Student Response: Urban Stories

How far does the impact of the films you have studied for this topic depend on distinctive use of film techniques?

They’re many different techniques used to create an impact such as the black and white colouring in La Haine. It has polysemic meanings such as race and that things are never just black and white. The use of the handheld camera creates conventions of cinema verite; the characters are treated like they’re in a documentary (the use of real riot footage at the beginning adds to this and shows the conflict straight away). In the playground scene, Hubert comments that ‘this isn’t Thoiry’- they’re treated like animals and because of the tension between the poor and the police, the characters are socially alienated. The low angle shots on the three by the camera crew impact the audience by making them feel sympathy. The camera is often placed behind the group influences the audience by making them feel part of the group, looking into their way of life. The repetition of the close up on Said’s eyes in the opening and closing scenes portray a sense of individualism and a ‘see things from my point of view’ stance, this comments on the characters lack of opportunity and their social isolation and is a distinctive feature of the film. In the same opening scene the camera also creates a visible divide between Said and the police, immediately showing the tension and conflict between the youth and the police that was prominent in 90’s Paris due to the assimilation policy of the French government. Unless the audience were aware of this political situation though the full impact of the film’s message may be overlooked.

The scene in which all three are sat around mundanely throwing stones creates verisimilitude as they’re doing realistic things. The shot composition in the bathroom scene impacts the audience as it displays the relationship between the three characters clearly, the shot framing places them in a strategic triad with Said being predominantly in the middle; acting as the peacekeeper. The characters could even possibly represent the French flag with Vinz representing liberty, Said for fraternity and Hubert for equality. And although showing a brotherhood it could be seen as a constant power struggle with Vinz wanting Hubert’s power and respect, Hubert becomes active whereas Vinz becomes passive. The ticking clock shows how short life actually is and how so much can happen in 24 hours. The time is limited and this circles around the main theme of feeling trapped, how long will Vinz be able to control his anger in that time period. In the ending scene the clock goes forward by 1 minute, it only takes 1 minute to start a big conflict. The clock represents revolution- this ever-turning wheel of mixing race and revolution.

In City Of God, there are many distinctive film techniques used to take a particular point of view such as the chicken chase scene in the opening where the protagonist Rocket is caught between the gang of hoodlums and the police, this is shown by the wide shots, use of depth of field and character positioning. The audience are impacted to take Rocket's side, through the voice-over narration, as he does not want to become a hoodlum and would rather shoot using his camera than a gun, essentially saving him from the city of god curse. In the opening sequence, through the diegetic sound, the first thing we hear is a knife sharpening; it essentially represents how the residents of the favelas are living on the edge of a knife and sets the tone for the remainder of the narrative. During Lil Dice’s massacre there is a also wipe transition to show the literal wiping away of people. A similar distinctive technique is used in Chungking Express (1994) as Faye wishes to clean up the cop’s life and wash away his past by constantly cleaning around cop 663, either outside the Midnight Express diner or his apartment. This is more optimistic than the other two films though, in terms of its social message as the director, Wong Kar-Wai, wanted to convey a positive message of cultural change for the handing of of Hong Kong to Chinese rule in 1997

The use of the changing colour hues in City Of God also makes an impact as it represents the characters social situation. The residents of the favelas smoked weed in the 60’s, the lighting is high key and orange, the movements are also a lot slower. Then in the 70’s with the lack of job opportunities the characters are hooked on cocaine and the actions are speeded up. After Benny dies, the tone becomes more low key as all the positive vibes have been sucked out. Lil’ Ze is shown as sick and corrupted through the mise-en-scene in the club scene, he is wearing black and the lighting is green connoting his bleak outlook and sickness. During the final scene where Lil’ Ze gives the guns to the Runts, a distinctive technique, the Dutch angle, is used to show that Lil’ Ze is in power and that he is handing power over to them. As the Runts walk up the stairs it is symbolic of them ascending to power and foreshadowing Lil’ Ze’s downfall. The use of non-known actors throughout also increases the level of verisimilitude. As a consequence all of the chosen techniques used in the urban stories I have studied in some way contribute to the impact of the films. However a certain amount of contextual knowledge is crucial in understanding the full social and political background to the events.