City of God Analysis The audience is introduced to the favelas of Rio de Janeiro through the eyes of a panicked chicken escaping his own death. Right away, the cinematography and editing of the film is notable. Cidade de Deus (City of God) (Fernando Meirelles, Brazil, 2002) portrays the effects of organized crime in slums of Brazil supported by poverty, crime and drugs. It focuses on how these hardships influence the paths of two young boys. Li’l Dice (Douglas Silva)—later takes on the persona of Li’l Zé (Leandro Firmino)—utilizes the system to become a powerful, money-hungry leader, while Rocket (Alendre Rodriques) uses the violence as motivation to get out of the slums and become a professional photographer. To effectively execute this plot, the film uses a mixture of rather creative cinematography and editing, which in return produces meaningful mise-en scene throughout the film.
It can be duly noted that City of God was for four Academy Awards in 2004, one of which was for best cinematography. The cinematographer, Cesar Charlone, uses several techniques to make give the viewer a …show more content…
There is the scene towards the end of the where Li’l Zé and Carrot (Matheus Nachtergaele) are caught by the police and Rocket is sneaking around the cement walls trying to take a picture of the corrupt policemen taking all of Li’l Zé’s money. It looks like we are watching everything go down from Rocket’s eyes, but then it shows us where Rocket is hiding so it gives you spatial awareness. Another way that the cinematographer allows the audience to see action through Rocket’s point of view, is showing scenes through Rocket’s camera lens as he takes focuses and take photos. This happens again after the little hoodlums kill Li’l Zé and Rocket walks over to take a picture of his dead body to sell to the newspaper. This gruesome shot adds a dramatic effect and makes the audience squirm in their
It can be duly noted that City of God was for four Academy Awards in 2004, one of which was for best cinematography. The cinematographer, Cesar Charlone, uses several techniques to make give the viewer a …show more content…
There is the scene towards the end of the where Li’l Zé and Carrot (Matheus Nachtergaele) are caught by the police and Rocket is sneaking around the cement walls trying to take a picture of the corrupt policemen taking all of Li’l Zé’s money. It looks like we are watching everything go down from Rocket’s eyes, but then it shows us where Rocket is hiding so it gives you spatial awareness. Another way that the cinematographer allows the audience to see action through Rocket’s point of view, is showing scenes through Rocket’s camera lens as he takes focuses and take photos. This happens again after the little hoodlums kill Li’l Zé and Rocket walks over to take a picture of his dead body to sell to the newspaper. This gruesome shot adds a dramatic effect and makes the audience squirm in their