FLM 110: Scene Analysis — City of God
Temporal Editing. Jump cutting. Spacial editing. Rhythmic editing. Cross cutting. Zooms. Non-diegetic sound. Diegetic sound. Semi-diegetic sound.
For the purpose of this blog I will be analysing various elements of film form utilised in the opening sequence of Fernando Meirelles and Kátia Lund’s City of God.
Early in the clip I noticed the use of spacial editing. Shots are placed in a sequence which suggests that the actions of a chicken being prepared to eat and a chicken in distress being submitted to watch the act are happening simultaneously.
Jump cutting between these two events also delivers important subtext in relation to the films narrative and setting. The visibility and presence of death is greater in non-western third world countries than it is in contemporary Australia for example. The specific choice of having a chicken watch one of it’s own species be slaughtered is potentially allusive to greater likelihood of family members and friends becoming victims of violence in third-world countries.
I think there’s also something the nature of the event in relation to becoming a witness to the reduction of a human being (although represented via chickens), and becoming exposed to violent forms of dehumanisation. The idea of having your own mortality mirrored via an event of another’s suffering — my thoughts and feelings in relation to this subject are under developed as I have yet to experience any great tragedy in my life.
In the title sequence the creators zoom back to reveal the photographer, our protagonist, is obscured — or trapped — behind a grid.
This is potentially allusive to an insulated, prison-like atmosphere experienced by those growing up in the slums of Rio. It’s also important to note that the black bars that obscure the protagonist don’t run vertically like a conventional jail cell; as I previously mentioned, they are shaped like a grid — allusive to a birds eye map of a city.
Timing cuts to the pace of the music is an example of rhythmic editing and is effective in illustrating a sense of urgency — when I view the clip it engages me and incites a feeling of excitement.
The chase sequence involves highly visible use of handheld camera technique. Its effective in communicating a sense of unease and possesses a chaotic quality which the scene demands.
On an ending note I’d like to talk about this low angle P.O.V. shot. It places the audience in the position of the prey — the chicken — and further envelops them in the story world. The sense of fear that permeates throughout the film is also communicated effectively via this shot.
That’s all I have to say for today.
Thank you.
Jesse.