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Introduction Chapter 1: Ophelias Echo Chapter 2: A Grimm Reality Chapter 3: The Yellow Brick Labyrinth Conclusion Bibliography

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Introduction Through an inter-textual reading of Pans Labyrinth this dissertation aims to point out how the meaning of texts can be transformed and shaped by others, and will argue how Guillermo Del Toro could be perceived as a modern poet, with reference to masters such as Baum and Ovid. By expanding inter-textuality to include numerous signifiers such as emotions and conversations we can begin to consider the film as an encouragement for a world dialogue that could be influential in a socio-political alteration in our world, just as Caney states, Text becomes not only that which we would consider formal or canonical, but also encompasses conversations, thoughts, architecture, emotions, bodily activity, sounds, and innumerable other signifiers (Caney 2). Adopting both the imagery and story within mythology, folklore and childrens literature will allow us to advocate the significance of agency, agency pertaining to uncovering your voice, dictating your personal path and choosing to transform through perfecting your choices, resulting in both individual, but also political consequences in the world. Looking at the story of Echo and Narcissus, it is possible to investigate the issue of self realisation and the deficit of Ofelias agency in her denial of someone elses pathway which would have stunted her potential. Utilising the story of Little Red Riding Hood, it can be affirmed that in the narrative of Pans Labyrinth, Ofelia is a modern day equivalent of Little Red Riding Hood in her refusal of her mother and choosing to define her own path. With the use of The Wizard of Oz as a reference; this dissertation will accentuate the idea of the labyrinth of choice and the perseverance to return and to resume Ofelias world. By affirming the previous statement of Del Toro as a master of narrative, conclusions will be drawn through the questioning of obedience, relative to both adults and children and the ability Del Toro has to inspire them to recreate their childhood. It is not enough, however, to simply acknowledge Guillermo Del Toro, as we must also look into the history of the author to gain a better understanding; Guillermo Del Toro adopts the stature of the teller in his masterpiece Pans Labyrinth, and is so entirely drawn in that he persisted in writing the subtitles for the film himself in order to protect the meaning of the words and to ensure nothing would be lost in translation for those who are not of Spanish tongue. Guillermo Del Toros curiosity of film was cultivated from a young age; he was born in Guadalajara Jalisco, Mexico in 1964 and raised by his grandmother, with a Catholic background. And at twenty one years of age, Del Toro finished his first short Dona Herlinda and Her Son. He spent 10 years as a makeup supervisor and formed his own special effects company in the eighties under the name of Necropia which allowed him to produce and direct whilst teaching film in Mexico. In 1993 he had his first break with the film Cronos; a story of an old antiques dealer who finds a device to give him the power of immortality, resulting in his transformation into a vampire. For Cronos he received 9 Mexican Academy Awards, these included best

director and picture as well as the highest prize at Cannes in 1993. Del Toros susequent film, Mimic, exists to continually disappoint him to this day. At the time of the shooting the film, his father was taken and held captive for 72 days, and Del Toro will frequently make remarks that when he looks at Mimic, he sees something that could have been beautiful. It was out of these restrictive conditions and the aggravation of the kidnapping of his father that developed into Del Toro forming his own production company with Bertha Navarro; The Tequila Gang. Given the new independence that came with a new environment, Guillermo started work in 2001 on The Devils Backbone; a story centred around a haunted orphanage in the last days of the Civil War. On speaking to Emmanuel Levy in interview, Guillermo discloses; Mexico was a very brave country at the time of the Civil War; we opened ourselves to any and all Republican immigrants that would come to us. These expatriates heavily shaped Mexican culture and cinema, some of them became key mentors of mine growing up. They had tales of leaving Spain behind as children. These tales affected me a lot. (Levy 1) As a child, Del Toro possessed a great deal of comic books and figurines, especially the anarchic underground comics from the eighties. He would illustrate monstrous creatures by referencing a graphic medical encyclopedia owned by his father. It would be the comic Paracuellos that would be prevelant amongst the influences for Del Toro when creating The Devils Backbone, and what subsequently lead to what is considered to be its counterpart piece, Pans Labyrinth. Guillermo Del Toro explains; Like any other artist, you are not limited geographically to the influences that are indigenous to your home city or country, and also, Mexico had an incredibly intense and deep relationship with Spain during the Civil War, we basically stood up for Spain, so you know, Ive always felt that war very closely. Pans Labyrinth tries to be a parable, and I believe that the parable works across timeit is as pertinent today as it would be in 1944 Spain (Savlov 3). He persists in stating that Pans Labyrinth and The Devils Backbone exist against fascism. he continues that Pans Labyrinth tries to be a parable, and I believe that the parable works across timeit is as pertinent today as it would be in 1944 Spain (Savlov 3). He resolves that he doesnt put the blame on the institutions; but on the people who do not resist them; the people who do not choose to be disobedient (Savlov 3). He further explains that the problem with the world today is that blind obedience is esteemed as a virtue, and truly, it should be considered a defect. (Savlov 3). In another interview Del Toro has explained that adults need fairytales more than ever right now. I say the dream of the imagination produces creatures and the dream of the politician produces wars (Stratton 1). The narrative of Gullermo Del Torros tales are primarily concerned vi

with characters who are forced by the atrocities of life to prevail against cruelty and often orphaned. He was aching to do a tale that was rooted in a visual world that [he] could codify and then run amok with (Levy 2). The labyrinth consists of two separate entities; the realities of fascist Spain and the Labyrinth itself and how it presents to Ofelia. Jack Zipes explains, As we know, tales do not only speak to us, they inhabit us and become relevant in our struggles to resolve conflicts that endanger our happiness (Zipes 39). The asserted story could seemingly suggest a relevance to a Spanish struggle, but it is also possible that the story of Pans Labyrinth exists to address a reality of conflicts throughout the world, all poignant to the war. It is the perception of the human experience and the idea of good versus evil that force us all to make decisions in our very own existence, our labyrinth of choice. In making sure that the integrity of the author is in tact and respecting the power of the reader, this dissertation will explore several themes in detail within the story of Pans Labyrinth. The proposed themes will be investigated on consideration of the agency of Ofelia relative to ancient mythology; her path in correlation with Little Red; and finally the power within choice and actions present within literature, in this case, The Wizard of Oz. Illustrating these points effectively, this dissertation will discuss Del Toro as an encouragement to the reader/viewer, allowing them to make meanings and decipher the relevance within their every day life and to forge a connection. It is through these connections, however fleeting, that Guillermo Del Toro enables us to create a dialogue that could exist to transform not only ourselves, but the world around us.

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Chapter one: Ophelias Echo. Through research, it can be argued that although the story of Pans Labyrinth could be seen more relative to Spain and its struggles, it can also outline other important issues, in every country from past to present; all relative to war and the human condition. The study will demonstrate the division of the human experience with all of its good and bad, the grey areas that force us into corners to make a choice, in a sense, of ones own labyrinth. Whilst stories possess a considerable weighting in settling roles within the world; it will be proven how they can hold powerful economic, cultural and political significance and can be genuine responses to and for social alterations. Using intermagicality will allow for a straightforward reading of how a narrative is formed through the reader, a lesson learned; just as Ofelia is reborn throughout the film, giving birth to herself and her own lessons. As written in Graham Allens book Intertextuality; Our task is to engage with [intertextuality] as a split, multiple concept, which poses questions and requires one to engage with them rather than forcing one to produce definite answers (Allen qtd. in Haberer). This dissertation will explore and prove that there are no explicit answers, that the intention of the author is in harmony with reader understanding. In alluding to stories we may recognise from either image or words, Guillermo Del Toro allows for a very personal uncovering of his design. The mythology surrounding Echo and Narcissus enables an in depth investigation of the relationship between agency and self awareness, and the significance they both hold in Pans Labyrinth. Within this chapter, mythology will be used as a lens to illuminate the psychology behind the characters, allowing for comparisons and exposures of the weighting of self realisation and ones voice, both applicable in the film and the world. Mythologist Joseph Campbell articulates that heroes are the trademark of underground adventures; to challenge oneself to peer into the deepest darkest parts of ones soul. Our own darkness is concealed, our very own monsters, and to embrace such a journey is to effectually come to terms with our own fears and doubts. Joseph Campbell appropriates the idea that mythology is simply a metaphor for an event or an action occurring within each singular personal journey of self and can aid in helping individuals in their level of self awareness and potentiality. Through this awareness of our own purpose, mythology, in Campbells eyes, exists to revel in a deeper truth of our world. It is our fondness for being captivated by imagery that Jack Zipes considers; he states the importance he believes Del Toro to place on perceiving, recognising and realising. he believes Guillermos imagery is intended to evoke startling associations that make us question our realities. We all have the capacity to be deluded by spectacle in our daily lives in a way that distracts us from the brutality in our world. (Zipes PL 240). Zipes presents Guy Debords The Society of the Spectacle as a modernised version of Adorno and Horkheimers Dialectic of Enlightenment, and makes use of the various theories of Horkheimer and Adorno, pointing out how the capitalist production uses Spectacle

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as adopted by Debord; not a collection of images; rather it is a social relationship between people that is mediated by images (Debord 12). Opposing the idea of the spectacle, composed by the authority in order to confuse those it wants to control, is Del toro. He represents war as it truly is with an educational stance, a preventative measure in order to help the viewer comprehend the atrocities and to stand united against it. By way of analysing the story of Echo and Narcissus, we can see how quite often images can be deceptive and ones voice is all too easily lost in hegemony. It is Ofelia who challenges the fate of Echo and Narcissus and finds herself. In the introduction to Once Upon a Time by Max Luthi, Francis Lee Utley states; Man, indeed, stands at the center of the fairy tale, just as gods and saints inhabited the two kinds of legend and the animal the primitive tale. Fantastic and wondrous as fairy tales seem, they are closer to humanity than we think or perhaps care to admit (Luthi 18). Ovids myth of Echo and Narcissus tells the tale of two persons, both damned from their own action. Blessed with a cunning perception and cunning speech, Echo occupies Hera in a dialogue, allowing her nymphs to break free of her rage and eye. Associated as a supplement to the crime, Echo has her voice taken by Hera. However, later Echo becomes infatuated by Narcissus, but having been stripped of her voice by Hera, cannot express her love to him. How she longed to make her passion known! To plead in soft entreaty! To implore his love! But now, till others have begun, a mute of Nature she must be. She cannot choose but wait the moment when his voice may give to her an answer (Ovid). Unfortunately for Echo, her love is not returned and she is rejected by Narcissus resulting in her choosing to reside alone in the hillside. The deprivation of her voice and agency forces her into wasting away, she is stripped of her former self. Narcissus is beautiful, having desirable fingers and hair as brilliant as Apollos with a glorious complexion. Having mislead and forsaken so many lovers, he becomes cursed by an infatuated youth who appeals to the gods to deny Narcissus what he loves the most. Catching sight of an untouched fountain, Narcissus is lured in by Nemesis who has heard the plea. Intending to quench his thirst, Narcissus lowers his head to drink from the fountain, only to become obsessed in admiration of his own appearance. Succumbing to the image of himself he cannot pull himself away and he faces his own death; becoming a shadow of his former self. It is through the myth of Echo and Narcissus that issues concerned with self awareness and reflection and agency can be investigated in Pans Labyrinth. Guillermo Del Toro explores self reflection and details how burdemsome it can sometimes be. Loren E. Pedersen speaks about the Jungian concept of the shadow self in Dark Hearts: The Unconscious Forces That Shape Mens Lives;

The shadow is made up of those parts of ourselves which we have come to believe are not acceptable to others. In order to disassociate ourselves from these thoughts, we split from them. Splitting occurs in the early stages of childhood as our egos are being formed. As children, we first split away from our mothers and then move on to discriminate by sorting through what we consider to be I and not I. This defensive mechanism splits off the undesirable parts and relegates them to the unconscious, as shadow. (Pedersen 166). The aim is to view these shadows and to bring oneself into a successful conclusion of self reflection and consciousness. Captain Vidal has amalgamated himself with his fathers idea of i however our heroine Ofelia has identified her own mother is not I. These are the predominant characters within Pans Labyrinth; as Ofelias father was murdered in the Civil War, her mother Carmen has found herself with the wicked Captain Vidal becoming pregnant with his child. It is under Vidals orders that both Carmen and Ofelia should reside with him at the military outpost. In Captain Vidals mind, the child that Carmen is carrying is most certainly a boy, musing on any other outcome, from Vidals standpoint, would conclude that he have no power over creation, and so the patriarchal view of man and its necessity become evident and has to be continued. Unlike in ancient mythology, Vidal is not doomed by a former lover, but instead by his ancestry; his father, his bloodline; his legacy. Although not endangered by a scorned lover; Vidal possesses a narcissism from his father; he affiliates himself closely with his father, not having his own voice, assuming another. His fixation with time and his fathers death causes him to seize time via means of securing a watch that has been amended to mark his fathers demise, with the anticipation of his son owning the exact watch, with the exact hour of his own fathers death. Unfortunately for Captain Vidal, nature proves to be extremely unpredictable who often obsesses over the control over the natural world, attempting to bring order to the rebels and the chaos that surrounds him. Yet he is consumed with the watch, with every movement further removing him from the balance of the Earth. It is integral for Vidals son to apprehend his fathers role in cleansing Spain; I choose to be here because I want my son to be born in a new, clean Spain. Because these people hold the mistaken belief that were all equal. But theres a big difference: the war is over and we won. And if we need to kill every one of these vermin to settle it, then we will kill them all, and thats that. (Pans Labyrinth). Both Captain Vidal and Narcissus are misled by a deceptive image; Narcissus is deluded by his own image, whereas Vidal deludes himself in the image of his own father. There is a presupposed ideal that Vidal feels he must work against, censoring any feelings surrounding his own disbelief in himself resulting in him expressing through projection. xi

Vidal projects this unconscious and emotionally charged negativity unto others, namely the rebels, whom he rejects as being inferior to him (Pedersen 167). Guillermo Del Toro grants us permission in catching Captain Vidal contemplating his reflection frequently during the film, one scene in which he is shaving; with voyeuristic intention the camera looms to catch the motion in which the Captain is suggestively cutting his own throat, definitive of his own self loathing. This particular scene is evocative of Ovids Narcissus; While he is drinking he beholds himself reflected in the mirrored pooland loves; loves an imagined body which contains no substance, for he deems the mirrored shade a thing of life to love. (Ovid) This is the authenticity of himself, that he must deny in order to follow in his fathers footsteps. If it is plausible for the Captain to gain control over his peasants, household, the sex of his unborn child, wife, Ofelia and the general environment then it could also be plausible that he can secure his birthright and legacy. This is why Vidal has such a strong reaction toward the rebels; they are what he cannot be, a rebel. He is unable to rebel against his fathers legacy, his fathers will. When a carrier of some split off shadow quality appears, it evokes strong and irrational behaviour (Pedersen 167). This idea is relative to Jacques Lacans theory of the mirror stage, where in which the ideal I is synonymous with that of the parental figure. The formation within the mirror of the I functions as an other and becomes the foundation which others are assigned and take their shape relatively in keeping with this formation. For those who outgrow their narcissism as children; it is healthy, otherwise their libido becomes addressed to their own appearance. There is a fixed agreement between the inside and out; often resulting in assumption of the armor of an alienating identity, which will mark with its rigid structure the subjects entire mental development. Pederson states that projections can be explained by extreme emotions, a relfection of a reaction to our darkest qualities that we try to conceal within ourselves. The idea of the shadow can become apparent as and when an individual materialises the concentration of evil; when they personify what is inside. It is those persons that have accepted their role as facilitators of the necessary improvements that will benefit humankind, whilst simultaneously entertaining the powerful desire to want to exclude aspects that pose problems and are antithetical to their own view. The theory of the collective shadow is evident in war, as war is one of the more prominent examples of a mutual projection. Men, become split from the feminine and nature, often resulting in a wounded narcissism that attempts to heal itself through justified vengeance. (Pedersen 167-168). Vidal is responsible for several atrocities during the film; Del Toro does not sugar coat the brutality of the world; Del Toro is not seeking to reduce the horror of history, but to reinforce it. (Smith 6). Del Toro discusses his reasoning for including this violence in an interview with Mark Kermode:

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The settings of Andersen, the Brothers Grimm and Oscar Wilde were incredibly brutal: Hansel and Gretel were two children abandoned in the woods in the middle of a famine to die of hunger and cold. But you need to know the brutality for the reality of the magic to happen. Thats why the war made such a perfect backdrop. (Kermode 4) Marking the more perturbing elements of the film is in the torture of the stuttering rebel; it is almost like Vidal has chosen to take the voice and agency of others in pursuit of his father. in The Body in Pain: The Making and Unmaking of the World Elaine Scarry addresses this; At particular moments when there is within a society a crisis of beliefthat is, when some central idea or ideology or cultural construct has ceased to elicit a populations belief either because it is manifestly fictitious, or because it has for some reason been divested of ordinary forms of substantiationthe sheer material factualness of the human body will be borrowed to lend that cultural construct the aura of realness and certainty. (Scarry 36) Del Toros imagery attempts to disclose Vidals longing of power through him denouncing the agency of his victim through the torture of his body and the ridicule of his voice. The torturers questions are meant to announce the feigned urgency and critical importance of his world, a world whose asserted magnitude is confirmed by the cruelty it is able to motivate and justify (Scarry 36). This scene removes the captured of his voice, governing it to the point of reduction to screams, proving that the Francoist ditatership has effectually taken away his control, over his voice and agency. The absence of pain is a presence of the world: the presence of pain is the absence of the world. The larger the prisoners pain, the larger the torturers world (Scarry 37). With this assertion of one mans will over the other, the rebel continues to stutter and cannot win against Vidal. He is humiliated and tortured, so much so that the doctor is called in to alleviate and assist. It is the act of kindness on the doctors part that renders Vidals power illusory and fragile as he euthanizes the tortured rebel. CAPTAIN VIDAL: Why did you do it? DOCTOR: It was the only thing I could do. CAPTAIN VIDAL: No, you could have obeyed me. 19 DOCTOR: I could, but I didnt. To obey, just like that, for the sake of obeying, without questioning...Thats something only people like you can do, Captain. (Pans Labyrinth) Reality has been diffused by the doctor, the realness of the regime and the cultural creations due to Fascism are dissolved in the denial of the power that Vidal holds. The doctor is shot as a result of his kind action and the delivery of the Captains son is put into danger. Paul Julian Smith explains, in his analysis of Pans Labyrinth in Film Quarterly; This fantasy of pure male filiation, without the intercession of women, is fundamental to Fascism. Vidals fetishistic attention to uniform and his amorous investment in the tools of torture suggest a

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fatal narcissism which is as much libidinal as it is political (Smith 6). Through Captain Vidal, Smith explains, Guillermo Del Toro is able to critique the equally obsessive hygiene of the real life realm of Fascism. Elaine Scarry adds if pain is not expressed, there exists a possibility that bodies will continue to be used to conflate debased forms of power (Scarry 14). This appropriates the idea that one must remove all form of power from those who choose to oppose you, as they are less likely to try to oppose you if they cannot speak. Paul Julian Smith states that This fantasy of pure male filiation, without the intercession of women, is fundamental to Fascism. Vidals fetishistic attention to uniform and his amorous investment in the tools of torture suggest a fatal narcissism which is as much libidinal as it is political. Guillermo Del Toro is able to critique the equally obsessive hygiene of the real life realm of Fascism (Smith 6) however Elaine Scarry approaches the idea that is there is no expression of pain, then it is possible that the body could persist in being used to conflate debased forms of power (Scarry, 14). This is in accordance with the argument that in order to be in possession of power, one has to remove opposing power from those who are against you. Del Toro allows for the doctor to see the false illusion of Vidas supposed power and he is shown to be against this. Ofelias power of shattering the illusion of power is also apparent, this is defined by Zipes and Debord as the spectacle; she is outwardly unaccepting of the the vision seen by Narcissus. A long time ago, in the Underground Realm where there are no lies or pain, there lived a princess who dreamt of the human world. She dreamt of blue skies, soft breezes, and sunshine. One day, eluding her helpers, the princess escaped. Once outside, the bright sun blinded her and erased her memory. She forgot who she was, and where she came from. Her body suffered cold, sickness, and pain, and eventually she died. However, her father, the King, always knew that the Princesss soul would return, perhaps in another place, at another time. And he would wait for her, until he drew his last breath, until the world stopped turning. (Pans Labyrinth) There is weighting on the fact that Del Toro chooses to show us the climax of the film in the beginning and that it is reversed during the narration of Ofelias story. Subsequently, in the next scene, we see Ofelia riding with her ill and pregnant mother whilst reading her fantastical stories. As her mother, through sickness of the journey steps outside, Ofelia follows and discovers a dragonfly which in turn forces her to a stone faun with only one eye; as balance is restored in her placing back the missing eye of the faun, the audience become acutely aware that Ofelia has the ability to view things adversely and this will result in her demise with Vidal. Vidal denounces his agency through a pursuit of his own legacy, that is refused by Ofelia against his wishes. Similar to the story of Echo, it is the assumption that for Ofelia to function in a Francoist world she must be patriarchal and correlate with the echo of Vidal. lie rejected in the deep woods, concealed in lonely caverns until her miserable body

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wastes away (Ovid). Ruth Leys addresses the idea, in In Trauma: A genealogy, of an individual identifying with an aggressor not as a defence but as an unconscious imitation or mimesis that connotes an abyssal openness to all identification. (Leys, 32) This could conclude the argument of for forgetting trauma, an event that could have traumatic consequences will not be recounted: a traumatic event cannot be remembered, but is relived in the form of recounting a past that identifies with another in the present, being characterized by a profound amnesia or absence of self. (Leys 32). This point is argued with the fact that Ofelia is able to identify with her other, which is the manifestation of herself as a princess in the fantastical world that she creates; she can alter her reality in order to deal with the attrocities she has to come to terms with in every day life, it is a means of escapism where she can bind her realities. Although Ofelia is unable to show her sibling how to refrain from becoming as Vidal is, she can advice him through a lullaby and does so; Many, many years ago, in a sad faraway land, there was an enormous mountain made of rough black stone. At sunset, on top of that mountain a magic rose blossomed every night that made whoever plucked it immortal. But no one dared go near it because its thorns were full of poison. Men talked amongst themselves about their fear of death, and pain, but never about the promise of eternal life. And everyday, the rose wilted, unable to bequeath its gift to anyone. Forgotten and lost at the top of that cold dark mountain, forever alone, until the end of time. (Pans Labyrinth) Her story is seemingly religious, however it can be argued that it exists to recognise development and plausible potential; one can focus on pain and fear but not on a positive mental attitude in trying to combat it and to be active about the decision making process. As and when a person decides to diminish hope in recognising potential in themselves to usurp fear and pain, the possible fulfillment wilts, just like the rose, cold and unrealised. Contrary to Echo, Ofelia will succeed in being heard, at the climax of the film Mercedes clutches Vidals son; CAPTAIN VIDAL: Tell my son, tell him what time his father died. Tell him that I MERCEDES: No. He wont even know your name. (Pans Labyrinth) Ofelias brother will not inherit Vidals flawed image, the legacy of his father will be broken, and it is the legacy of Ofelia that will live on through her refusal to conform. Alfonso Cuaron talks about Pans Labyrinth and The Devils Backbone:

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These films are about moral choices. And they have to do with the universe of children, and how ideology becomes the first big trap and prison for humanity. What is amazing is how Guillermo juggles it all. He doesnt lose a beat of the suspense of the fantasy world that hes presenting. And he doesnt lose a beat in the political discourse that hes delivering. And within all that, there is the humanism of the piece. (Levy 5) To summise, Ofelias alter ego in Princess Moanna, exists to symbolise the erased parts of the Spanish Civil War, a memory that was forgotten and refused a voice. She exists to fight for those who were unable to have their own voice during the Francoist regime. She is used as a stimulus for further exploration into uncovering beyond the spectacle. One must diminish the illusion that infatuates Narcissus and return the voice of Echo. Our authentic self is at question due to the actions of Ofelia/Princess Moanna, and we are urged to make decisions based on taking back our agency and sense of self, not to mirror the hegemony.

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Chapter two: A Grimm reality. Chapter two will argue that Ofelia exists to symbolise the subversion of dormant mythology relative to the feminine ideal, and subsequently through her refusal of obedience becomes a heroine. The story of Little Red Riding Hood, or Le petit chaperon rouge, is a cautionary tale, warning little girls that they must be respectful and obedient and one could view Ofelia as a modernised Little Red Riding Hood. In an interview with Del Toro and Mark Kermode in Sight and Sound, he explains that; the psychosexual interpretation [of the film] is, of course, much more modern, but I find it very reductive (Kermode 4). In the 1812 Brothers Grimm version of the tale, Little Red Cap changes from a deterrence from disrespect to agreeing with your mother and keeping on the path she has set out for you. Ofelia doesnot embody the features of Freuds child in Family Romances (Thormann 238). Janet Thormann explains Ofelia as the opposition of her unborn baby brother, through constant admiration of her mother. The aftermath of this being the condemnation of Ofelias mother by Ofelia and blaming her for the castration she experiences, implying that if indeed her father hadnt been murdered, she would long for the phallus that has formed the baby and be in direct competition with her own mother for the love of her father. As her father is dead, this reasoning may not apply to the relationship she has with Captain Vidal, allowing for a hole in which to fill with fantasies, a paternal relationship she can idealise. (Thormann 178). In an article in Film Comment, Atkinson explains; Moral Horrors in Guillermo Del Toros Pans Labyrinth, The Supernatural Realm Mirrors Mans Inhumanity to Man, Del Toros sensibility is Grimmian (Atkinson 50). When the sexuality and atrocities are removed from the narrative, the Grimms start the story with a mother explaining the correct path for her daughter to take to her Grandmothers house, moving the prominence from sex to obedience. Carmen has been successful in following her route so exhaustively, so thoroughly that she has married the wolf and carried its offspring. The determination of her to continue with her path results in her annihilation and ultimately experiencing a toxic pregnancy. Ofelias mother Carmen embodies the compliant, submissive nationalist woman; in a manifesto titled Spanish Women of the Catholic Ladies of Sevilla, advice given was more in keeping with Vidals wishes, and illustrated how women, just as Carmen, should act; In these grave moments for the country, your way of life cannot be that of frivolity, but austerity; your place not in the theaters, the paseos, the cafes, but in the church and hearth. Your ornaments cannot be inspired by the dirty fashions of treacherous and jewish France, but the modesty and Purdue [sense of modesty] of Christian morality.Your duty is not to procure for yourself an easy life, but to educate your children, sacrificing your pleasures and helping Spain. (Thomas 763) xvii

This particular quote clarifies the way in which Carmen wishes Ofelia to embody. In Recovering Spains Feminist Tradition, Lisa Vollendorf explains the approach to policies and the attitudes aimed at women during the Francoist regime, and pin points how Seccion Femenina of the Falange, The Spanish Fascist party, took the burden of preparation of women for their rightful place in the new Spain. Texts indoctrinated this responsibility by the glorification of religion and war, rendering spain as; a lone crusader in upholding Catholic ideals and pointing to the family and women as illustrations of the nations highest values. During this regime, women were taught that marriage, not independence, was the highest ideal to which she would aspire. (Vollendorf 313). Carmen is the embodiment of the subdued feminine, in Guillermo Del Toros construction of gender he is able to illustrate the idealistic view of women in motherhood wanting to work towards a nationalist state; and Carmen is the ultimate mother for a Francoist Spain. She is even incapable of defending her own flesh and blood, as we witness first hand her refusal to come to terms with Ophelias fantasy world, in particular in the scene in which she hides the mandrake plant beneath her mother; CAPTAIN VIDAL: What the hell is this? Look at this? Look at what she has been hiding under your bed! What do you think of this? CARMEN: Ofelia, what is this thing doing under the bed? OFELIA: Its a magic root the faun gave me. CAPTAIN VIDAL: This is all because of the jumbo you let her read. Look at what you have done! CARMEN: Please leave us alone. Ill talk to her darling. OFELIA: He [The Faun] told me you would get better and you did. CARMEN: Ofelia, you have to listen to your father. You have to stop all of this. OFELIA: No, I want to leave this place! Please take me away from here! Lets just go, please! CARMEN: Things are not that simple. Youre getting older; soon youll see that life isnt like your fairy tales. The world is a cruel place and youll learn that even if it hurts. [Throws mandrake on fire] Magic does not exist. Not for you, not for me or anyone else. (Pans Labyrinth) In essence, Carmen has married herself to the wolf; there is an implication that Vidal had previously chosen Carmen as a suitable mate, even going so far as to having eyes for her during her relationship with her dead husband, and unfortunately for both Ofelia and Carmen, it is in her mothers perseverance of the wrong path that will ultimately conclude in her downfall, leaving Ofelia to fend for herself. Ofelia is the mirror of Little Red Riding Hood, whereas Vidal can be seen to act as a more polished, well spoken version of the Wolf. Guillermo Del Toro has openly stated that one of the dangers of fascism and one of the dangers of true evil in our world, which I believe exists, is that its very attractive (Guillen 3). In the book Constructing Spanish Womanhood, Victoria Lorre Enders incorporates a citation from the Seccion Femnina of Madrid:

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The Seccion Femenina has occupied itself in preserving and exacerbating the traditional sense of the Spanish woman as much as possible; the loving wife and sacrificing mother, Catholic and dissimulating, ignorant and uncultured, who in order to be included in the symbolic social order needed nothing more than the attribute of neatness, submission and silence. (Enders & Radcliff 378) She also chooses to cite from Una educacin especialmente femenino, an essay by Elena Posa; The avalanche of norms of conduct had no other object for the girl, than to put an end to her spontaneity, her initiative and creativity, in order to obtain a repressed, a submissive type of woman. (Posa qtd. in Enders 379) Perraults adaptation of Little Red, Le petit chaperon rouge, incorporates the woodsman chopping Little Red Riding Hood and her grandmother out of the Wolf s stomach. The woods are symbolic of magic and arouse curiosity and stand as a place of shelter and resistance, and as such is where the rebels hide from Vidal. The story has on numerous occasions been seen as a comment on the invasion of the Rhineland by the French at the time of the Napoleonic Wars, with fighters finding sanctuary within the forests of Germany. Zipes comments on the possibilities of the combinations of nations against France that could have been stored concurrently with the Grimms occupation; The stark opposite of woods and path, nature and school make this apparent. The wolf exploits the unsuspecting nature of the innocent child. He plays upon her latent aversion to ordered and regulated normality and points seductively to the freedom of the colorful and musical woods. Thus, the conflict between freedom/wilderness/nature on the one hand versus school/straight/path/order on the other is set up very early in the narrative to illustrate a socio-political situation. (Zipes TT 17) Little Red is saved by the huntsman, in the Grimms fairy tale, as he is the one who is accustomed to the woods and the wolf s nature. Adversely, Del Toro has Mercedes as the one to challenge Vidal, she is the courageous huntress. She outwardly appears to possess a heart of gold however deep down her heart lies with the rebels. It is a woman who will undo Vidals legacy of pain, a prediction foreshadowing the end of the reign of Franco. Concluding Grimms Little Red Cap, she says; Never again in your life will you stray by yourself in the woods when you mother has forbidden it (Zipes T & T 126). The message that Guillermo Del Toro is addressing is in his retelling of the story of Little Red, applied to Ofelia, do not stray away from what your mother tells you. During a conversation that Ofelia has with Mercedes soon after she is forced into an empty room by herself, Ofelia once again speaks about her own path, and straying from mother;

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MERCEDES: Dont worry. Your mother will get better soon, youll see. Having a baby is complicated. OFELIA: Then Ill never have one. (Pans Labyrinth) In summary; it is instinct that will offer as a positive guide to excellence and intellect, illuminating the right personal choices. Disobedience is a powerful signifier of your deepest desires and what your conscience truly wants, giving you a perception of morality. It is seemingly more advantageous to obey ones own intellect as it comes natural, and through intelligent disobedience one can benefit rather than becoming passive and ignoring ones impulses. One can face the possibility castration due to ignoring the natural impulsion to disobey, and to negate our raw emotions in order to follow someone elses path, we can end up destroying the aspects of our character than make us human in nature.

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Chapter three: The yellow brick Labyrinth. The final chapter of this dissertation will affirm that there are similarities between the theory and the imagery from Oz and Pans Labyrinth. Both Dorothy and Ofelia experience a journey that is similar in terms of both the challenges they face and their subsequent metamorphosis of self that result in positive effects on not only themselves but on those in their life. In Frank Baums The Wonderful Wizard of Oz we are invited to utilise our imaginations allowing us to fully accept Dorothy and her fantastical journey as realistic towards a final destination, worlds apart from reality and the banality of life. In the introduction Baum states; Imagination has given us the steam engine, the telephone, the talking-machine and the automobile; for these things had to be dreamed of before they became realities. So I believe that dreamsday dreams with your eyes wide openare likely to lead to the betterment of the world. The imaginative child will become the imaginative man or woman apt to create, to invent and therefore foster civilization. (McGovern/Baum 293) Dorothy and Ofelia possess similar powers relative to the imagination, both Baum and Del Toro state that their intention was to construct a narrative aroused from the monsters of their past. Baum admitted to having recurrent nightmares about a scarecrow, yet fashioned the scarecrow as a guide, a friend, for Dorothy in his The Wonderful Wizard of Oz. (Carpenter & Shirley 18). During an interview, Del Toro talks about a lucid dream he used to experience at his grandmothers house; I slept in the guest bedroom of my grandmothers house, at midnight, a faun would come out from behind the dresser. It really was a recurring nightmare, that one (Capone 5). Dorothy is able to conquer the Wicked Witch as an innocent not too dissimilar to Ofelias quest to obstruct Vidals regime. Admittedly, Pans Labyrinth is certainly not a film for children unlike The Wizard of Oz, however, the message pertaining to obedience is apparent in both. Guillermo Del Toro has said he desires the viewer to take that power and harness it, just as Ofelia helps Mercedes to at the climax of Pans labyrinth. Both the yellow brick road and the fauns labyrinth act as a path to illumination and a discovery of self for the female protagonists. Del Toro has a particular view of the labyrinth and its meaning, in an interview with Sheila Roberts he elaborates on this;

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The labyrinth is a very, very powerful sign The main thing for me is that unlike a maze a labyrinth is actually a constant transit to an inevitable center. Thats the difference. A maze is full of dead ends, and a labyrinth is actually a constant transit of finding, not getting lost. Its about finding, not losing your way. So that was very important for me. I can ascribe two concrete meanings of the labyrinth in the movie. One is the transit of the girl towards her own,inside reality, which is real. I think that Western cultures make a difference about inner and outer reality, with one having more weight than the other. I dont. I come from an absolutely crazy upbringing. And, I have found that [the inner] reality is just as important as the one that Im looking at right now. The labyrinth is the transit that Spain goes through, from a princess who forgot who she was to a generation that will never know the name of the fascist, along with the Captain being dropped into his own historical labyrinth (Roberts 3). On the opening to the labyrinth are the words In consiliis nostris, fatum nostrum est which, translated from Latin to English means our choices determine our fate. This story is about the battle against fate and blind obedience; Del Toro is providing an existentialist take on the world, which defines us by our moral choices even when they may spell out our inevitable defeat. (Scudellari 2). There is a correlation between Ofelias mother and Dorothys Auntie Em, they understand the need for both Ofelia and Dorothy to come to a realisation that the world does not revolve around them. Carmen finds herself constantly having to remind Ofelia of the reality of the world and its horrors and that all is not like the fantastical worlds she reads about. At the start of the Wizard of Oz, Dorothy is acting out and crying for her Uncle Henry and Auntie Em as Mrs Gulch threatens to take away Toto, her dog. She receives a sharp reply explaining that they are both trying to count and she is being a distraction. In her Auntie Ems eyes Dorothy should pay less attention to childish concerns and more to her looming adulthood and her maturation. It is impossible for the adults in Ofelias and Dorothys life to understand the possibility of the girls fantasy worlds. Both Ofelia and Dorothy have resorted to removing themselves from reality, making it difficult for their values to coincide with the adults surrounding them, rightfully so, as Auntie Em and Carmen are unable to help as the possibilities of Oz or the labyrinth are so alien to them. In the climax of Pans Labyrinth, Ofelia is wearing ruby slippers, surrounded by supporters and faced with her parents after long last, throned and alive. She is summoned by her father to regain her rightful place by his side, Pan and the fairies make themselves known from underneath the throne elated to have Ofelia back home. FAUN: And it is said that the Princess returned to her fathers kingdom, that she reigned there with justice and a kind heart for many centuries. That she was loved by her people. And that she left behind small traces of her time on earth, visible only to those who know where to look. (Pans Labyrinth)

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It is the ultimate adult fairy tale, tapping into the disobedience of children, a revelation of sacrifice of oneself and birth. Del Toro describes Pans Labyrinth as; a movie about a girl who gives birth to herself, into the world she believes in. At that moment, it doesnt matter if her body lives or dies (Kermode 6). Freedom is possessing the knowledge of the alternative and having the ability to choose, but it is conditional upon having consciousness and awareness and so although it can be acquired and extended, it can also be lost. In further explanations of Ofelias story and Pans Labyrinth, Guillermo Del Toro likes to emphasize the political message. In The Brothers Grimm: From Enchanted Forests to the Modern World by Jack Zipes, he talks about mythology and childrens literature and the power it holds and the relativity of those fairytales and German culture; is the compensatory aesthetic means of communication through which Germans share, discuss and debate social norms and individual aspirations. The fairy tale serves as a key reference point in German culture for self-comprehension and Weltanschauung, or world outlook (Zipes TBG 86). Harnessing the power seen in tales from the Grimms to The Wizard of Ox and Ovid, Guillermo Del Toro has the ability to reinterpret those tales to become relevant and modernised yet still pertaining to the Spanish Civil War; educating the consequence of war. In Breaking the Magic Spell Jack Zipes exclaims; the magic in tales (if magic is what it is) lies in people and creatures being shown for what they really are. An essential quality of great fantasy work can be linked to its capacity to s ubvert accepted standards and provoke readers to rethink their current states of being and the institutions that may hold influence over them (Zipes BTMS 230). Pans Labyrinth exposes the fantasy in a one girls journey and is as relevant as ever as an accomplishment of hope in the world. In Girl Interrupted, an article for Sight and Sound, Mark Kermode offers that the climax of the film is an epiphany of sacrifice and rebirth and further asserts that Del Toros own career is at a point of rebirth or regeneration (Kermode 5). Within the same interview Guillermo Del Toro comments; I really think that the most creative, most fragile part of the child that lives within me is a child that was literally transformed by monsters. Be they on the screen, or in myth, or in my own imagination. I had lived my life believing two things: that pain should not be sought, but by the same token it should never be avoided, because there is a lesson in facing adversity. Having gone through that experience, I can attest, in a non-masochistic way, that pain is a great teacher. I dont relish it, but I learn from it. I always say, even as an exCatholic, that God sends the letter, but not the dictionary. You need to forge your own dictionary. (Kermode 2)

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Conclusion Ofelias story suggests that the personal is most certainly political, in The Brothers Grimm: From Enchanted Forests to the Modern World Zipes touches on the abilities of mythology and fairytale within childrens literature, relative to German culture, he states that the German tale isthe compensatory aesthetic means of communication through which Germans share, discuss and debate social norms and individual aspirations. The fairy tale serves as a key reference point in German culture for selfcomprehension and Weltanschauung, or world outlook (Zipes TBG 86). Guillermo Del Toro efficiently harnesses the power that Zipes talks about and that is evident within the Grimms tales, Baum and Ovid, to concoct a more relevant and modern tale relative to the Spanish Civil War, stimulating a world dialogue initiated by the conflict pertaining to Spain. Jack Zipes further mentioned, in his book Breaking the Magic Spell that magic in tales (if magic is what it is) lies in people and creatures being shown for what they really are (Zipes BTMS 27). He further mentions that An essential quality of great fantasy work can be linked to its capacity to subvert accepted standards and provoke readers to rethink their current states of being and the institutions that may hold influence over them (Zipes BTMS 230). Zipes applies Salman Rushdies example Haroun and the Sea of Stories and explains how it is a perfect model of the modern tale, illustrating the journey of a young boy and his crusade to protect his fathers imagination, Zipes asserts that it is a tale that urges readers to question authoritarianism and to become inventive, daring 60and cunning (Zipes SOE xxix). Conceivably, the movie could also be seen as relative as a channel of hope, through the exposure of one girls fantastical parallel world as a coping mechanism. To further this point, it could be argued that Del Toro himself can exist to supply a sense of omnipotence for all who come into contact with his work; we are forced through benevolence to reclaim our voice and agency through the motivation of Del Toro. In Girl Interrupted, an article by Mark Kermode for Sight and Sound, he proposes that the climax of Pans Labyrinth lies in an epiphany of sacrifice and rebirth and further asserts that Del Toros own career is at a point of rebirth or regeneration (Kermode 5). During this interview, Guillermo Del Toro states explains that the most creative, most fragile part of the child that lives within me is a child that was literally transformed by monsters. Be they on the screen, or in myth, or in my own imagination. I had lived my life believing two things: that pain should not be sought, but by the same token it should never be avoided, because there is a lesson in facing adversity. Having gone through that experience, I can attest, in a non-masochistic way, that pain is a great teacher. I dont relish it, but I learn from it. I always say, even as an exCatholic, that God sends the letter, but not the dictionary. You need to forge your own dictionary. (Kermode 2)

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As aforementioned, Graham Allen suggests that our task is to engage with [intertextuality] as a split, multiple concept, which poses questions and requires one to engage with them rather than forcing one to produce definite answers (Allen 59-60). This dissertation has contemplated some of the answers that have arisen on viewing Pans Labyrinth, they approach the idea of ones legacy and the authenticity pertaining to ones voice; protecting it from outside institutions that attempt to control and conform. It has also proven that there is a good side to disobedience, that proves positive in listening to your own voice and following a path you forge yourself, in direct opposition to blind obedience that forces you to follow another, negating your potential for self realisation. To discover ones voice can not only have personal benefits, but also political ones. In Passing the Torch: The Abraham Lincoln Brigade and Its Legacy of Hope, Jose Moreno cites Soraya del Pino, a child living in a fantasy world, our modern protagonist, Ofelia; I am only 15 years old, but I already have ideals. I also love the revolution, which, in May of 1998, seems to have been forgotten. I dont ever want to stop despising the powerful, not to give up the singular desire to never become rich. Tell me that this is possible, that society can still be changed through granting power to the imagination. Tell me that I will not end up a bourgeois, in spite of the inevitable passage of time. If there is just one person who can assure me of this, if theres anyone left who has always been faithful to herself, then I will have the strength to hold my fist in the air and keep shouting. (Moreno 19) One must struggle in order to regain our rightful choice and to claim our agency in order to transform the world we live in. The combination of mythology, literature and fairy tale has allowed Guillermo Del Toro to construct a powerful narrative with transformative potential, through which we can all learn something about ourselves. In darkness there can be light, In misery there can be beauty, In death there can be life. -Pans Labyrinth

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