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Essay about rio de janeiro
The development of Rio de Janeiro
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I suppose before watching this movie, people imagine religious themes from the title. Therefore, I was astonished by the content because the movie illustrated the poverty of the slums of Brazil, and the life of the people there. As a whole, this movie has abusive assault and thriller scenes. The story is about a feud in which gangs of the opposing parties murder each other to gain authority of the city called “City of God”, and it is told through the perspective of one of the main characters, Buscape, who has a dream of becoming a photographer in the future. His story shows the violence and corruption of the city and the ups and downs of the life of Li’l Ze, one of the most vicious bosses of the city. As conflict occurs in the alleys, Buscape …show more content…
Additionally, I assume that city of god is the symbol of poverty, violence, and lack of education in the lawless area of Brazil. It is the fact that kids who are not educated well grow with viscous mind, and they try to sell drug to make money in the film. Since illegal drugs give people addiction, and it makes a lot of money, it prevails easily in outlaw areas. Le Corbusier who is a city planner deplores and shows the conditions of slums and the people they had created in the article, “The High-Modernist City an Experiment and a Critique” by James C. Scott. Corbusier insists that slums are noisy, violence and disease- ridden (116 Scott). He also states that “they harbored a potential revolutionary menace to the authorities.” (116 Scott). As Corbusier signals, slums are very dangerous because it can have a menace for the government as well as worse security; therefore, I believe that Brazilian government should work on the social problems of poverty, and it also has to focus on the education not make slums more, and these efforts help to be …show more content…
In addition, the social structure and status are based on the gangs; therefore, the security of the city is horrible in this movie. One interesting point that I wondered about this movie is the illegal transactions between gangs and police. Li’l Ze who is a notorious boss of the city paid money to police as a bribe to be released when he is apprehended by them. I was astonished by this scene because even police were cooperating with crime in the lawless city. According to the article “Security, territory and population” by Michel Faucalt, “Security will rely on a number of material givens. It will, of course, work on site with the flows of water, islands, air, and so forth.” ( 19, Faucalt). As Faucalt shows, the poverty of place could be the sequence of the security situation of that place; therefore, Brazilian government need to improve public sanitation and poverty to maintain public security in the first place. Faucalt also suggests that the plan is very important for constructing the disciplinary city, and we cannot get rid of all problems when make a plan because some of them could be change good in particular situation in the future. ( 19, Faucalt) She also believe focusing on these ideas are essential for the mechanism of security ( 19, Faucalt). Her ideas are significant in order to
The urban setting can instantly be recognized as an antagonist to anyone who faces it. The imagery of the city reveals its formidable nature. The
In Samba, Alma Guillermoprieto describes the Carnival celebrated every year in Rio de Janeiro, Brazil and explores the black cultural roots from which it takes its traditions as well as its social, economic, and political context in the 1980s. From her firsthand experience and investigation into favela life and the role of samba schools, specifically of Manguiera, Guillermoprieto illustrates a complex image of race relations in Brazil. The hegemonic character of samba culture in Brazil stands as a prevalent theme in numerous facets of favela life, samba schools, and racial interactions like the increasing involvement of white Brazilians in Carnival preparation and the popularity of mulatas with white Brazilians and tourists. Rio de Janeiro’s early development as a city was largely segregated after the practice of slavery ended. The centralization of Afro-Brazilians in favelas in the hills of the city strengthened their ties to black
In her essay “We should relinquish some liberty in exchange for security,” Mona Charen, a columnist and political analyst, speaks on the issue of security in the United States of America. She uses many significant techniques in her essay to persuade her readers of her argument. However, I feel that her essay fails to make a great argument because she relies heavily on assumptions, misses opportunities to appeal to pathos and ethos, and overall uses a degrading tone. Charen presents her thesis prominently at the beginning of her essay in her title. By doing so, she not only clearly expresses her thesis that we must give up some liberty to secure the United States, but also peaks the interest of the reader with a provocative and timely statement.
In the film, symbolism was everywhere. In the beginning of the film, the pictures of the city were in black and white and dull shades, giving the city a gloomy look. The camera angles made the cars in the city appear tiny, and the buildings appear very large to symbolize how small everything was amongst the city. The interiors of the office buildings and the panic symbolized that there was no way out. The soundtrack of the film was symbolic to the tension of the film. The darkness of visual composition of the lighting in the film, symbolized the darkness of the human nature in the story.
1-The story tells, Real facts occurred in the 1940s, where it was a racist society. Gangs were scattered throughout the cities, and regions, and the streets. To live, you have full get away, or belonging to one of them. You should help the gang members that they were right or on falsehood. Also, it is a kind of bigotry, not much different from intolerance, national, ethnic, and sectarian That were prevalent in American society. in fact, it is the inevitable result of this society. When the corruption becomes prevails, injustice and lawless prevails too, and justice will disappear.
... the need of government to act whenever an issue threatens national security. Mechanisms should be put in place to ascertain the extent of the threat, and the acceptable measures of dealing with it.
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
The film City of God is based in the slums of Brazil , also called “favelas” where crime and delinquency dominate the neighborhood. The main characters of the film exhibit deviant behaviors in which different theories can be applied to explain their actions. The four theories best used to explain this behavior are concentric zone, social strain, differential association , and social bond theory. The group of characters come from a poor and crime infested neighborhood called the City of God. The characters of discussion are Lil’ Ze, Benny, Rocket, Knockout Ned, and Carrot which are the main players throughout the film. The types of criminal behavior conducted in the neighborhood are theft, murder, drug dealing, and rape.
By simply review, I will say, "City of God" ("Cidade de Deus") is the story of a boy who lives in a "favela" what is the word of slum in english on the outskirts of Rio de Janeiro. The "favela" is like a shantytown witch called "Cidade de Deus" in the film. And from the beginning to the end, throughout this stylish movie both the boy and the favela grow.
Love/hatred, redemption/forgiveness, power/faith are only examples of what the film represents. It shows that religion and politics definitely do not mix what so ever. Both can either empower or bring doom to a country and its people. The film kept me on my toes for which the Portuguese and the Spanish viewed the natives as “animals” and as slaves while the Jesuits didn’t. The Jesuits viewed the natives for what they are, humans. Since both views of both parties did not correlate, there was a lot of tension that kept me intrigued with the film. Another aspect that made the film interesting is the fact that the Jesuits live for love and peace while the Portuguese live for power and wealth no matter the cost. Even in our own current time, nothing has changed when it comes to that. I’m very glad to have had the chance to watch the film and get a glimpse into
The main message of this film was to show the life of a photographer called Wilson Rodriguez. Also to show how is the life in the city of god. Moreover, to show why the people in the city become violence and crime.
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 lifestyle portrayed in City of God is explained by the fragility of the physical space where with each new scene, nature gives way to broken bricks, cracked windows blood stains in the narrow alleys that connect the favelas financial market (Raquel 90). These are the points where the traffic of drugs is conducted. Human distraction aid of hunger for power, vengeance and in some cases, for no reason at all is
The distinct generations of hoodlums, from the sixties and eighties respectively, are thus referenced, by Rocket, the narrator, as a means of divulging new information and providing context to the escalating conflict. These referenced hoodlums, highlighted and often revisited via internal flashbacks, seemingly reflect the never-ending presence of gang-related warfare within the disparaged favela. Rocket intentionally compresses or eliminates certain fabula events in order to propel the narrative forward. Character positions or set pieces, for instance, are regularly utilized to bridge transitions between different time periods, eliminating the necessity for dedicated sequences in between.
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