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The document discusses ethnicity and characters in the film City of God. It notes that all the white characters live outside the impoverished Favelas neighborhoods, which are majority black, indicating Rio de Janeiro's society pushes black people to the edges. Within the Favelas, people respect each other's roles rather than ethnicity. The character Tiago is middle-class and educated, giving him respect, while Lil Ze is the most powerful and feared member. Brazil's history involved colonization, slavery, and immigration leading to today's multi-ethnic communities.
City of god age represention
The document discusses representations of youth and coming of age in the film City of God. It notes that characters experience adulthood at a younger age in the violent setting of the city. Several key scenes show children acclimating to life in the city, such as one character losing his innocence the first time he shoots a gun, and others playing with guns as if they were toys. Over time, children shift from playing football to playing with firearms as violence defines their world.
Age in city of god
Steak 'n' Fries loses his innocence after witnessing a shooting. In the first scene, he is framed in a way that makes him feel trapped and threatened. He is seen in a split screen and pushed to the side, captured and told that if he is not allied with the character, then he is dead. The document also discusses how youth in the city are exposed to violence and influenced by the wars between gangs. Younger children are given no second chances while older ones may receive one. Youth also turn on each other quickly and participate in the gang wars for various reasons like protecting their families or gaining respect.
Film sequence
This document discusses the editing techniques used in the beginning of a film. It analyzes a series of close-up shots of a knife, hand, and stone instead of an establishing shot. It then cuts to black before another shot illuminates the character Rocket with his camera and zooms out from a network of bars. The fast-paced editing is described as giving spectacular circling shots that morph Rocket into his younger self in scenes of low rise shacks and open spaces.
Representation of women
This document analyzes the representation of women in the film City of God. It notes that several female characters, including Shorty's wife, Dona Zelia, Blacky's girlfriend, and Ned's girlfriend, are victims of male violence through attacks, murder, and rape. While Berenice and Angelica reject violence, they disappear from the narrative after their significant others die, implying women do not matter. Marina's role is to facilitate Rocket's entry into manhood. Overall, the narrative and lack of ongoing presence or significance of female characters seems to suggest that women are not important in this violent world dominated by machismo culture where guns are a source of power and violence is normalized.
Rocket as a narrator
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City of god 2
City of God is a film about organized crime in the favelas of Rio de Janeiro, Brazil. It depicts the rise of gangs and violence in the favelas over time through the stories of various characters. The film uses cinematic techniques rather than a strictly realistic style to tell its story. This led to debates about whether such films have a responsibility to directly address social issues and solutions or can use aesthetic style primarily for entertainment. Some argue City of God effectively delivers messages through its realistic portrayal of conditions in the favelas, while others believe it glorifies violence without offering solutions.
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www.StokeNewingtonHistory.com
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