TA work Flow

PHASEACTIONDEADLINE (by 4 pm on…)COMPLETE ?
PHASE 1 ​WATCH 3 FILMS​Wednesday 21st September​​Done
PHASE 1 ​POST FIRST RESPONSE ON BLOG​Thursday 22nd September​​Done
PHASE 1 ​CHOOSE FILM, TIME SIGNATURE AND FILM ELEMENTS ON BLOG ​ Tuesday 27th September​​Done
PHASE 2​FIND 10 SOURCES (ON BLOG)​Wednesday 28th September​​Done
PHASE 2 ​FCAF​Thursday 29th September ​
PHASE 2 ​FIND IMAGES TO ILLUSTRATE POINTS​Friday 30th September​
PHASE 2 ​WRITE INTRO ​Friday 30th September​​Done
PHASE 3 ​375 PEEL ELEMENT 1 ​Monday 3th October​​Done
PHASE 3 ​375 PEEL ELEMENT 2 ​Tuesday 4th October​​Done
PHASE 3 ​375 PEEL ELEMENT 3​Wednesday 5th October​
PHASE 3 ​375 PEEL ELEMENT 4​Thursday 6th October​Done​
PHASE 3 ​WRITE OUTRO ​Thursday 6th October​​Done
PHASE 4 ​SUBMIT DRAFT TO TEACHER​Friday 7th October​​Done
PHASE 4 ​FCAF​​Monday 10th October​
PHASE 4 ​USE FEEDBACK TO MAKE CORRECTIONS​Thursday 13th October​
PHASE 4 ​COMPILE SOURCE LIST AND CHECK FOOTNOTES​Thursday  13th October​
PHASE 4 ​FCAF ​Friday 14th October​
PHASE 5 ​SPELL CHECK/ WORD COUNT/ DOUBLE LINE SPACE AND UP LOAD TO M DRIVE FOLDER​Monday 17th October

T/A Intro

I have chosen Káita Lund and Fernando Meirelles’ 2002 crime film City of God for my textual analysis. The film is set during the 60’s-70’s in the slums of Rio de Janeiro which follows two boys named Rocket and Lil’ Dice, later Lil’ Zhe, growing up surrounded by gangs and drugs with one keeping to the legal side and the other becoming the biggest kingpin around. I have chosen the section of the film between 00:55:15 – 01:00:15 which is around halfway through the film. In this segment, Lil’ Zhe confronts Carrot, his biggest rival, for allowing a group of children, named the Runts, to perform hold-ups on his territory. Carrot tells him to do one and leaves. Lil’ Zhe then manipulates a young delivery boy in his gang, nicknamed Steak’n’Fries, into shooting one of the Runts. To analyse this section, I am focusing on the editing and the direction. The context examined focuses on socio-economic, political & historical factors surrounding the film and its production

Textual analysis intro

I have chosen Kátia Lund and Fernando Meirelles’ 2002 coming of age film City of God for my textual analysis. The film is set from the end of the 1960s to the early 1980s; and features the story of two boys, one an aspiring photographer and one a gang leader, each navigating their way through adolescence in the slums of Rio. I have chosen the section of the film between 01:53:12 – 01:57:05, which is during the climax of the film. In this scene, gang leader ‘Li’l Zé’ is released from arrest by corrupt policemen and then killed by a vengeful gang of children known as ‘The Runts’, while photographer ‘Rocket’ observes. To analyse this section, I am focusing on cinematography and editing, as well as representation and ideology. The context examined focuses on social and political factors related to the film’s reception, alongside the time of its production.

TExtual Analysis

Textual Analysis Film: City of God 

Director(s) Meirelles & Lund 

Sequence Running Time: 1:47:06 – 1:52:06 

Wordcount: 580

This essay analyses a sequence from the 2002 coming of age film ‘City of God’ (Meirelles & Lund). City Of God is a Brazilian Drama/Crime film mainly set in the seventies but introduces rudimentary characters such as Rocket, Shaggy and Lil Dice (Lil ‘Ze) in the beginning of the film, which is set in the sixties, during these decades the City of God which is west of Rio De Janeiro was teeming with ‘hoodlums’ and gangsters. I chose to analyse a sequence nearing the end of the film 1:47:06 – 1:52:06 which is titled ‘the beginning of the end’ this is because the gang rivalry is about to hit a climax, after Lil ’Ze gave the runts guns Knockout Neds gang ambushed Lil ’Ze’s which resulted in Ze getting caught. This section of the film can be seen to reflect the social and economic contexts of Brazil at the time, this essay explores how these contexts were depicted within the film by analysing the cinematography, editing and narrative techniques which were used.

Figure 1

Figure 2

Figure 3

Meirelles and Lund worked with cinematographer Cesar Charlone to capture the social and economic state of the City of God. The films use of high and low angles are seen to emphasise power, at the beginning of the sequence the viewer can see the runts making their way up the stairs(figure 1) to meet Lil ‘Ze, Charlone then decides to use an eye level shot and pan(figure 3) once they have made it up the stairs, during the conversation with Lil ‘Ze a low angle shot is maintained(figure 2) when Lil ‘Ze is the subject of the shot. Charlone did this to convey to the viewer that the runts are using Lil ‘Ze to move to power, as before Lil ‘Ze gave them the guns Charlone used a high angle shot to depict the runts but after the exchange he decided to move to an eye level shot this is because the runts are moving to power, at this point in the sequence the runts still respect Lil ‘Ze which is the reason why he is depicted with a low angle shot in this part of the sequence, not only does he have the power over them but he also has the respect. The City of God is a prime example of Brazil’s governmental neglect, there were many places in Rio De Janeiro which had been neglected these were called favelas. An Increase of Favelas was seen after the proclamation of the republic, where Brazil went from an Empire to a Republic. In these favelas power became especially important socially as rules and laws weren’t applicable since favelas suffered neglect from the government many public services weren’t available. Lil ‘Ze and Knockout Ned had all the power in the City of God at the time, it becomes understandable that the runts also strive for this same power and respect. There comes this sense of dramatic Irony from this part of the sequence as the viewers can clearly assume that the runts should not be trusted, and the viewers assumptions become correct later in the film where they kill Lil ‘Ze with the same guns he gave them, essentially killing himself. The viewer can then take away that the rivalry and social tension which overrun the streets became too much for Lil ‘Ze to maintain clarity which resulted in his downfall. 

text analysis intro

I have chosen Kátia Lund’s and Fernando Meirelles’ 2002 coming of age film, City of God for my textual analysis. The film is set in the 70’s in the slums of Rio where two kids’ paths diverge, as one struggles to become a photographer and the other is a gang kingpin. I have chosen the section of the film between 00:00:51 – 00:04:20 which is during the films introductory sequence. In this scene the film introduces Rocket and Li’l Ze (Li’l Dice) who are the main two characters of the film, in a standoff with the police, Rocket placed in the middle. To analyse this section, I will focus on cinematography and editing and its representations and ideologies. I will also focus on how the film links to social and historical context.

Wordcount: 129

introduction

I have chosen Kátia Lund and Fernando Meirelles 2002 coming of age drama, City of God for my textual analysis. The film is set in the favelas in Rio De Janeiro and focuses on two boys who take two routes in life. Firstly, Rocket grows up to become a photographer whereas Li’l Dice turns into a dangerous gangster. The movie depicts life in the slums and highlights gang culture and poverty. I have chosen the section of the film between 36:05-41:05 which is at the beginning. It is a flashback to everyone who has previously owned ‘the apartment.’ Rocket narrates the story of the apartment and how it started with a Donna Zelia who sold drugs to ‘raise her daughters’1 then shows how over the years it was stolen by multiple drug lords who became more violent. Rocket then narrates the story of Li’l Dice and shows his gang leader qualities. To analyse this section, I am focusing on the editing, mise-en-scene, the representation of male youths. The context examined focusses on the social, historical, political, and economic factors of the time the movie was produced.  

TA: Introduction

I have decided to analyse an extract of the classic film-noir, German thriller M [Lang, 1931] in my textual analysis, a film set in the 1920’s about the police in a German city being unable to catch a child-murderer causing other criminals join in the manhunt1. My chosen extract is 00:49:57:00-00:54:50:00 at the start of th esecond act where the scene cuts back and forth between the murderer, Hans Beckert, prying upon a potential victim through a shop mirror and a detective discreetly searching through Beckert’s home for evidence. In order to analyse this section, I will evaluate the use of mise-en-scene and cinematography and its representations and ideologies, specifically how it links to the social and historical context of the production process. 

TA Intro-

I have chosen Alfonso Cuarón’s 2006 dystopian science-fiction thriller, Children of Men, for my textual analysis. The film is set in 2027, in a world where women have become infertile, filling the world with panic and suffering. It is set in England, and follows Theo, a former activist, who is trying to take a miraculously pregnant immigrant to a sanctuary, while attempting to escape the British government and other antagonistic forces. I have chosen a section of the film between 01:08:30-01:12:25, where Theo and Kee attempt to travel to an overnight shelter in a migrant camp, alongside a midwife called Miriam. To analyse this section, I will be focusing on mise-en-scene and cinematography, in reference to the dystopian genre, as well as looking at the historical and social context connected to the film. 

introduction to Textual analysis

I have chosen Alfonso Cauron’s 2006 dystopian science fiction thriller, Children of Men for my textual analysis. The film is set in the near future in which the world is suffering a global infertility crisis, The film centres around the miracle pregnancy of a women and her transport to safety. I have chosen the section of the film between 1:19:52 – 1:24:52 which is during the climax of the film. In this scene, The protagonist Theo, young mother Kee and her baby attempt to navigate their way through the uprising refugee camp. To analyse this section, I am focusing on mise-en-scene (including the use of set design and costume ) ,cinematography, and representation (specifically on immigration).The context examined focusses on the social and political factors connected to the film around the time of its production.

TEXTUAL ANALYSIS – Essay

For my textual analysis, I have chosen Alfonso Cuarón’s Children of Men (2006), a dystopian science-fiction thriller layered with religious, cultural, and political subtext. The film, a loose adaptation of P. D. James’ 1992 novel, is set in a future world consumed by an epidemic of female infertility, and follows our main protagonist Theo Faron (Clive Owen), a former activist turned jaded bureaucrat, who must help transport a pregnant woman to a sanctuary at sea. I have chosen the section of the film between 00:00:32:21 – 00:04:45:03, which takes place during the opening of the film. In this scene, the audience are introduced to Theo and the chaotic world full of terrorist attacks, refugee crises, and economic depression. To analyse this section, I am focusing on Cuarón’s stylistic use of cinematography, mise-en-scène, sound, and genre. The context examined focuses on social and political factors connected to the film around the time of its production.

The scene begins with a black screen accompanied by a J-cut of a television broadcast. The audience hears the intra-diegetic sound from the news report being televised into the café before they receive any visual information, and learn about the political unrest around the world, with news of “the siege of Seattle,” “the Army’s occupation of mosques,” and “the deportation of illegal immigrants.” By being deprived of any optical supplement, this causes the viewer to focus on the announcements being made and imagine the world these news anchors are describing.

FIGURE 1

The first shot of the film is a high angle shot of a group of civilians in a coffee shop watching the breaking news of Diego Ricardo’s death. Their distraught faces suggest their hopelessness and sense of mortality as the death of ‘Baby’ Diego is a reminder of the vulnerability of humanity due to their inability to produce children. However, when Theo enters, he seems unaffected and almost disinterested by the news, more focused on ordering his coffee. It then cuts to a low angle shot of the television airing a montage of the famous child’s life to show the perspective of the onlookers to imply how much they rely on the hegemonic power of the media to shape dominant ideologies within society.

The diegetic melody called ‘Fragments of a Prayer’ accompanies the images being televised. This piece has a slow tempo and utilises a string orchestra, Tibetan temple bowls and the voice of Sarah Connolly, an English mezzo-soprano. Cuarón used this composition from John Tavener throughout the film in short segments as a leitmotif to help explain the emotional state of the characters.

FIGURE 2

The camera ventures out of the café with a tracking shot that follows Theo to the exit before panning to the right, revealing the busy city of London. The choice to have the camera move similarly to a conscious being that has its own motivations and instincts, creates a sense of reality, and produces a visual aesthetic akin to a documentary. This intentional decision from Cuarón and Lubezki was to make the film look “more naturalistic” rather than “conventionally beautiful.”

Children of Men, whilst being set 20 years into the future, is largely recognisable in terms of its landscape. There are no robots or spaceships, and the few futuristic additions included, such as the video billboards, are already familiar to today’s reality. Cuarón explained that they “didn’t want to do Blade Runner” and instead wanted “references to real life” by shying away from the sleek technological advancements of classic sci-fi films and remaining cluttered and pragmatic.

FIGURE 3

The dull lighting depends on colour washing to suggest a smoggy, polluted version of London, echoing some of the brutal imagery featured in Dickensian novels. This establishes the atmosphere of the film and compliments Cuarón and Lubezki’s goal to make the audience feel “as though the action is happening for real.” Lubezki explained that another motivation for the naturalism within the film, was to properly convey the violence because he didn’t want to “beautify or glorify it.”

An explosion suddenly occurs, overpowering all the other diegetic sounds and creating an atmosphere of danger and vulnerability. The high-pitch ringing sound that ensues from the bomb coerces the audience to relate to Theo as we can hear the tinnitus he is currently experiencing, creating the feeling of tension and suspense which continues into the title screen ‘CHILDREN OF MEN’ through the use of an L-cut. 

FIGURE 4

Cuarón’s Children of Men was a relatively critically successful film, being nominated for three Academy Awards including: Best Adapted Screenplay, Best Cinematography, and Best Editing. Unfortunately, however, it was considered a commercial failure, grossing less than $70 million at the box office, which was a huge loss in comparison to the $76 million the film cost to make. This was largely due to the film’s studio, Universal, not knowing how to market the film and, instead, focusing its resources on other films. Now, after almost two decades since its initial release, Children of Men has had a momentous resurgence because of its uncanny resemblance to the modern day. Even before making the film, Cuarón understood that the environment it portrayed was a reflection of the “state of things today” and already a fully-fledged reality for millions of people around the world, specifically those who lived outside of the wealthy western democracies.