editing: blog task

City of God opens with the residents of the slums preparing their meal. Interestingly, the very first shot is a close up that depicts the male sharpening the knife which he intends to use to cook with. The fact that the first shot was a close-up rather than an establishing shot already creates an enigma code for the audience, as we begin to question things regarding the setting, characters and the overall narrative. The use of straight cuts at this point create an element of speed and a fast pace –which the audience will later be able to relate to the bustling nature of the Brazilian favelas. Interestingly, there is also an eye-line match at this point; however, it is from the perspective of the chicken – not a human. Although this is somewhat unusual of typical cutaways, it successfully conveys the fear that the chicken experiences. The straight cuts then continue, forming a montage of all of the things happening in this location at this point, (e.g.: the dancing, the sharpening of knives to the preparation of the chicken). The sharp, quick cuts are edited in time with the music in the background. Despite the fact that the music was most likely added post production, the sound at this point is diegetic. Again, this highlights the vibrancy of Brazil as a whole.

There is then a tilt to match the movement of the chicken, who quickly becomes the centre of attention for the group of young boys in the streets. The overall pace of the scene then quickens – as does the music. A lot of the camera movement at this point appears to be handheld as well as steadicam, as it follows the boys as they rapidly chase the chicken. At 1:41, there is a bird’s eye view shot of the chase, which acts as the establishing shot. This is because it is the first real insight that the audience are given into the setting. The music suddenly stops as the scene quickly cuts to a wide shot, showing the two boys calmly walking through the streets while talking. Almost immediately after, the upbeat music starts again and our focus is drawn to the group of boys. By editing this section of the sequence in this way and mainly utilising straight cuts, tension is built, as well as action/excitement. This also contrasts between the calm tone of the two boys and the loud shouting of the others. Perhaps this has been done in order to emphasise that these two boys are different to the 'gang' of young people running through the streets. Furthermore, it suggests that these boys are oblivious to what is happening around them and that they could eventually find themselves caught amidst the ongoing chase. The addition of dialogue in combination with the other diegetic sound: (i.e.: the music and sound of footsteps/running) would almost confuse the viewer as they would have so many different aspects to focus on and process.

At 2:32, the noises fade out and our focus shifts back to the two boys. This shot serves to be the ‘calm before the storm’ as the group of boys burst out from the alleyway almost immediately after. At 2:40, there is a medium shot of Li’l Zé and the gun that he is holding. Despite both subjects being within the frame, the light reflecting off of the gun draws our attention to it, rather than the person holding it. This part has been slowed down in order to exaggerate the fact that he has a gun to the viewer. This acts as an enigma code as the audience may question where he got the gun from/how he did so. This is followed by long shots of the two boys; long shots/medium close ups of the group, and the boy trying to calmly grab the chicken. Editing these clips directly after one another foreshadow that there may be an element of conflict. At this point, the camera continues to rotate and show the viewer what is surrounding the young male. The use of this swift camera movement highlights how danger appears to surround him from all angles and that he is vulnerable in this position. He then expresses how life has been that way 'since he was as kid', and the camera rotates into a match shot – showing him in the same pose/stance as a child. This flashbackallows for some emotional attachment to be created between the viewer and this character, as we are given an insight as to how his past may have shaped his persona etc.