A raw glimpse of desperation, poverty and violence, the 2002 film City of God showcases the brutal and harsh realisms of Brazilians living in the oppressive confines of favelas. The story is told through the eyes of the main character, Rocket, a poor, black youth who grows up in the hostile environment of the hood but manages to break away to become a professional photographer. Oddly, the way of life in the City of God is anything but heavenly. The violent and fast paced film begins in the 1960s when Rio de Janeiro was just a new housing project and the main characters were children and petty thieves. The story then ends in the early 1980s when the favela is a war zone where most of the protagonists are either dead or engrossed in bloody drug war. Life in the favelas, urban poverty, violence and gender roles demonstrate a great deal of importance to the overall message of City of God. Although the film fails to propose an alternate way of life, it gives viewers a glimpse of the gruesome truths of a world they would have never imagined existed.
By definition, a favela is “a settlement of jerry-built shacks lying on the outskirts of a Brazilian city” (Merriam-Webster.com). In City of God, directed by Fernando Meirelles, the favela takes on a persona of its own and is somewhat of a central character in the film. The favela shapes the personalities and lifestyles of its residents and makes the characters who they are. It symbolizes poverty, brutality, corruption, death, and social apartheid. The favela is depicted as a prison; it swallows the characters at a very young age and engrosses them in its criminal activity that seems hopelessly inescapable. The characters are so accustomed to thieving and killing that they cannot fathom any...
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...nd authority held by their male counterparts.
To watch City of God is to be forced to enter, from a safe distance, the ruthless and merciless hoods of Rio de Janeiro. The captivating and poignant film guides viewers through the realistic aspects of slum life experienced by young, underprivileged youth in the favelas of Rio de Janeiro, some aspects that not even most middle class Brazilians get to see. In a city where police are fraudulent, opportunities are scarce and crime is widespread, many youths believe there is no alternative to gang activity. In City of God, director Fernando Meirelles puts to the forefront of Brazilian cinema the real issues that favelas in Brazil face like poverty, extreme violence and stereotypical gender roles in a male dominated society. City of God encapsulates the hope of Rio’s impoverished blacks for social and economic ascension.
The book itself is an on-going dialogue between Kozol and the neighborhoods residents, interjected every so often with thoughts from Kozol. He covers a spectrum of topics from AIDS, drug addiction, prostitution, crime, poorly run and funded schools, white flight from schools to over-crowded hospitals and the amazing faith in religion and God that many of these people have.
Rudolfo Anaya’s, Bless Me, Ultima and Guillermo del Toro’s, Pan’s Labyrinth are two coming-of-age stories. Both the novel and the movie are full of events that contribute to the disillusionment of the main character’s childhood idealism and the realization of the real world they live in. Both protagonists absorb themselves in a mythical world full of fantasy and each receives exposure to religious theology and trauma by the violence of men. Despite the fact that Antonio and Ofelia have different familial role models and travel along different paths, their childlike innocence, disillusionment, and initiation into adulthood comes about through similar themes: myth, religion, and violence.
Jonathan Kozol's book, Amazing Grace, analyzes the lives of the people living in the dilapidated district of South Bronx, New York. Kozol spends time touring the streets with children, talking to parents, and discussing the appalling living conditions and safety concerns that plague the residents in the inner cities of New York. In great detail, he describes the harsh lifestyles that the poverty stricken families are forced into; day in and day out. Disease, hunger, crime, and drugs are of the few everyday problems that the people in Kozol's book face; however, many of these people continue to maintain a very religious and positive outlook on life. Jonathan Kozol's investigation on the lifestyle of these people, shows the side to poverty that most of the privileged class in America does not get to see. Kozol wishes to persuade the readers to sympathize with his book and consider the condition in which these people live. The inequality issues mentioned are major factors in affecting the main concerns of Kozol: educational problems, healthcare obstacles, and the everyday struggles of a South Bronx child.
Singleton begins the film by showing Tre, the protagonist, as a child. He is sent to live with his father, Furious, in “the hood” after acting out in school. There, he meets up with a group of friends and one day they journey to see a dead body. Singleton does this to show the children’s exposure to death at such a young age. It is not typical for a young child to see such things, so this symbolic gesture is effective at showing the viewer what kind of culture the children are being brought up in. Immediately after their encounter with the dead body the children are taunted by a group of gang members over a football. By setting this up immediately after the children’s encounter with death, Singleton has coupled gang violence and murder. This is an important to the cultural moment that Singleton is trying to encapsulate b...
Race has always been a large part of cinema. The way movie directors and producers make other races out to be in movies like City of God, can be disturbing. Though the movie depicts the truth about some parts of the world, the way it portrays black youth as savages who kill and do drugs couldn’t be farther from the truth. Just because something like this goes on in one part of the world does not mean that all black youth are like this.
In the favela of São Paulo, Brazil, 1958, Carolina Maria de Jesus rewrote the words of a famous poet, “In this era it is necessary to say: ‘Cry, child. Life is bitter,’” (de Jesus 27). Her sentiments reflected the cruel truth of the favelas, the location where the city’s impoverished inhabited small shacks. Because of housing developments, poor families were pushed to the outskirts of the city into shanty towns. Within the favelas, the infant mortality rate was high, there was no indoor plumbing or electricity, drug lords were governing forces, drug addiction was rampant, and people were starving to death. Child of the Dark, a diary written by Carolina Maria de Jesus from 1955 to 1960, provides a unique view from inside Brazil’s favelas, discussing the perceptions of good
In the story “Flavio’s Home” by Gordon Parks, he draws you into a world that is very descriptive and allows yourself to imagine what it would be like if you were standing there with him. Gordon was there with Life reporter Jose Gallo to find a father with a family to examine the poverty of that particular family in Rio de Janeiro. Instead they came across a boy named Flavio, they followed Flavio up the mountain to a leaning shack. Flavio was only twelve but had worked so hard from the time he could stand that his body had taken the toll. Gordon describes the favela of Catacumba, pale by comparison to New York’s Harlem and Chicago’s south side. In so doing this gives the readers in those populated city’s an idea of how much greater the poverty
Shantytowns are defined as urban slums “perched on hillside outskirts of most cities” (Sanabria, 2007, p.25) in Latin America. Common characteristics of shantytowns include run-down buildings, poor infrastructure, lack of space, high population, risk of disease, low education level, and a great lack of job opportunities (pp.24-6). These ghettos are home to the poor and socially-outcast, especially first and second generation migrants from rural areas (pp.24-5).
City of God we would all think of a holy place to be in but on the controversy it wasn’t the safest place to be in. “But in the end one needs more courage to live than to kill himself.” Albert Camus Many young kids do not have a house to run to, a mother to cuddle with, a father to set things straight siblings to get love from. Reality getting involved in violence can make you but in the end break you. Power with violence can make you stronger five you more power but break you in a blink of an eye. Brutality of life is revealed in Rios slums in this Brazilian film. A powerful film that views violence, lack of education, lack of money in 3rd world countries
In the poem “The City of the End of Things” by Archibald Lampman he paints an image of a dystopian and mechanical future. The theme of this poem is a prediction of the natural world 's destruction and of the current industrialized future. Humans cannot live without nature, thus with the destruction of the natural world comes the downfall of humanity. Lampman wrote “Its roofs and iron towers have grown / None knoweth how high within the night”(9-10), which provokes a picture of a city that is ever growing, seemingly overnight. In the poem there is an ABAB rhyme scheme along with use of alliteration, onomatopoeia, and imagery. By using all of these techniques it helps the reader to better understand the message which is being relayed in the poem. Some of the subjects of this poem include, urbanization, dystopia, nature dying and the fall of
The director Antoine Fuqua vision for this film was to bring that intense love-hate relationship onto the big screen and showcase it for the world to see. To ensure a convincing film setting, Fuqua shot on location in some of the most hardcore neighborhoods in Los Angeles. Fuqua also wanted to show the daily struggles of officers tasked to work in the rougher neighborhoods of cities and how easy it can be to get caught up in a street life filled with killers and drug dealers. Overall the film displayed the city of Los Angeles in a different perspective. One which m...
Catholicism glorifies and represents mothers as the main foundation of the family through the example of the passive and unconditional loving Mary, the mother of Jesus Crist. This idea of the mother as unconditional lover beings has been passed on and reproduced in the Chicana/o community. Gil Cuadros and Reyna Grande through their autobiographical work testify against this predominate idea of the mothers being caring and loving persons. Even though most mothers fall into the norm of a normal mother, normality is subjective, therefore Cuadros and Grande’s work represent the complexities of reality. Grande’s The Distance Between Us and Cuadro’s City of God are autobiographical narratives that incorporate reality as a form of testimonial of existence, an act of healing and resilience. Given that these author’s life experiences can be
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
In the setting of the film, City of God, was captured in the country Brazil within Rio de Janeiro, about the times between the 1960’s and the beginning of the 1980’s. Revealing the devastating life style of urban environment, and the massive social changes throughout those years. The story line of City of God/Cidade de Dues, denotes a whole new meaning of survival compared to other cultures. Even though some similarity may be present, but the levels of violence and poverty are on a whole other level. From the true innocent to the all out gangster who everyone is afraid of when they go asleep. Of the planning and related issues in this film, the roles played in the gangs were crucial, the city’s structure influenced many children to follow the
I am black, I am a woman, growing up I was called “white girl.” As a black woman from sin city (Las Vegas, NV) the term urban did not describe my reality. Perception can be the only reality that you see in examining the lens of what is “urban”. What is urban? When the word urban comes to mind does it elicit emotions of privilege, pride or fear? Hunter; & Leonardo (2007) look at the term “urban” (particularly in the ghetto) they define it as both a “real” and “imaginary place” and divides the urban perspective into three distinctive categories of “space”: Urban is sophisticated, Urban is authentic, and Urban is a Jungle. Furthermore, from the text the author(s) argue, “daily constructions