The document discusses whether the film Tyrannosaur is an example of "poverty porn". Poverty porn depicts working class life for middle class audiences to watch for gratification. Some arguments for it being poverty porn are that it only shows the lives of people in poor neighborhoods to a middle class audience, and that some scenes may not feel authentic. However, others argue against it being poverty porn, noting that some plot points like a character being completely friendless seem unlikely, and that the film observes the characters with compassion rather than exploitation. Overall, the document debates whether Tyrannosaur uses depictions of poverty to titillate audiences or tells a compassionate story.
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The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
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2. What is poverty porn?
Poverty porn is classed as ‘misery tourism
for middle classes’.
These films are exploiting working class life
for a middle class audience to watch for
gratification.
3. Arguments for Tyrannosaur
being poverty porn
It is deemed as a film that will only show to middle class
audiences, asking them to come and look at how bestial
people on estates live.
People who do believe that this film is poverty porn may
think that it is not authentic.
That singalong scene is a false note, but I think the film's
saying: sod the supposed places of social interaction
(church, boozer, shop), you can quite easily erect a barrier
or wear a mask so that no one will go near you. Joseph's is
violence and rage, Hannah's is humility and fear. The film's
tension and release is seeing how these two come
together.
4. Arguments against
Tyrannosaur being poverty
porn
There are some parts of the film that don’t make sense - for example,
Hannah a woman with a strong Christian faith, has no friends to whom
she can turn is pretty unlikely. Has she never been to church? Never
met anyone there? The plot of the film needs that character to be
friendless.
Here, all the characters want out of their situations and it's all observed
with tender compassion by the only God cinema ever knows, the
director. If the chattering (or twittering) classes like me are guilty of
peeking through the muslin curtains at how the other half lives, then it's
only the general complicity involved in any viewing – I don't know what
it's like in space, but I believe the world of Alien, for example; same with
hard-scrabble westerns or those little slumdogs or the favela kids in
City of God.
