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World Cinema (Elite Squad (2007) Jose Padilha (Opening (Opens 'in…
World Cinema
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Tsotsi (2005) Gavin Hood
Opening:
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Tsotsi wearing a red tshirt and black leather jacket connoting wealth and status in the slum for the leather but seen as the 'little gangster'
Wearing white in the ending as he returns the baby suggesting his character development as he gains new conscience
Camera pulls out to an arial shot showing the vast amount of houses in the slums and how much poverty there is
electricity masts also travel past the slums but not give them electricity suggesting they're ignored but also shows how dangerous and poor the area is having to live next to a phone line
The overhead establishing shot is continued tracking an oncoming train with the skyline of South Africa; comparison to the skyline of the slums to the wealthy skyscrapers of the city. the shot sets the exposition for the trains station which is a centre to all wealths and races of the film merging together
Sky is a dull, dirty orange colour
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Tsotsi is positioned screen right looking out the window showing his separation to his group mirroring how he has been neglected throughout his life by his family
First mugging
Large HIV billboard in train station, and also when leaving the station #
Shebeen
Boston brings up the m/v of decency, asking tsotsi if he has any
Morris (wheelchair)
Tsotsi is convinced Morris is faking his condition, as for years he has presumed that his fate is the worst of the worst
Morris explains how he lost his ability to walk while working in coal mines, links to life being a game of chance #
This is the turning point for Tsotsi (David), where he realises he needs to become more resposible and decent person
Sepia tones give a nostalgic and almost romanticized view of the crime lifestyle giving a subjective view mirroring the unreliability of Rocket's perceptions and views as a homodigetic narrator
Rockets views as a child in the 60s are subjective through his lack of experiences and morals as a naive child so a warm colour pallet shows the life of crime he must grow up in as something that's not as shocking because he has grown up with it and it's all he knows
As Rocket gets older and get's a better understanding of the violence in his life, lowkey blue and colder tones are used to portray this melancholy progression
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CONTEXT (SOUTH AFRICA)
Remains of the 1948 apartheid where the separate developments of different racial and wealth groups arose
In South Africa, HIV has claimed many people's lives, and a rather large percentage of the population live with it
The estimated overall HIV prevalence rate is approximately 12,6% among the South African population. The total number of people living with HIV is estimated at approximately 7,06 million in 2017. For adults aged 15–49 years, an estimated 18,0% of the population is HIV positive.
tsosti naming the child david (giving him his name) suggests tsotsi wanting a new life, as baby = new life
flashbacks give insight into his childhood which could explain how his upbringing affects his behaviour
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The story of lil ze
Montage of low angle shots following from lil ze shooting goose, low angle shots give lil ze power and show the amount of people he's killed with the montage
after lil dice becomes lil ze another montage follows on from a birdseye view showing the mount and escelation of his kills, sped up to show intensity
lil ze's birthday: tilted camera angle to show his tilted morals along with saturated green lighting portraying his envy of the 'fat cats'
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City of God was filmed on 16mm film rather than more popular Hollywood choice of 35mm film. A more narrow frame is created giving a gritter old -fashioned documentary style look to the film immersing the audience as it it's framed in a 'real' 'less polished' way compared to Hollywood cinema films
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