Film Exam Issues and Debates: KEY SCENE REVISION

La Haine:

SCENE 1:

- lower : seen as low in the social heirachy
- surrounded by bars : viewed as criminal, trapped
- only filmed when they become aggressive
-There is a high angle and low angle shot (180 degree) suggesting this is a broken frame. 
It suggests how the boys are looked down upon by the news crew and due to the position of the rail showing the binary between them. Furthermore, it conveys how the main characters are caged in and due to their violent and defensive attitude it makes them appear to be wild animals and need to be locked in a cage. (Suggesting that people from different backgrounds belong in poverty compared to the rest of the French - linking in with context)
-The close up of the needle on the floor by Hubert's feet is an iconography associated with crime.
-There is irony employed "We're the Future" - inside the estate there is no future.  

Mise en scene
Hospital setting
Filled with photographers standing opposite the three boys, which shows how the media are open to create negtaive images of the youth.
Police are dressed in uniform with their badges, opposes them with the boys dressed in tracksuits.
Sound
Diegetic sounds of the cameras flashing (creates neo-realism)
Dialogue used shows the conflict between the police and the youth, as they are argumentative
Cinematography
Shot – reverse – shot from Saiid, who is torn between the police and his friends, shows his vulnerability. Binary is created
Shots of the photographers stood opposite to the boys, with the police intervening in the middle, shows the power of the police.
Close ups on Vinz, create dramatic tension as we know he has the gun which was stolen off a police officer in the riots
Editing
Clear transitions to build tension between the youth and the police

The urban estate is filled with kids, contrasts with the previous representation of the banlieues
The DJ has a set which provides the urban estate with freedom/escape, power over the police
Sound
‘Sound of the police’ soundtrack which creates a clear hatred and opposition against the police
Contributes towards the power of the narrative, as the song addresses the police, as the police normally appear as more powerful
this challenges the power
Cinematography
Dysfunctional use of camerawork is used
This signifies that the music being played is channelling throughout the estate area, and that all of the residents are against the police.

Dysfunctional use of the camerawork - this signifes that the music is being played throughout the estate area, that all of the residents are aganist the police.
"Sound of the police" soundtrack creates a clear hatred and opposition aganist the police reflecting on the context. 
Contributes towards the power of the narrative, as the song addresses the police, as the police normally appear more powerful in other media - revealing context to the movie and theme of power within the film.

City Of God:

Opening Scene: This scene establishes the setting of the film, through the use of fast-paced editing, mise en scene, cinematography and sound
Mise en scene:

the scene opens set in the favelas, with high contrast lighting.
The use of lighting allows the audience to focus on the culture within Rio which is being represented in the film.
There is a series of sequences, where chickens are shown running around the favelas and being killed straight off the road, to sell. (highlights the poverty, used to make money, unhygenic etc).
Lil Ze is also introudced within the opening scene, as quite dominant. He stands out in terms of his costume and appearance, which denotes his dominance in comparison to others in the favelas.
Sound:
helps to establish the Brazillian culture.
Lots of diegetic sound is used, such as the noise of the traffic, and the clashing of the knives, which are used to kill the chickens. This symbolises the threat posed on innocent people and animals, from the outset. (creates a chaotic environment)
Sound is used towards the end of the opening sequence to connote a more serious tone, as Lil Ze is introduced. The use of sound is reduced, as Lil Ze is shouting out to Rocket. This helps to create binary between the poor and powerful.
Cinematography:
Extreme close ups are used to reinforce the deprivation (poverty). Close ups used on the knives also portrays the theme of power.
The use of camerawork also involves a dutch tilt, used to create an increased sense of disorientation within the favelas.
Editing:
Cross cutting is used to show a lack of control within the favelas. Each sequence cuts at a fast pace, which creates a contrast between controlled and civilised areas.
Absence of CGI/Special Effects increases the raw feeling and increases verisimilitude.




Mise en scene:
Crowded area, little ‘runts’ are sat around in a shack, sat like a gang
Little runts have weapons, such as screwdrivers, break conventions of a traditional childhood, they want to appear dangerous etc
Lil Ze and his dominant gang, stand out through the use of costume. Dressed in bright shirts and chains etc, contrasts with the runts who are in clothes which are torn etc. Emphasis on poor and powerful
Lil Ze has a gun – more superior, poses a threat to all those within the favelas
Sound:
Dialogue – talking about robbery and taking over the superior position within the favelas
Gunshot – emphasises the danger of the favelas etc
Diegetic sounds of children crying out in fear – reinforces the harsh reality of punishment
Cinematography:
Low angles of the runts, which signifies their weakness and inferiority.
Close ups on runts, costume, reinforces poverty, lack of power etc.

Mise en scene:
The scene starts with a warm, homely atmosphere, feminine, pink walls etc (Dona Zelia)
When Big Boy takes over, the femininity is abandoned, more yellow, nude women are pictured on the wall – objectifying women
Carrot is employed – damp on walls, drugs are a central focus
Sound:
Heterodigetic narration from Rocket throughout
Cinematography:
fixed wide lens throughout
Editing:
dissolves in and out, emphasis on time period (over decades)
power has changed within the favelas