This essay will focus on the notion that the first focuses on the violence, aggressiveness and underdevelopment of a Brazilian favela through a limited, privileged perspective and the latter emphasises the diversity of indigenous Latin Americans, avoiding limiting South America, ‘non-European’ and aiming to give indigenous people some form of voice.
'Cidade de Deus ' (Meirelles and Lund, 2002) is constructed in a similar way to a Hollywood 'Gangster Film ', using many of the genre 's tropes to demonise the society it depicts. It is Eurocentric to consider societies outside of Europe as being ones which lack concern for the value of human life (Eurocentrism, 1). The 'Gangster Film ' genre revolves around the sinister actions of violent members …show more content…
Buscapé is a kind of ‘rags to riches character’, who escapes from the City into a safer, industrialised, Eurocentric world. Part of the Eurocentric mentality is to assume that non-European societies are poor, underdeveloped and dangerous as opposed to industrialised, progressive and rich (Eurocentrism, 1). The opening scene of the film reflects this; the audience witnesses a chicken’s escape from imminent death and an environment where animals are being murdered.The chicken is a metaphor for Buscapé, both are viewed as creatures who ought to escape their home; if not they must kill or be …show more content…
Music throughout the film is used to symbolise the ‘multiplicity and fluidity of South American Identity’ (Pinazza, 181). Earlier in the film the piece ‘Al otro del rio’ (The other side of the river) is used to emphasise Guevara’s disregard for Eurocentric national and political borders (Pinazza, 181). Music is used to position the spectator, and can be crucial to regulating sympathies and creating an emotional dimension in film.(Spence and Stam, 247). The piece played in the final scene is entitled ‘Piece de Ushuaia a la Quiaca’ which translates to 'From the Southernmost Point of Argentina to the Northernmost Point’ a phrase which could refer to a sense of nationwide understanding and expanding horizons, which in the film applies to South America as a whole. The film ends with a shot of the real Alberto Granado, Guevara 's travelling companion emphasising the historical importance of the issues presented in the film and their relevance even
'Cidade de Deus ' (Meirelles and Lund, 2002) is constructed in a similar way to a Hollywood 'Gangster Film ', using many of the genre 's tropes to demonise the society it depicts. It is Eurocentric to consider societies outside of Europe as being ones which lack concern for the value of human life (Eurocentrism, 1). The 'Gangster Film ' genre revolves around the sinister actions of violent members …show more content…
Buscapé is a kind of ‘rags to riches character’, who escapes from the City into a safer, industrialised, Eurocentric world. Part of the Eurocentric mentality is to assume that non-European societies are poor, underdeveloped and dangerous as opposed to industrialised, progressive and rich (Eurocentrism, 1). The opening scene of the film reflects this; the audience witnesses a chicken’s escape from imminent death and an environment where animals are being murdered.The chicken is a metaphor for Buscapé, both are viewed as creatures who ought to escape their home; if not they must kill or be …show more content…
Music throughout the film is used to symbolise the ‘multiplicity and fluidity of South American Identity’ (Pinazza, 181). Earlier in the film the piece ‘Al otro del rio’ (The other side of the river) is used to emphasise Guevara’s disregard for Eurocentric national and political borders (Pinazza, 181). Music is used to position the spectator, and can be crucial to regulating sympathies and creating an emotional dimension in film.(Spence and Stam, 247). The piece played in the final scene is entitled ‘Piece de Ushuaia a la Quiaca’ which translates to 'From the Southernmost Point of Argentina to the Northernmost Point’ a phrase which could refer to a sense of nationwide understanding and expanding horizons, which in the film applies to South America as a whole. The film ends with a shot of the real Alberto Granado, Guevara 's travelling companion emphasising the historical importance of the issues presented in the film and their relevance even