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Analysis : ' You 're Not A Skull '

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Serena L. Li (54497128)
Professor Alessandra Santos
Portuguese 392
7 April 2015
Violence in Elite da Tropa “You’re not a ‘skull’, you’re a kid!” The central character – Captain Nascimento’s solo narration runs through the work providing a BOPE’s perspectives on everything that happens. The recent developments in Brazilian filmmaking drastically respond to the political regime changes in industrial and social conditions. The new generation of filmmakers continues the legacy of 1970s Cinema Novo distances itself aesthetically and remarkably from the earlier social realism movement. One important feature of contemporary Brazilian cinema is that it involves urban violence, which has reached severe crisis and instabilities in major city, with
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While the plot is driven by acts of individual force, the film evokes police violence against the poor and particularly on killing the favela residents. Brazil and Rio in particular, experiences pervasive and institutionalized forms of violence: police corruption, gang warfare, and military brutality. Despite its rich natural resources and tourism developing in recent years, Brazil represents one of the most economically divided countries in the world; a very small wealthy class exists above the majority - poor and underclass so that the social status has more to do with wealth than with colour. Brazil’s contemporary national cinema “reveal[s] a continuity of concerns with local themes, stories and traditions, including a recurrent focus on emblematic spaces of national identity such as the impoverished sertão and the favelas (Heise 63).” As Teresa Caldeira notes, ‘democratic’ Brazil is known for its high level of tolerance for police abuses (Caldeira 235). The film is much about the defined space, the favela, as any of its inhabitants. On one hand, the favela is a place with specific geography, straight rows of houses and complex structures. On the other hand, it is a landscape with violent and cruel qualities. The
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