Genre:
La Haine comes under the category of a national cinema film. This means the film contains one country’s specific issues and events; in essence Paris is the location of this film. City of God can be considered a global cinema film, as a worldwide audience can understand the conventions and themes raised. This is true as City of God is a generic crime film when it comes down to it, so it follows a set of specific rules and conventions that follow the crime genre. Several conventions for this film are acts of violence, drug dealings, and corrupt cops. Any location could have been used for this film; the favelas are just a backdrop. La Haine is filmed on location, increasing the believability of issues raised in the projects and in the centre of Paris. The dominant ideology of Paris is shown as the city of love and romance, which is challenged by La Haine. The dull, gritty version of Paris features, but follows how a location is represented by using iconography. Iconography of the ‘Eiffel Tower’ is shown by a mid shot of two of the three central characters, and the Eiffel Tower just in distant vision in the background. So, here we see a city’s representation. In City of God, we only see the favelas and a small beach to represent the city, Rio de Janeiro. The 'City of God' itself is only really represented in this film, as an ever-developing criminal underworld. Through conventions of the crime genre this is true and therefore the location provides a suitable back drop for the film. So, it could be argued that the representations of location give us more of an understanding of themes and conventions than City of God does, as we as an audience use the conventions of the crime genre to understand City of God.
La Haine comes under the category of a national cinema film. This means the film contains one country’s specific issues and events; in essence Paris is the location of this film. City of God can be considered a global cinema film, as a worldwide audience can understand the conventions and themes raised. This is true as City of God is a generic crime film when it comes down to it, so it follows a set of specific rules and conventions that follow the crime genre. Several conventions for this film are acts of violence, drug dealings, and corrupt cops. Any location could have been used for this film; the favelas are just a backdrop. La Haine is filmed on location, increasing the believability of issues raised in the projects and in the centre of Paris. The dominant ideology of Paris is shown as the city of love and romance, which is challenged by La Haine. The dull, gritty version of Paris features, but follows how a location is represented by using iconography. Iconography of the ‘Eiffel Tower’ is shown by a mid shot of two of the three central characters, and the Eiffel Tower just in distant vision in the background. So, here we see a city’s representation. In City of God, we only see the favelas and a small beach to represent the city, Rio de Janeiro. The 'City of God' itself is only really represented in this film, as an ever-developing criminal underworld. Through conventions of the crime genre this is true and therefore the location provides a suitable back drop for the film. So, it could be argued that the representations of location give us more of an understanding of themes and conventions than City of God does, as we as an audience use the conventions of the crime genre to understand City of God.
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