This poetic exhibition of violence is interrogated by Brazilian critic Ivana Bentes. According to Bentes (cited in Vieira, 2005), this poetic exhibition should have remained closer to the aesthetics advanced by the exponent of the 1960s Cinema Novo. Hence, I agree with Bentes based on the fact that socio-political factors of Brazil of the 1960s are similar to the ones in which the film is based. In Four Corners I argue that the film builds on the gangsterism that was bred in the 1950s Sophiatown, but not entirely because Four Corners and Sophiatown of the 1950s operate at different spatial and temporal settings. Miramax (2003:1) website states this about City of
This poetic exhibition of violence is interrogated by Brazilian critic Ivana Bentes. According to Bentes (cited in Vieira, 2005), this poetic exhibition should have remained closer to the aesthetics advanced by the exponent of the 1960s Cinema Novo. Hence, I agree with Bentes based on the fact that socio-political factors of Brazil of the 1960s are similar to the ones in which the film is based. In Four Corners I argue that the film builds on the gangsterism that was bred in the 1950s Sophiatown, but not entirely because Four Corners and Sophiatown of the 1950s operate at different spatial and temporal settings. Miramax (2003:1) website states this about City of