Comparing City Of God And Rabbit-Proof Fence

The enchanting and heart-warming film Satellite boy, directed by Catriona McKenzie is a story set in the Kimberley Region, north of Western Australia and follows the character of Pete on a journey of discoveries and learning Indigenous culture. McKenzie delivers and utilises a range of different film techniques which help develop the themes of conflict between tradition and changes, confronting challenges and sense of belonging. Through these film techniques, the audience is able to understand that indigenous culture will be more appreciated because of its significance to aboriginals in their life.

Luis Valdez and August Wilson transformed the reflecting of multicultural in two plays through characters. Fences is the picture of the conflict culture of African-American in USA in 1957 and Zoot Suit is the picture of Mexican-American in USA in 1942. Different culture, Different people in the time period. That is affected by the racism and discrimination. The picture of the poor life and poor colors from characters on the stage in Fences. The poor languages, and the biggest fear come from by Troy Maxson. That is the lowest stream in American society. The Zoot Suit is the conflict reflecting between Mexican and American. They do not accept in the American society in 1942. El Pachuco is standing for the justice revolution and the equality rights

In the orientation of the film Blair uses techniques such as setting, this is an important technique as different settings can either show a rise of reduction of prejudice towards indigenous people. The film begins in the Australian outback, where the audience is first introduce to two characters Gail and Kay. The two girls are cousins and are running across the scene, they make up about 10% of the height of the screen. Blair uses long-shot contrasting their vulnerability. Establishment shots of the homes and buildings and also seen, we as the audience understand that the girls are relatively poor as there are many family member sharing minimal houses, they are living in close proximity to each other and live in a remote area. Already Blair has expressed the theme of prejudice by depicting the isolation indigenous people have with white communities. The aboriginal families seem to be living in a mission environment contrasting that they were disadvantaged from the European settlers. After seeing the earlier setting of the

The pub scene in the Australian Outback helped me understand the consequences of prejudice through the combination of dialogue and cinematography. These film features shows the unfair treatment that Aborigines endured because of their race. The mid shots showed how the white Australian audience at the pub Talent Quest ignore the two Aborigine sisters as they began to sin. A panning shot showed the audience’s disapproving and disgusted looks as they avoided eye contact with the sisters. Clearly contrasting with the warm and enthusiastic cheers given to the white Australian performers before them, as also shown in a panning shot. Noticing the coldness of the crowd, Gail says, “Thanks for the half-heart applause.” The dialogue and camera shots clearly outlined the difference in treatment between Aborigines and White Australians in Australia. This clearly shows the inequality between the two races, as Aborigines were clearly mistreated based on their appearance. At the end of the Talent Quest, after the White Australian performer

There is a famous Australian film called “The Rabbit Proof Fence” released in 2002 and is based on the book “Follow the Rabbit Proof Fence” written by Doris Pilkington Garimara to tell the story of the Stolen Generations from the Aboriginal point of view. It is based on the true story of the events of the author’s mother’s life and raises awareness of the plight of the Stolen Generations. The film follows three young “half-caste” girls. Molly Craig, 14, her sister Daisy, 8 and their cousin, Gracie, 10, were living peacefully in Jigalong, Western Australia.

The film is the story of Mona, who is an African-American woman who is brought back to Africa and finds herself as a slave on the Lafayette sugarcane plantation (Gerima, 1993). In a previous life, she was born on the sugar farm and named Shola. She was caught and sold and transported as a slave in North America. This brings the interplay between the African American identity on one side and the other African identity. The film achieves this through reconstructing the past and history and also through the conception of blackness and race.

“Samson and Delilah” (2009) explores issues of survival for two disliked teenagers from a remote indigenous community in Central Australia. Written and directed by Warwick Thornton, this film follows the gradual partnership of two indigenous teenagers who live in a small-impoverished rural community outside Alice Springs. It is a film of slow and alarming beauty. The journey of these two young teenagers has brought to attention a greater awareness and understanding of both Indigenous art and culture, as well as how issues arising from this film may affect and impact upon wider understandings and awareness of Indigenous culture.

The story is set in two different places. The two places are the main characters apartment and Camp Manitou out in the Canadian wilderness. The main character Lois’ apartment is where she lives later in life after her husband Robert has died and children has moved away. Camp Manitou is the summer camp where she used to spend the summers when she was a young girl. The story does not mention Canada, but says that the character Lucy is from America. Atwood herself is from Canada, and the setting of the Canadian

Nationhood and identity are both very slippery and ambiguous terms. As such, the possibilities to which these two concepts can be explored are quite extensive. Within Canadian cinema, there is a tendency towards realism as opposed to escapism, as seen in American/Hollywood cinema. This realist tradition can often be used to critique and explore the flaws of concepts such as nationhood and ‘the national’, while Hollywood cinema is much less critical and has a tendency to depict utopic and universalized places. This tendency towards realism and identifying the flaws of nationhood and identity while simultaneously emphasizing the importance of specific places is explored in the two Canadian short films, Withering Heights (2014) directed by Liz Van Allen Cairns and Luk 'Luk 'i: Mother (2014) directed by Wayne Wapeemukwa. Both films explore the struggles of nationhood and identity through the experiences of forgotten female protagonists whose problems are rooted in financial difficulties and whose narratives are intricately intertwined with the sense of place represented in each film. In Withering Heights, a woman in her 50s, Margot (Gabrielle Rose, best known for her role as Dolores in the 1997 Canadian film The Sweet Hereafter), suffers from a failing marriage leaving her sleepless and shrinking as she loses touch with her memory and sense of personal identity. Meanwhile, Luk 'Luk 'i: Mother documents the struggles of a mother and aboriginal woman, Stoney (Angel Gates), as

Aboriginal women is sexualized, assaulted, and mistreated in today’s society, and the novel portrays this inequity. Lisa’s friend, Erica, was in Terrace, when Lisa witnesses her being harassed by a group of white men. The men were teaching Erica how to “fuck a white man,” when Lisa intervenes. The men call the girls “a squaw, “cunt”, and “bitch” (Robinson 250). The

“Jesus be a fence all around me every day. Jesus, I want you to protect me as I travel on my way” (Wilson 1.2.21). The play Fences follows the journey of an African American family, the Maxons, and their struggle to handle the appearance of both physical and metaphorical fences. Fences shows the difficulties that the Maxons face in an attempt to balance love, loss, and laughter. The Maxson family lives in Pittsburgh during the 1950’s, and they meet tensions when searching for equality within their relationships and in their larger community. Throughout the play, tension builds between characters. To portray this tension, the author, August Wilson utilizes the narrative elements of parallel plots through storytelling, developing characters

Follow the Rabbit Proof Fence, Remembering Babylon, and Puddn’head Wilson all contain numerous references to borders of various kinds, both literal and figurative. Focusing on two of the above texts, answer the following question: what do these borders represent?

Challenges that children experience can force them to grow up too quickly. Sometimes children can have a difficult time when their families are poor. In Rabbit Proof Fence, by Doris Pilkington, and Behind the Beautiful Forevers, written by Katherine Boo, both describe how children in their stories approach challenges. Katherine Boo is more successful at conveying family challenges than Pilkington because she uses descriptive language better. Katherine Boo uses mood in Behind the Beautiful Forevers.

Music was also incorporated into the film to make the audience feel pity for the three young aboriginal

City of God, a movie directed in 2002 by Fernando Meirelles, accurately portrays the slums of the Favelas over three decades, beginning in 1960 where the protagonists are children and merely thieves. Ending around the early 1980’s, the slum is an unrecognisable war zone, most of the main characters are either dead or engaging in a bloody turf war. Following the journey of two children, Rocket and Lil Ze, who are both growing up in the same housing project. Lil Ze, a child who desperately wants to prove himself goes through extreme lengths, eventually growing up to be a merciless drug lord who attempts anything in order to gain power. Whereas Rocket, lives a relatively calm life by comparison, staying out of trouble and eventually becoming a reputable photographer.