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and wide open spaces, and the

Bene could be the donor, because it’s

dark, grey closed in slum at the

through him that Rocket aquires the

end.

camera. Maybe Ned is a false hero? As for the functions of the character,

The conflict between the police and the gangsters.

The conflict between honesty and dishonesty.

there are numerous examples, but they don’t appear in the same order that Propp suggests! The film also employs numerous diegetic narrative devices to help us along, such as newspaper headlines, photographs, TV interviews

The conflict between the values

and music:

of the women – who invariably want their men to settle down

Newspaper headlines tell us what

and lead a ‘normal’ life, and

Shorty did to his wife ‘Man bur-

the men, who are invariably

ies wife alive in City of God’

looking for reasons not to!

and at the nd ‘The Self Styled Boss of the City of God is Dead’

The opposites of the camera and the gun, which is one of the

Rockets photographs taken on the beach act as a signifier of his

main themes of the film.

feelings for Angelica and his relationship with the gang of Groovies. Later his photos earn him his passage out of the slum.

The TV interview with Ned – which is seen by Rocket and Lil Ze and acts as a trigger for Ze to send for Rocket to show who’s the real boss.

Bene dancing to James Brown’s ‘Sex Machine’ signifies his new found image, and ‘Kung Fu Fighting’ being played at Bene’s farewell is ironic considering what happens there.

Our old friend Propp can’t be left out here, but it is more difficult to

The film also uses ‘Montage edit-

apply to City of God than Sweet Six-

ing’ to powerful effect. Montage ed-

teen. Rocket is obviously the hero,

iting is the way shots are put to-

and Ze the villain. Marina could be

gether to clash with each other and

the helper, or even fairy godmother.

produce shocks, rather than smooth 104

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