middle of the opening of the tree (Pan s Labyrinth 32:28-32:32) Two shot of Ofelia s mother showing her the dress (Pan s Labyrinth 00:27:03-00:27:07) Her wardrobe also is comprised of dresses throughout the film due to it being set in 1944, a period in time where women and girls were taught to act like "ladies." Ofelia s mother gives her a dark green dress in order to make the Captain happy and make her look like a princess. CARMEN: You ll look like a princess (Spanish) OFELIA: A princess (Spanish) Not long after she puts on the dress, she ventures out into the woods with her fairy tale book. She then encounters a tree that looks awfully like a woman s reproductive system. She sheds her beautiful green dress for a more normal looking one that she is able to get dirty. As Ofelia takes off her dress, she exchanges her identity of the real world for one of the underworld. She shreds her image of a young lady in 1944 in exchange of her true role in the film, the heroine. While her dark green dress was supposed to make her look elegant and pretty,

10 8 MS of Ofelia crawling through the mud of the tree (Pan s Labyrinth 00:33:12-00:33:16) Two shot of Ofelia talking to the faun (Pan s Labyrinth 00:23:41-00:23:46) Ofelia running away from the paleman (Pan s Labyrinth 1:00:53-1:00:56) MLS of Ofelia saying no to the Fawn (Pan s Labyrinth 1:45:28-1:45:32) MCU of Ofelia being shot (Pan s Labyrinth 1:46:42-1:46:44) Ofelia gets up after bleeding out, transition from the real world to the underworld (Pan s Labyrinth 1:49:59-1:50:10) Zooming out shot of Ofelia looking around the underworld (WS, MS) (Pan s Labyrinth 1:50:16-1:50:24) Guillermo Del Toro, interview shot (Guillermo Del Toro talks "Pan s Labyrinth" 00:06:34-00:06:38) White flash to different section of the interview (Guillermo Del Toro talks "Pan s Labyrinth" 00:06:47-6:54) it was not like her and would have been a hassle when completing the task asked of her. Other examples s of Ofelia s character development include her venturing off into this other world without any adult of the real world s knowledge, breaking the rules of her tasks, and making sacrifices such as refusing to shed her brother s blood, but instead using her own which results in her arising in the underworld. As a whole, the restoring of Ofelia s true identity, or rather rebirth is a central theme of the film. This theme is showcased in amniotic colors such as red and gold that Ofelia wears at the end of the movie, signaling her rebirth into the underworld as Princess Moanna DEL TORO: "I think the girl is reborn at the end of the movie into her own world." DEL TORO: The colors of the magical world are scarlet, and gold; very internal.

11 9 Narrator MS WS of Lin flipping Sen over the tub and Sen falling down (Spirited Away 00:54:22-00:54:25) MLS with Chihiro and Yubaba talking to the stink spirit (Spirited Away 00:59:24-00:59:28) Ofelia lying down, bleeding out (Pan s Labyrinth 1:49:47-1:49:57) Narrator MS Chihiro WS crawling out of the bedroom shared by the bath house workers (Spirited Away 00:45:19-00:45:26) CU, WS of Ofelia as fairies fly all around her (Pan s Labyrinth 1:51:00-1:51:10) NARRATOR: Both films break stereotypes of what young ladies should aspire to be. Spirited Away, offers a relatable 10-year old character who is able to face an unknown world and bravely work alongside it in order to save her parents. And Pan s Labyrinth s main character is one who sacrificed her own worldly self rather than harm her baby brother to return to her true home. NARRATOR: Both of these significant outfit changes symbolize the two characters developments and ability to become the heroine and make sacrifices. Chihiro, changing into her pink work outfit, symbolizing conforming into the new world and losing her identitiy, and Ofelia s outfit changing into a bright gold dress with a red coat, as she is reborn as her true self, princess of the underworld.

12 10 Narrator MS NARRATOR: These young ladies character developments as their non-stereotypical characters were portrayed through a number of elements including their costume designs. Hopefully you ve become more aware of these small yet significant details in these films and you can appreciate the thought process of these two films a lot more the next time you see them. Fade to black

13 Works Cited 1. Borden, Daniel, Florian Duijsens, Thomas Gilbert, and Adele Smith. Film: A World History. N.p.: Hardie Grant Egmont, Print. 2. Toyama, Ryoko. "Miyazaki on Spirited Away." Miyazaki on Spirited Away // Interviews // Nausicaa.net. Animage. May Web. 27 Apr "Pan's Labyrinth (El Laberinto Del Fauno)." Frocktalk. 10 May Web. 27 Sept Freeland, Cynthia A. Feminist Film Theory. Oxford University Press, n.d. Web. 27 Sept "JUMP CUTA REVIEW OF CONTEMPORARY MEDIA." "Spirited Away," P. 2. N.p., n.d. Web. 27 Sept Richards, Arlene K. "Girl Into Woman: Growing Strong." I:InternationalBlogArleneKramerRichardsPan'sLabyrinth.wpd (n.d.): n. pag. International Psychoanalysis. Web. 27 Sept /arlenekramerrichardspanslabyrinth2.pdf 7. Calhoun, John. The American Society of Cinematographers. The ASC -- American Cinematographer: Fear and Fantasy, theasc.com/ac_magazine/january2007/panslabyrinth/page1.html. 8. McGliesh, Carey The Making of Spirited Away Part 1 Online video clip. Youtube. 27 Sept

14 9. Leshock, Marcus. Guillermo Del Toro talks "Pan's Labyrinth" Online video clip. Youtube. 27 Sept Written sources: Borden, Daniel, Florian Duijsens, Thomas Gilbert, and Adele Smith. Film: A World History. N.p.: Hardie Grant Egmont, Print. This book included some basic information about Pan s Labyrinth that I found useful for my analysis. Electronic Sources Toyama, Ryoko. "Miyazaki on Spirited Away." Miyazaki on Spirited Away // Interviews // Nausicaa.net. N.p., n.d. Web. 27 Apr Hayao Miyazaki discusses the inspiration behind the character of Chihiro; will be useful in analyzing Miyazaki s feminist intent. "Pan's Labyrinth (El Laberinto Del Fauno)." Frocktalk. N.p., n.d. Web. 27 Apr This will help me understand the symbolic intent of the director when it comes to the costume of Ofelia Freeland, Cynthia A. Feminist Film Theory. Oxford University Press, n.d. Web. 27 Apr An overview of feminist theory will help me make some connections between the films I will be studying and the film itself.

15 Suzuki, Ayami "JUMP CUTA REVIEW OF CONTEMPORARY MEDIA." "Spirited Away," P. 2. N.p., n.d. Web. 27 Apr This breakdown of some of the themes used in Spirited Away will help me in this study. This also provides context for the setting of Spirited Away. Richards, Arlene K. "Girl Into Woman: Growing Strong." I:InternationalBlogArleneKramerRichardsPan'sLabyrinth.wpd (n.d.): n. pag. International Psychoanalysis. Web. 27 Apr This goes over how Ofelia s character in the film Pan s Labyrinth develops into a woman. 8/arlenekramerrichardspanslabyrinth2.pdf This source will help me in connecting Ofelia s costume to her personality and development. Calhoun, John. The American Society of Cinematographers. The ASC -- American Cinematographer: Fear and Fantasy, theasc.com/ac_magazine/january2007/panslabyrinth/page1.html. This source talks about the importance of color symbolism (that is used in Ofelia s costuming as well) in Pan s Labyrinth. McGliesh, Carey The Making of Spirited Away Part 1 Online video clip. Youtube. 27 Sept Hayao Miyazaki discusses in an interview what inspired the character of Chihiro as well as other events that inspired certain scenes in the film., which will help me in my analysis. Leshock, Marcus. Guillermo Del Toro talks "Pan's Labyrinth" Online video clip. Youtube. 27 Sept

16 Guillermo Del Toro discusses in an interview the color symbolism of Pan s Labyrinth and the theme of rebirth, which helps me connect Ofelia s character development to her costuming. Filmography: Spirited Away (International release version) ( 2001) Director: Hayao Miyazaki Pan s Labyrinth (2006) Director: Guillermo Del Toro Hero (2002) Director: Yimou Zhang Mulan (1998) Director(s): Tony Bancroft, Barry Cook Alice in Wonderland (1951) Director(s): Clyde Geronimi, Wilfred Jackson, Hamilton Luske