City Of God Summary
Brief Summary The film City of God is a account of the harsh realities that existed in Rio de Janeiro during the 1960’s. The film follows the story of two boys Rocket & Li'l Zé and how they both rise out of their violent and improvised circumstances; one becoming a photographer and the other a drug dealer. Aesthetic Analysis and Theory When one looks at this film’s aesthetic, it showcases itself to be heavily influenced by other world cinemas. Although this film came some thirty years or so after the end of the cinema novo movement, it does draw certain parallels with it. Such as it’s underlying tone for the want of social equality, a strong characteristic of this cinema, it can be seen many times throughout the film’s entirety. Case in point, when the character of Benny befriends and gives money to the middle class Tiago, to purchase him clothing. Now, while it is not stated directly, the question is raised as to why Benny does not do this himself and given that the character of Tiago sticks out quite prominently from the environment he is in, one could possibly say that there is a class destination here. And if one were to deduce this further it could be said that the area in which Tiago purchases this …show more content…
For instance, if we look at Italian Neo-Realism, the subject matter of this film concerns itself with the everyday hardships of the average person much like this movement. And rather than dealing in escapism it attempts to reveal the harsh realities of this world trying, in turn, to evoke a greater emotional response in it’s audiences. Now granted this features portrayal of the hardships of the average person is somewhat embellished to create a more evocative narrative, which is in ways excusable given modern audiences. Put forth by Xavier in a Sight and Sound article, “It’s a film that deals with social concerns in the language of MTV, rap and disco” (Xavier,
Spike Lee's Auteur Theory
416 Words | 2 PagesAuteur theory is an important mode of film criticism that indicates the extent of the director’s involvement in the final output of the film. As it has been previously mentioned, Spike Lee’s films express certain notions about race that emerge from his personal viewpoint as well as from his political and aesthetic beliefs. The focal point of this chapter is the auteur theory and its relativity to Spike Lee. In order to prove the connection between the theory and his works, it is necessary to refer to Lee’s biography, since both his background and distinguishable personality have contributed to his technical skills as well as to his unique style as a film director. The particular chapter will also include the synopsis as well as the technical analysis of each film correspondingly.
Wendy Haslem's Essay 'Neon Gothic: Lost In Translation'
458 Words | 2 PagesThroughout the essay, many references and comparisons are made to other films. Also incorporated in the essay is the use of advance terminology; Giving indication that the author is very knowledge about film. Haslem mentions in her essay “Neon Gothic: Lost in Translation”, “In many ways Coppola’s film exhibits marks of classic European art cinema. Specifically, in her interest in stillness rather than action, Coppola recreates a similar impressionistic resonance that was initially established by filmmakers like Carl Dreyer in The Passion of Joan of Arc (1928) and elaborated by Michelangelo Antonioni in films like L’Eclisse (1962) and L’Avventura (1960)”
German Expressionism In Fritz Lang's Metropolis
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Compare And Contrast The Devil And The White City
870 Words | 4 PagesErik Larson writes “Beneath the gore and smoke and loom, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging in the impossible, others in the manufacture of sorrow”(Larson xi). In the book The Devil and the White City, Erik Larson tells a story of 2 very determined men, Daniel Burnham and H. Holmes, using their talents and determination to create good results, but also bad results; one being a very successful and good spirited architect, the other being a witty evil serial killer. It reveals how in every good act or intention, there is some kind of evil, and also the other way around. Erik Larson explores the underlying difference between good and evil, while telling 2 tales of Daniel Burnham, and Henry H. Holmes Daniel Burnham and Henry H. Holmes are alike in many ways, as explored throughout the novel. Both of these men used their determination and skills to accomplish many things, good or bad.
New Latin American Cinema Analysis
1617 Words | 7 PagesAmong many advocacies contributed to on-going and loosely constituted film movement “New Latin American Cinema” starts from 1960s, the manifesto “Third Cinema” highlighted certain significant traits of film in Latin America. The word “third” does not necessarily refer to the Third World, yet it suggests a particular response to the first and second cinema, namely the mainstream industrial production in Hollywood and European auteur film respectively. These cultural hegemonic countries, such as United States, United Kingdom and France, are also the imperialist enforced neo-colonialism to Latin American countries. In conjunction with the struggle for national and continental autonomy in Latin America, filmmakers endeavour to liberate people from
Summary Of Paul Virilio's Essay 'City Of Panic'
196 Words | 1 PagesA Summary of “City of Panic” In the essay, “City of Panic”, Paul Virilio (2004) presents a theory called “City of Panic”, which is the best to describe urban chaos. And he also states the fractalization in globalization, and the remodeling of world order, armies, and business. After being bombarded of looping image of disasters and the falling of their symbolic constructions, people in cities are tend to be in a unsustainable mental situation, and it becomes an important theory to represent urban chaos. In recent world, the author finds that the “metapolitical” bubble is going to burst, and also, the government and geopolitical blocks is going to decentralize, making metropolarization a totally illusory.
Aesthetic Of Astonishment Analysis
1441 Words | 6 PagesIn “Aesthetic of Astonishment” essay, Gunning argues how people first saw cinema, and how they are amazed with the moving picture for the first time, and were not only amazed by the technological aspect, but also the experience of how the introduction of movies have changed the way people perceive the reality in a completely different way. Gunning states that “The astonishment derives from a magical metamorphosis rather than a seamless reproduction of reality”(118). He uses the myth of how the sacred audience run out the theater in terror when they first saw the Lumiere Brother Arrival of the train. However, Gunning does not really care how hysterical their reaction is, even saying that he have doubts on what actually happened that day, as for him it the significance lied on the incidence--that is, the triggering of the audience’s reaction and its subsequence results, and not the actual reactions and their extent. It is this incident, due to the confusion of the audience’s cognition caused by new technology, that serves as a significant milestone in film history which triggered in the industry and the fascination with film, which to this day allows cinema to manipulate and
Wizard Of Oz Genre Analysis
2800 Words | 12 PagesOver the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision.
The Ontology Of The Photographic Image Analysis
1223 Words | 5 PagesFilm takes photography to another level. Film, or the cinema “is objectivity in time.” For the first time with film “the image of things is likewise the image of their duration, change mummified as it were”. Bazin argues "only the impassive lens, stripping its object of all those ways of seeing it, those piled- up preconceptions, that spiritual dust and grime with which my eyes have covered it, are able to present it in all its virginal purity to my attention and consequently to my love.
Dystopian Theme Of Appearance Vs Reality In The Giver
235 Words | 1 PagesBoth of these aspects emphasise the dystopian theme that “citizens no longer have the power to choose” because a totalitarian government has taken over with a small group of people holding power over the rest of the society. The varying camera angles represent how the government is structured in a way where few have authority, while the Dutch tilt represents the fragility of the stability of the world of the “Giver”. These featured film techniques can be linked to a common idea of the genre, where not everything is as it seems. The idea of “appearance versus reality,” is demonstrated in how the government has designed routines for the citizens to follow. The world leaders do not provide any choices to their citizens because they believe that,
Baz Luhrmann's Red Curtain Trilogy Film Analysis
976 Words | 4 PagesBaz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
Disadvantages Of Slow Cinema
1015 Words | 5 PagesNevertheless slow and contemplative cinema cannot strictly be tied to a structured film movement as Matthew Flanagan in his Phd dissertation “Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film”, (probably the first deep study of “Slow Cinema”) clearly points out reframing the “aesthetic of slow” in an extremely broad context, from structural and avant-garde films since the 1960s, to realistic forms of observational documentary which focuses on the monotony of everyday life, including filmmakers such as Chantal Akerman, Lisandro Alonso, Theo Angelopoulos, Apichatpong Weerasethakul, Sharunas Bartas, James Benning, Pedro Costa, Lav Diaz, Philippe Garrel, Hou Hsiao-hsien, Peter Hutton, Jia Zhang-ke, Fred Kelemen, Abbas Kiarostami, Liu Jiayin, Sharon Lockhart, Raya Martin, Wang Bing, Andy Warhol, Albert Serra, Carlos Reygadas Aleksandr Sokurov, Jean-Marie Straub, Daniele Huillet, Béla Tarr, Ben Rivers, Tsai Ming-liang and Gus Van
Kami Histeria Film Analysis
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City Of God Themes
1701 Words | 7 PagesThrough Four Corners, we need to understand how the film references City of God, and how the two films are portraying Africanism. However, I need to make it clear that City of God was not an African film. It was made and produced in Brazil. On the other hand, Four Corners was made and produced in South Africa. My approach on these two films through understanding elements of Africanism in them is on their storylines which are centred on black kids roaming the streets in search of money, power, and social status, the use of teenage characters and themes (crime and drugs).
Tiago Film Analysis
963 Words | 4 PagesCinema Novo & Influences of it on this Film When one looks at this films aesthetic, it showcases itself to be heavily influences by other world cinemas. Although this film came some thirty years or so after the end of the cinema novo movement it does draw certain parallels with it. Such as it’s underlying tone for the want of social equality, a strong characteristic of this cinema, it can be seen many times throughout the films entirety. Case in point, when the character of Benny befriends and gives money to the middle class Tiago, to purchase him clothing.
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