I have chosen Fritz Lang’s classic 1931 noir thriller, M – Eine Stadt sucht einen Mörder for my textual analysis. The film is set in Germany, and features Hans Beckert, a child murder, who is being hunted by the police and a group of criminals. I have chosen the section of the film between 00:05:34 – 00:08:06 which is during the opening section of the film. In this scene Hans Beckert, M, lures Elsie Beckmann, a young girl, to a balloon salesman’s stand, later in the scene the use of cinematography, in particular the silent montage sequence, alludes to him murdering Elsie. To analyse this section, I am focusing on cinematography, sound and filmmaker’s influences and intentions. The context examined focusses on social and political factors connected to the film around the time of its production.  

In the 2002 film, bildungsroman based crime drama, City of God, Fernando Meirelles (cinematographer: Cesar Charlone, editor: Daniel Rezende) depicts the hardships of life for young people living in the favelas of Rio de Janeiro. Based on a true story, the film revolves around two boys who go on to follow different paths in life, one becoming an infamous drug dealer and the other a photographer for a local newspaper. A key scene within the plot is “the story of Lil Ze” (during 00.38.53.01 – 00.43.53.01) which develops the character of Lil Ze while also portraying his deep inner thoughts and feelings about the way he sees the world around him such that he is attempting to become the most renowned drug dealer in the “city of God”. This text will focus on cinematography, editing as well as sound and how they manage to portray Lil Ze’s own personal sense of ideology, while also touching on the potential impact of the social and economic context. 

I have chosen Alfonso Cuarón’s 2006 dystopian science fiction film, Children of Men for my textual analysis. The film is set in 2027 in a world where women are infertile, and features the story of a former activist named Theo who agrees to help transport a pregnant woman to a sanctuary. I have chosen the section of the film between 00.16.43. – 00.21.02. which is before the climax of the film. In this scene, Theo travels through the dystopian Britain to visit his rich cousin to gain travel papers. To analyse this section, I am focusing on sound, mise en scene, and genre. The context examined focusses on social and economic factors connected to the film around the time of its production. 

Stam, R., & Johnson, R. (1979). Beyond Cinema Novo. Jump Cut, 21, 13-19.

https://www.ejumpcut.org/archive/onlinessays/JC21folder/BrazilStamJohnson.html

McClennen, S. A. (2011). From the aesthetics of hunger to the cosmetics of hunger in Brazilian cinema: Meirelles’ City of God. symploke, 19(1), 95-106.

https://muse.jhu.edu/article/463487

Arias, E. D., & Rodrigues, C. D. (2006). The myth of personal security: Criminal gangs, dispute resolution, and identity in Rio de Janeiro’s favelas. Latin American politics and society, 48(4), 53-81.

https://en.wikipedia.org/wiki/Timeline_of_Brazilian_history

Lund, K., & Meirelles, F. (2002). City of God. Miramax.

Movie – City of God

Scene – The intro, which is the final scene of the film

(0:51-4:20)

Micro – Cinematography, Editing

Macro – Representation & Ideology

Context – Social

Film – City of God (2002)

Scene – Steak & Fries’ indoctrination to the gang (00:55:15 – 01:00:15) in 4/4

Micro 1 – Editing

Micro 2 – Direction

Macro – Critical Response

Context – Socio-Economic/Political/Historical

movie – city of god

scene – lil ze finds the runts 00:55:50 – 1:00:10

context – social

micro elements – mise-en-scene & editing

macro elements – representation & ideology

Film: M

Time: 00:49:57-00:54:50

Scene: Shop window

Micro Elements: Cinematography, Mise-en-scene

Macro Elements: Representations and Ideologies

Context: Social, Political, Historical Contexts

Movie – City of God city (2002)

Time Stamp – 36:05-41:05

Micro Elements – Mise En Scene, Editing

Macro Element – Representation and Ideology

Context – Social, Political, Historical and Economic Context