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City of god 2
- 1. Component 2: Section A Global film- CITY OF GOD
- 2. WHAT MESSAGES WERE HELD IN The story of the apartment RECAP ACTIVITY
- 3. Produce a timeline of the favelas – what changes occur stylistically Timeline
- 4. Scene activity » You are about to the see 3 scenes from City of God » Shaggy death » Bene death » Lil Ze death
- 5. Bene’s death » Diegetic music documents the era » Sex Machine – Bene’s new found persona » Kung Fu Fighting – a song about controlled power played at Bene’s farewell party. Ironic counterpoint to the real violence that erupts here
- 6. Context » Paulo Lins who wrote City of God stated that – » “It started out with marijuana and moved to cocaine, the poor started out stealing gas but didn’t get anywhere so organised crime got worse, this made sure that both the press and the middle classes took notice while the outlaws fought back against the corruption of the police.”
- 7. REMEMBER » FILM LANGUAGE! » LINKED TO REPRESENTATION, MEANINGS AND CONTEXT!
- 8. Characters » Rocket » Lil Ze/Lil Dice » Benny/Bene » Knockout Ned » The Tender Trio » Produce a poster that highlights what the characteristics of each representation
- 9. Scene 3 – Lil Ze » What is the favelas like now? » How can we tell?
- 10. To finish What does this statement mean? INTERNET RESEARCH RIGHT WING POLITICS
- 11. City of God » However for a social film it’s not of realist style but relies heavily on cinematic techniques. » Should such films offer suggestions as to how to fix it? » Became very important film due to the question about the nature of filmmaking and the responsibility of the filmmaker. » Can the subject matter of poverty, poverty of the underdeveloped and exploited world can be used as ‘aesthetic objects’?
- 12. Debate Style over substance » Entertainment rather than informative » No family effects/after effects » Glorifies the violence » Style implies not a Effective in delivering messages – why? » Shows realistic living conditions » Shows us real problems that occur in the favelas » Actual gangs in society – runts then move one to rule society
Editor's Notes
- https://www.playposit.com/panel/lessons Like watching from the stalls of a theatre The Story of the Tender Trio’ retains some of the romantic, warm imagery of the earlier poetic representations of outlaws, social bandits, echoing the cangaceiros, the revolutionary outsiders of earlier Brazilian films but there is often a disjunction between the image we see on screen and what we hear Rocket say. The image of Bené and Dice with their arms round each other laughing will recur later in the film as a sepia coloured insert, the recollection of a lost more innocent time.
- Considered to be a character in itself – major character it grows and changes Cinematography César Charlone. The film depicts the changing nature of the slum, the favela itself features as a major character that grows and changes. The open environment where there are spaces to play football gives way to the closed one with the cramped and narrow streets confined by apartment blocks, tin roofed shacks, and graffiti spattered walls. The characters become more and more hemmed in by the encroachment of these walls and barriers, their dimensions emphasised by overhead shots. The characters are imprisoned, the killings are speeded up.