Detailed key scene analysis for the film ‘City of God’ . Perfect for those studying the film as part of the Global Film section on the WJEC A Level Film Studies course. The key scene analysis is divided into separate micro elements ready to support your exam essay writing.
- Meirelles, 2002
themes: toxic masculinity -
normalisation of
-
myscene
crime violence.
notes
sound: onon-diegetic narration from Rocketis monotone and emotionless the is unbother
the apartment
ed, and is desensitised to violence -> impartial narration. * non-diegetic music plays
V throughoutt he sequence - upbeat
tone - highlights normalisation/glamourisation of violence.
mise-en-scene:
is
* apartment a microcosm the
of slum, loss of femininity,
cinematography:A -
static wide angle camera position: objective viewing, voyeuristic
* shadows used to show intensifying violence and crime. ideas, watching through the window & still camera paced handheld
contrasts fast camera
* golden sepia lighting fades to grey blue-becomes dull and void. we see in
that o fthe
the rest film-makes this more passive andemotionless.
* changing set -> erosion of feminine influence removal of soft
-
textures and floral patterns. -
begins
paint to peel.
editing: episodic flashback shows history t he
of apartment. A time lapse used to
* removal of furniture, no longer a home a door is lit to show track the decay-montage. * fades a fast
pace endless cycle quostly
=
sound:
Benny's death feel good nostalgic music-celebration. * Rocket's voice over seems hopeful t
music when Benny and Angelica wave to Rocket. A music quieter and distant
V
swells becomes
When we cut
to Blacky outside. Firony of Kuna fufighting -
play violence normalisation.
-
mise-en-scene:
* Warm lighting start,
at celebration, we associate these
linematography: a high angle overhead shots from Rocket's perspective observer
warm colours w/ Benny (bleachedhair and orangel handheld shots from within crowd-
nectic party atmosphere. I zoom in to Blacky leaning around
* flashing
Lil Ze in darker shadows 3 blue liant lights -
the corner - documentary style. * Benny in wide shots,ze isolated close-ups.
semmspositive but
b ecome disorientating and creates
a stop motion w hen Benny is
effect shot. A sepia - eret
-ng: * slow motion in flashback emphasises the youthful laughter. I long shots
shot flashback to young Benny and 22. Blacky in on 2e
under exposed lighting-foreboding.
sound: non-diegetic
ROCK-OUt-Ned
I happy, upbeat, music -
juxtaposes the violence and norma
lises aggression. * Smashing of glass sounds and loud shouting a aggressive t
V
-
destructive. * Rocket's casual narration again.
mise-en-scene:
* brightlightused throughout-not
dark and dingy,
linematography: -
* frantic, shaken, handheld camera chaotic +
documentary
portrays crime and violence in a righthearted way. style cinematographer. * fast whip pans, o f focus blurred
out memory whip pan
* no static imagery. Crime is presented as an doubletane when security gun is shot. I disorientating 360" spin shots. * low angle shots on
enjoyable sport. Ned - he has the power.
SOUNC:
ending scene camera shutter sound mirrors aunshots. A audible echoes in Otto's flashback
hazy memories ambient heightened pleonastically for tension
V
loss of loved ones. I normal s ound
- +
29) footsteps.
mise-en-scene:
* afternoon sun-blue tint calm before storm. *nich buildings suur
Cinematography:relevated -
establishing of
shot slum. A spiral shots around Rocket. A por
-
ound people, trapped in slums. * knives+ quns glinti n sun. *coolt camera shots -
relationship between RocketB documentarian is consumated + role of storyteller solidified
blue-blood appears almost black & blood stained steps -
permanence. * shot
of runts becomes static -
we know how their story ends
* Runts dressed in bright, childish colours.
performance. Romet's wide eyes, inward body language frightened yet seliting: pacedcuts in chicken chase
a slow motion in Otto's flashback. A fast
determined. 4 punts childish excited convo-lost
b oy imagery.Lowbous + Indians.
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