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city of god micro elements

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mise en scene: In city of god the Mise en scene is really good. The directors thought about the different time period of the film and altered the sets to match those in real life. for example: the drug house is very bare and has little decoration of warmth about it. However Bernice’s house is more homely and has utensils and decorations on the walls like pots and pans

sound: The use of needle drops build suspense as it gets the audience more engaged. In this case it is bunny’s death which turns out to be a massive turning point in the narrative of the film.

The use of Leit Motifs such as the ones use for Lil ze and goose; are used as it make the audience make the connection between the music and the character. The music also describes the character such as there intentions or personality like with lil ze. His leitmotif is more rash and rough music

cinematography

The use of 360 degree shots in this scene is very clever as it describes the entire narrative. On one side you have Lil ze and the gangs such as Carrots etc and on the other side you have the police who are trying to stop the conflict. In the middle is rocket who isnt one a certian side and is trying to document the whole thing.

editing

the use of the captions maker it clearer when a subplot has begun and helps give context behind certain characters

City Of God blog representation and aesthetics

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Part A: The important characters of City Of God are almost all male. Women in the film are presented as simply bodies for men to carry out acts of violence against them. An example of this is the Wife of Shorty who is murdered by Shorty after having sex with goose. In this regard, Gender in the film is not presented equally and is favoured towards men

Part B: How does director Del Toro use Aesthetics?

Tone: The overall Tone of the film is that of perilous violence. We see many different narratives of characters end with bloodshed. This happens to villainous characters such as Lil Ze, however it also effects good people like Goose and Benny. We see countless acts of violence throughout the film to men, women and children which showcases the poor situation the city is in.

Visual Style: The film begins with brighter colours within the slums. During darker moments in the film the visual style switches. The atmosphere created when Benney dies changes significantly from the colourful and joyful disco to the dark and gloomy streets.

Realism: The film is very realistic in its portrayal of the rough streets of Brazil. Since the film is based off of a true story, a lot of realism is involved as it enhances the viewing experience. An example of this is the any gun fight scene. The scene’s present gunfights as short and quick. This is different to other movies which follow more overdramatic gunfights.

City of God Micro-elements – George Blake

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Sound –

By having the main protagonist, Rocket, narrate the entire film this places us in his eyes and throughout the course of events within the film, As we are seeing these events and what led up to them from the films non-linear structure, we are able to see his narration as the narrative “truth”. Another example that can be heard is the soundtrack, which is all historically accurate to the timer periods in the film and is used in conjunction to scenes that have action, or are summarising events.

Mise en scene –

The mise en scene of Lil Dice converting into Lil Ze is done through a voodoo christening ceremony to evoke the dead and sanctifies his violent behaviour. the overall design of the setting including items such as the voodoo doll and candles as well as the aeshetic tone of being mysterious, this stuck out as it provides the further info about his character as to why he behaves the way he does as he believes he’s free from consequences.

Cinematography –

The use of handheld shots creates an immersive experience of the film where the audience are there with the characters experiencing what they are. with shots positioned at angles on surfaces this makes it feel as if we the viewers are watching it as a fly on the wall.

Editing –

Through fast cuts in a sort of rhythmic montage to the soundtrack of Brazilian samba music, a busy cook-out can be depicted through the use of these fast close-ups.

City of God Micro elements

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Sound

City of God utilises sound in this scene, as his prayers are used as narration as he joins the church and abandons his gang lifestyle. This contrast with his sinful lifestyle, and shows his sudden salvation to God and a lifestyle of faith grants him the luck of not being shot by the police, thus extenuating the tragic and dangerous reality of living a life crime.

Mise-en-Scene

Fernando Meirelles crafts this scene with the use of mise-en-scene, it aids the storytelling whilst communicating time passing. The different elements that make up the room tells the spectator a lot of information about the owner of the drug empire at that time, such as their success rate and cumulative decline in safety and credibility.

Cinematography

The use of cinematography, specifically lighting in this scene communicates an array of ideas to the spectator. The first being, a connection to a main motif present in the film; photography. The use of strobe lighting gives the sense of the whole scene being captured in snapshots of a camera, similar to the one Rocket is gifted, from Benny, and then stolen, from lil’ Ze. Not only does this further a significant motif of taking pictures, this also amplifies the suspense in this scene for the spectator, the lighting matches the tone of the scene, and builds tension when things go south.

Editing

The cyclical structure of City of God’s narrative is a clear example of where editing is used to create meaning in the film. The movie begins in what is called ‘en media-ris’, where the scene starts in the middle of a key event. The film then picks up this narrative strand in the falling action of the film, it provides context within the scene, and shows how this scene is in a way one of the most important; it is where the day the war between both business comes to a violent end. Rocket is significantly places between both sides; one being the lifestyle of a criminal and drug dealer, and the other the police, representing a life of morality and ethics, this could be argued to be the motive or ‘message’ of City of God; the culture of gangs and violence being something that is a last resort for poverty or even something that is brought on by the idea of ‘masculinity’ and proving yourself.

City Of God Micro-Elements

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Sound – City of God uses narration from Rocket so that the audience sees the events from his perspective and interpret them how he did, as well as simply using it to build an understanding of the city. This is impactful as spectators then wish to see Rocket’s character succeed more so than any other individual in the narrative, and grow familiar with the people around him.

Mise-En-Scene – The run-down appearance of things like houses and cars reinforces the idea that the City of God is not a nice area of Brazil to live in, and is where poorer people are based.

Cinematography – POV shots are used when Rocket watches the release and subsequent murder of Lil Ze. These place spectators in Rocket’s position, with them witnessing the events through what is intended to be the lens of his camera. The fact that these shots appear through his camera is reinforced by the fact that the same shots later appear in the diegetically, through the newspaper.

Editing – Rhythmic montage, one of the five soviet editing techniques, is used in the opening scene. There is a cut at every action that is done (instruments being played, vegetables being cut, chickens moving, etc). This creates a sense of rhythm and energy, immediately immersing spectators in what is being presented to them.

City Of God blog micro elements

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Sound- The film features many instances of Diegetic Sounds such as the sound of loud traffic and the sharpening of knives. This impacts the audience as it immerses them in the world more. For example, the audiences will feel threatened at the sound of the knifes.

Mise en scene- This is featured in many different ways to subtly explore ideas in the film. One example of this is the contrast between the gangsters and the runts. Lil Zee’s gang often wear bright coloured shirts and jewellery. This is contrast to the “runts” or kids who are living in poverty who wear ragged dirty clothes. This shows the audience the power gap between these two factions and their status as well as making the audience feel bad for them.

Cinematography- An example of the Cinematography is the usage of extreme close up shots. These are used to reinforce the deprivation of poverty within the film. This can be seen with the extreme close up shots of residents of the slums. Dutch angles are also used to disorientate the viewer in intense scenes.

Editing- The main style of editing within the film is cross cutting. This is used to present events occurring at the same time. This is often used to showcase the violent setting and how it effects many people through different narratives. An example of this is the cross cutting between Lil Ze and Carrot’s gang.

City of God microelements

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mise en scene: The mise en scene of the city of god consists of wide open spaces, drier locations and run down housing. This gives a barren and poor feeling to the slums which presents further of how harsh it can be to grow up in.

cinematography: Throughout the whole film hand held camera shots are used. This shaky effect gives off a sense of realism as the imperfect camera gives of the impression that the film is more of a documentary than fiction. It is also seen to build tension as seen when lil ze takes over carrots apartment. This techniques allows the audience to see the fear and unease the other characters feel.

sound: narration from Rocket is used throughout the film to give the audience important context that they might not have known beforehand allowing them to get more immersed within the plot. An example seen here when he is describing the tender trio who have a bigger role later on.

editing: a form of metric montage is used to portray lil ze as an extremely violent character. With different clips of him shooting a gun as he progressively gets older showing how he is an inherently bad person with no signs of redemption.

NEA Shot List

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SHOT LIST  
               
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
1  A   CU Tracking   Camera Bus stop   EXT  YES  Matt steps onto pavement Matt        
1  B  LS  Stationary  Camera, Tripod Bus stop EXT  YES  Bus drives away, Matt stands at bus stop and reaches in his pocket  Matt        
1 C Low MCU Stationary  Camera Bus stop EXT YES Matt takes his phone out of his pocket Matt        
  CU Stationary  Camera Bus stop EXT YES Matt phones his brother Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   MS  Stationary   Camera Bus Stop  EXT  YES  Jamie (voice): Hello?  Matt: I’m here, but I can’t see you?   Jamie (voice): Good…     Matt, Jamie (voice)       
2   MLS Tracking  Camera House EXT   YES Jamie is approaching a house in an entirely different location and stops outside of it  Jamie: … I’ll be there soon.     Jamie       
  BCU Stationary  Camera House EXT YES Jamie sighs deeply  Jamie        
  MS Stationary Camera House  EXT YES Jamie walks up and knocks on the house door Jamie       
SHOT LIST  
               
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   MLS Stationary  Camera   House INT  YES   Seb opens the door  Seb, Jamie        
   MLS  Stationary  Camera House EXT YES   Seb: Matthew! Now this is a pleasant surprise. Come in, come in! Seb, Jamie        
  MLS  Stationary Camera House INT YES Jamie follows seb inside Seb, Jamie        
3  CU Stationary Camera Bus Stop  EXT YES Matt checks the time on his phone. Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   High MCU Stationary  Camera Bus Stop   EXT YES  Matt: It’s been 5 minutes; he only lives down the road!    Matt       
    CU  Stationary Camera Bus Stop EXT YES Matt texts Jamie – Everything ok?  Matt        
4  MCU Stationary Camera House INT YES Jamie receives the text and messages back – all good, won’t be long. Jamie       
  MS Stationary Camera House INT YES Jamie looks down until Seb offers him tea. Then he looks up and says he’s fine. Jamie, Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   Over the shoulder shot Stationary Camera House INT YES Seb sits down opposite Jamie   Jamie, Seb       
     MS Pan right Camera House  INT YES  Seb: So, I’m assuming you’ve come to settle your debts?  Jamie: I suppose so.     Jamie, Seb       
  MCU Stationary Camera House  INT YES Jamie begins typing a message to Matt.  Jamie, Seb       
5  MLS Stationary Camera Bus Stop EXT YES Matt walks back and forth, before hearing a notification and opening his phone Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
   High CU Stationary Camera Bus Stop EXT YES I can’t see you tonight. I have to make things right before Seb tears this family apart.   (Message on Phone) Matt       
   Canted MLS Stationary Camera Bus Stop EXT YES Matt reads the message, mortified.  Matt       
  Over the shoulder shot Stationary  Camera Bus Stop EXT YES Matt: What’s he thinking! He’s gonna get himself killed!    Matt       
  LS Zoom Camera Bus Stop EXT YES Matt begins running from the bus stop as the camera zooms into his eyes.  Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
6  MS Stationary Camera House INT YES Jamie sits anxiously  Jamie, Seb       
   MCU Stationary Camera House INT YES Jamie’s foot continuously tapping on the ground   Jamie, Seb       
  Over the shoulder shot Stationary Camera House INT YES Seb: Come on then? Jamie looks at him confused.  Jamie, Seb       
  BCU Stationary Camera House INT YES Seb: The money. Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  Over the shoulder shot Stationary Camera House INT YES Seb (over Jamie’s shoulder): Don’t play stupid with me, you know what happened to the last fella  Jamie, Seb       
  MCU Stationary Camera House INT YES Jamie, pulling out an envelope: Oh, right.  Jamie       
  CU Tracking Camera House INT YES The envelope slides across the table.  Jamie, Seb       
  MS Stationary Camera House INT YES Seb picks up the envelope and opens it Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  Worm’s eye view POV Shot Tracking Camera House INT YES Seb looks inside the envelope.  Seb: Oooh. Sorry mate, you’ve only given me 12 grand. Seb       
  High CU Stationary Camera House INT YES Jamie: … yeah? That’s how much I borrowed from you.    Jamie       
  XCU Stationary Camera House INT YES Seb: You’re forgetting about the interest.  Seb       
  BCU TO MCU Zoom out Camera House INT YES Jamie pauses.  Jamie: But that wasn’t th-    Jamie       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  MLS PED UP Camera House INT YES Seb, standing up and getting aggressive: Quite frankly, I don’t give a shit about what the deal is! Are you gonna pay me what I want or do we have to do this another way.    Jamie, Seb       
  MCU Stationary Camera House INT YES Jamie anxiously faces the ground. “How much more do I need?” Jamie       
  CU Stationary Camera House INT YES Seb: I want double.  Seb       
7  Several Stationary + tracking Camera Pavement, cycle track, grosnez.  EXT YES Montage of Matt running Matt       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  XLS Stationary Camera Grosnez  EXT YES Matt stops running.   Matt       
  Low MS Stationary Camera Grosnez EXT YES  Matt takes his phone out and calls Jamie. Matt: Come on, come on… answer the phone. Matt       
8  CU Stationary Camera House INT YES Jamies phone begins ringing in his pocket.  Jamie       
  MLS Stationary Camera House  INT YES Jamie looks down to his pocket, then to Seb. Jamie, Seb        
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  BCU Stationary Camera House INT YES Seb stares directly at him, growing more agitated. Seb       
  Side facing MCU Stationary Camera House INT YES Seb: Put the phone on the table Matthew. Seb       
  MLS Stationary  Camera House INT YES Jamie takes the phone out of his pocket and places it in front of him.  Jamie, Seb       
  Over the shoulder shot Stationary Camera House INT  YES  Seb: Now. Am I going to get the rest of my money or do we have to put an end to this another way? Jamie, Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  Over the shoulder shot  Stationary  Camera House INT YES Jamie: Look Seb, I don’t have another 12 thousand to give you. Jamie, Seb       
  CU Stationary Camera House INT YES Seb: Very well then. Seb       
  Low MS Stationary  Camera House INT YES Seb reaches inside his jacket and pulls out a gun.  Seb       
  Over the shoulder shot  Zoom in Camera House INT YES Seb: I tried to warn you Matthew. But I should’ve known you wouldn’t listen to me.   (Zoom into Jamies face) Jamie, Seb       
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  MCU Stationary Camera House INT YES Seb lifts the gun, pointing it directly at the camera  Seb     
9  Track out LS Tracking Camera Road EXT YES Matt, running: Almost there. He freezes as he hears a gunshot from nearby. Matt     
  Canted MS Stationary Camera Road EXT YES Matt places his hands on his head – “No…” Matt     
  XLS Stationary Camera Road EXT YES Matt runs out of frame Matt     
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
10  Several Stationary + Tracking Camera Road, House EXT, INT YES CROSS CUTTING BETWEEN SEB WASHING HIS HANDS AND MATT RUNNING TOWARDS THE HOUSE Seb, Matt     
  LS Whip Pan Camera House INT YES Seb turns around to see Matt enter the house. Seb, Matt     
  Worms Eye MS Stationary Camera House  INT YES Seb rubs his eyes and looks again. Seb: I must be seeing things! You’re… you’re…  Seb, Matt     
  CU Stationary Camera House INT YES Matt: I’m what Seb?   Matt     
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  XCU Stationary Camera  House INT YES Seb: Dead. Seb     
  XCU Stationary  Camera  House INT YES Matt’s eyes widen Matt     
  MLS Stationary Camera House INT YES Matt: No! You’re a liar! He’s not… he can’t be! Matt     
  MCU Stationary Camera House INT YES Seb: He? Who’s ‘he’??? Matt     
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  High MS Stationary  Camera House INT YES Matt: my brother. I should never have told him about you! If he didn’t know he’d still be here! Matt     
  BCU Stationary Camera House INT YES  Seb’s eyes move away from Matt. Seb     
  CU Stationary Camera House INT YES The gun sits on the table  None     
  MCU Stationary Camera House INT YES Matt realizes where he’s looking. Matt: Don’t even think about it.  Matt    
  SCENE #    SHOT    SHOT TYPE    MOVEMENT    GEAR    LOCATION    EXT / INT    SOUND    SHOT DESCRIPTION    CAST  SETUP TIME  SHOOT TIME  TOTAL TIME  
  MS Stationary Camera House INT YES Seb rushes for the gun Seb     
  MS Stationary Camera House INT  YES Matt rushes for the gun Matt     
  CU Stationary Camera House INT YES Both hands touch the gun Seb,Matt     
  Low angle Stationary Camera House EXT YES Gunshot prompts title card None