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Brazil film analysis
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Upon watching the movie Brazil for the first time, the first thought which comes to mind is ‘WHAT??’. However, once past the exterior of the movie, one is able to divine its true meanings. Written by Terry Gilliam, Charlie McKeown and Tom Stoppard, Brazil was a groundbreaking movie which brought to light many issues within society which were valid in 1985 and remain so today. This text is valued because of the issues it raises, such as technology, an unwieldy government and consumerism, which are timeless issues. Brazil is based around a futuristic bureaucracy, where everything and everyone is property, there is little or no communication, and with the right forms, you can legally do whatever you want. This movie shows the flaws of such a system, that whilst aiming for perfection, is merely digging itself deeper into confusion and destroying the very society it seeks to control. Brazil is a dark comedy which shows us the consequences of handing over our lives to a faceless bureaucracy.
Sam Lowry’s world is made up of millions upon millions of machines, upon which everyone relies to survive. Machines perform basically every task that there is, from the most mundane task such as creating food, to the most complex and important tasks such as deciding the fate of every living person within the system. When we first meet Sam his alarm clock is not working, the phone is large and hard to work, and the food that his machines make is completely inedible. This does not bode well for the people, for if the machines cannot even handle the most basic of tasks, how could they possibly handle the complex ones? We are taken further into the world of faults and failings within the system later on, when Sam has major problems with his heating ...
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...reedom, and that the mind is the only truly safe place.
Brazil is a film which rolls up all of the problems which society was experiencing at the time that it was made into one darkly humorous movie. Commercialism, terrorism, technology, bureaucracy and government control, cosmetic surgery and the lack of freedom and individual expression. This movie was not mainstream because of the way that it delivered its message, and also perhaps simply because the government suppressed it somewhat. However, this film provided great insight into these problems, and continues to do so today, as many of these problems continue to exist. Brazil aims to highlight these problems and make the viewer think about what they have seen. This movie was not intended to change the world, but simply to try to prevent it from spiralling down into a dystopian Brazil-like chaos.
By showing the historical struggle of Mexican immigrants to be equal members of American society, portraying the humble and unique characteristics of Fernando Valenzuela, and by emphasizing his incredible rise to fame, the film Fernando Nation introduces a new type of American dream. Fernando Valenzuela became the embodiment of the Mexican-American dream to many people. By understanding his story we can understand the hopes and dreams of many Mexican immigrants in America today.
Tompkins, C., 2009. The paradoxical effect of the documentary in Walter Salles’s “Central do Brasil”. Studies in 20th & 21st Century Literature 33 no1 p9-27
In the opening scene, Terry Gilliam's Brazil seems to be quite jovial. A shot in which the camera hovers through the sky, passing in and out of clouds, starts the film off while the song "Brazil," after which the movie was named, fills the soundtrack. Titles begin to appear over the soaring shot. The titles read, "Somewhere in the 20th Century," informing the audience of the time period, but confusing them as well. The world in which the movie's main character dwells is a dreary, dystopian, retro-futuristic metropolis, a far cry from anything that has been seen this century. In this world, nobody is protected from the government; individuals are executed as a result of administrative errors. The compensation for these wrongful deaths is a simple refund check.
The purpose of this paper is to recognize, study and analyze the race relations in Brazil. Race relations are relations between two groups of different races; it is how these two different races connect to each other in their environment. Since Brazil is racially diverse, this study is focused on how Brazilians relate to each other. Throughout the essay, it will become clear that there exists a conflict between two race groups. Afro-Brazilians and White-Brazilians are not connected and though these two groups converse with each other, discrimination still lies within the society. This discrimination has created inequality within the society for Afro-Brazilians. Thus, this paper will not only focus on racism and discrimination that Afro-Brazilians experience because of White-Brazilian, but also on the history of Brazil, the types if discrimination that Afro-Brazilian must endure today and how the media creates discrimination.
Contrary to the traditionalists who dominated the Brazilian music scene, Veloso and his friends wanted to “universalize” and modernize Brazilia...
Larry Rohter was a journalist in Brazil for 14 years and from his experiences he offers in this book some unique insights into Brazilian history, politics, culture and more. In 10 topical chapters Rohter’s easy-to-read book provides a look at Brazilian history and the extraordinary changes the country has undergone -- and is still undergoing. Rother covers many significant issues, but several stand out more than others. Namely: the country’s history, culture, politics, and finally its economy/natural wealth.
In Kurt Vonnegut’s “Player Piano” the theme of machine versus man is a major subject matter. In this novel, the machines force man to give up their individuality to be categorized as an engineer or manager. Vonnegut tries to give men back their power without having to depend on machines. The machines have replaced men to the point where they feel that their self-worth and value in life is no longer important. One of the main characters in this novel is a prime example of machine dependency. The main character, Paul Proteus, feels that he is isolated because his society has no freewill and they depend on machines to complete their lives.
In “The Veldt,” Bradbury describes such technological advancements as “the voice clocks, the stoves, the heaters, the shoe shiners, the shoe lacers, the body scrubbers, and swabbers and massagers,” leading one to inquire as to why people would wish to cook, clean, or even bathe for themselves when various technologies are capable of completing those chores for them (172). Furthermore, Bradbury illustrates just how helpless those who depend on technology can become when David McClean exclaims to George, “Why, you’d starve tomorrow if something went wrong in your kitchen. You wouldn’t know how to tap an egg” (172). Similarly, in Smart House, Pat performs many household duties including cooking and cleaning. For example, when Pat throws Ben a party while his dad is away, she is the one who tidies up the mess to try to keep him and Angie out of trouble. Additionally, when Ben encounters a bully at school, he has Pat do the bully’s homework to avoid being beat up. Thus with Pat performing all the chores and solving the children’s problems, they become lazy and lack a sense of
Based on the seminal works, a person is stated to always be developing and dynamic, is motivated within their occupations, and is constantly interacting with their environment (Law, Cooper, Strong, Stewart, Rigby, & Letts, 1996). The way a person defines themselves will influence the person’s actions within their environment and how it is carried out through their occupational performance. While some qualities within a person are more responsive than others, almost all of the individual’s characteristics that are associated with this aspect are open to change (Law et al., 1996). This relates to the movie because in the beginning of the film, Sam was not capable of taking on many tasks. He started out with a job at Starbucks, where he just cleaned tables, organized the counters, and greeted individuals (DeLuca et al. & Nelson,
Bye, Bye Brazil (1980), a film by Carlos Diegues, tells a story about the struggle of two couples trying to find their dreams in a country, Brazil, that is being overcome by social changes and undergoing massive technological transformations. United by their dreams, the couples travel through the backlands of Brazil in a truck, to seek places where they can not only make a living, but also find their dreams. The insights gained in the course of the journey are insights of both acceptance and change.
A society run through the means of a dominant government is bound to have rebels. These rebels go to extreme measures in order to prove their self worth and individuality. In George Orwell’s novel Nineteen Eighty-Four (1948), the Party acts as a supreme power and portrays Winston Smith, the protagonist as a rebel. Terry Gilliam’s film, Brazil (1985), has a government that works behind the scenes, authenticating authority through various propaganda posters and technological techniques, all of which Sam Lowry rebels against. Examples of government rebels in the real world are quite evident; in New Mexico a resistance group arose in attempts to save their village from the hands of the government only to have the leader murdered. “Unsilenced” written
...tem. These traits are typical of what has happened throughout history when normal people become subordinate to new and oppressive bureaucracies. It seems that all a treacherous government needs in order to normalize the most disgusting violations of basic human rights is a convincing façade of efficiency. It could be said that the American Dream plays that role in current American society, that it is purely a façade to blind our eyes to the larger system. If the system succeeds in preventing people from gaining awareness of the larger picture, and indeed further compartmentalizes every aspect of life, the line between just and false laws become blurred. Gilliam uses “Brazil” to bring these often overlooked problems with government to the forefront of his viewer’s mind, making apparent that no element of human life is safe from this type of unconscious degeneration.
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 subversion of the stereotypical passive role of women on the road is also seen in the Brazilian 1998 road movie ‘’Central Do Brasil’’, directed by Walter Salles. The road movie displays the leading female character as an active player in shaping and forming the story line. The opening scene of the movie shows us people pouring in and out of trains and bustling around the train station of Rio de Janeiro from every segment of society (Brandellero 2013, 152). On the faces of these people one reads fear, uncertainty, haste and hopelessness and in this setting, Dora, a retired school teacher, supplements her income by writing letters to be posted for illiterate people to their loved ones. We are introduced to various characters who are desperate to share their
With only two feature films, Brazilian writer-director Kleber Mendonça Filho has gained a certain cult status, becoming a powerful voice in the alternative world cinema and a keen observer of today’s Brazil. If “Neighboring Sounds” (2012) had stricken me with its irreverent tones, the recent “Aquarius”, a character-driven drama, completely enthralled me for nearly two hours and a half. At the time the film was exhibited at Cannes Film Festival, the film’s cast organized a pacific demonstration where they showed discontentment about the impeachment of Brazil’s president Dilma Roussef and the disgraceful political situation lived in the country.