question: To what extent do aesthetic Qualities contribute to the impact of your two chosen films?

In Pan's Labyrinth and City Of God Aesthetic qualities such as cinematography and Mise-en-scene help to contribute to the overall effect the film has on the spectator.

Specifically, in the city of God foot shooting scene, Meirelles uses aesthetic qualities such as cinematography and mise-en-scene to present the themes of violence and power and how they manifest themself into the Rio de Janeiro slums. Cinematography played a big role in how the characters were portrayed, especially the fast pace handheld camera, gives the sense of chaos and unpredictability of the camera is aligned with the unpredictability of steaks decisions making on whether or not he should shoot the young boy. As well as the extreme closeups on the 2 boys distressed faces this gave the effect of claustrophobia and allows the spectator to sympathize with the children's sense of fear. It then transitions to a high canted angle shot of the gang interrogating the boys this angle gives the effect of a CCTV camera this amplifies the crime that's about being committed. Because it replicates the evidence that may be used against them. Aesthetically, the handheld camera shots, combined with the high-angles and the over-saturated, grainy look of the film, imbuing it with a documentary feel, almost as if it is war reportage.

In pans labyrinth, del toro uses aesthetic qualities such as mise-en-scene and cinematography to illustrate themes of the patriarchal society and power. specifically in the feast scene, del toro starts This scene placing Vidal at the head of the table displays the visual hierarchy and encapsulates the patriarchal society, specifically lots of women maids serving the food.
and his followers are either side of him, which further elevates him because he is the main attraction, his wife is also seated on the left side of him, not opposite him this suggests she is catering to his needs and isn't equal in their relationship. The mise-en-scene furtherly elevates this specifically, the fire behind Vidal gives off a slight orange/red filter which has connations of the devil and hell, this then portrays Vidal as an evil being. the cinematography shows the power tension and the tension between the men and women, specifically, when Carmen reaches for the captain's hands he removes it away, displaying coldness and the camera racks from Vidal to carmen displaying carmens distraught. Mercedes touches carmen shoulder putting the attention back to carmen but the shot still contains Vidal, this encapsulates how Vidal has utmost control over carmen, it also shows his awareness to what's happening, he gives Ominous stare towards carmen and Mercedes both women.

Another key scene that has distinctive aesthetic qualities in the city of god is the opening montage scene and 360 shot of the rocket.  The opening scene introduces the audience to the film and gives us visual signifiers of what's to come. The first opening shot depicts an extreme closeup of a kitchen knife being sharpened, we see this image intercut a few times. This successfully introduces the idea of violence. A knife is seen as an everyday object so its evident that violence is going to be a recurring theme in this film. in terms of colour, it's very cold with a range of blues and greys, making up the colour palette. The opening scene uses "colour isolation" in a couple of shots, this is when only one colour is present and the other colours are dulled down almost to monochrome. This is especially evident when a young female is cutting a carrot. The orange colour of the carrot is extremely vivid and portrays the idea of freshness as well as the mass killings of the chicken was in vivid colour this sets up the assumption that they're in an urban setting, and that its a cold and unfriendly place. However, there are several displays of rich vivid colour in the opening scene, for example, the spices. this is a representation of the more traditional side of Brazil, but its use more to show us that it's not your typical representation that will be shown. These aesthetic qualities help contribute to the overall effect of the film on the spectator because of the give a snapshot of what the basis of what the film will be about.

Also, the 360-degree shot reflects a time-jump, as the camera winds around rocket anti-clockwise to represent, going back in time and a representation of rocket feeling trapped. As time rewinds we see a rocket in the sixties with a yellow saturation instead of the blue which was originally in the present Rio de Janeiro. Yellow aesthetically is deemed to be a happy colour and connotes a calmer time in the favelas. Meirelles uses filters to indicate the passing of time. Meirelles uses his cinematographic skills to represent the poverty and the true reality of the city of God through the grittiness and the use of natural light this perhaps signifies the poverty in the slums and the lack of electricity, furthermore, this demonstrates how the aesthetic qualities in the city of god can contribute to the overall feel it has on the spectator.