PAPER 2
IDA
SOCIAL AND POLITICAL CONTEXTS
- Post - Second World War lens in Poland
- Communism in Poland, but post Stalin so less severe
- Holocaust
- Family being separated due to external forces
- Real reflection on trauma and what the Holocaust did to families
- Memory of the past
- Black and white is reflective of 1960's Poland, makes emphasis on melancholic atmosphere
- Guilt and blame
- In the narrative Ida and Wanda are binary oppositions, they reflect juxtaposing coping mechanisms as women (lifestyles) Rigidity and structure
- Wanda is a state prosecutor which is unconventional of women
GENDER
- Absence of substantial male characters - a film that has two strong female characters
- Gender is inherent to the unseen violence out of the centre of the narrative (Ida's brother, aunt Wanda's son)
- Gender and masculinity - aunt's attributes and lifestyle, her profession
- The only men are the ones that go in and out of Wanda's life
IDA - Devotion and religion - more feminine representation
WANDA - Repetitive and unconventional - more masculine representation
CITY OF GOD
GENDER
- The favelas as a predominantly male space - toxic masculinity
- Angelica as the one female character that stands out
- Boys who become men - joining the cycle
- Contrast between Lil Ze and Benny
- The police are an organisation who are entirely structured by men - the hero, the villain and the protagonist are all men
- Violence and crime
SOCIAL AND POLITICAL CONTEXTS
- Corruption of the government
- Poverty
- The floods, refugees
- Underfunding / lack of care for the Favelas
- Narrow job opportunities
- Little options result to crime
- Lack of role models in this society
- Younger generations are majorly influenced for the desire of street credit and gang dominance
- Governments laissez-fait approach to the favelas
- Lack of authoritative figures / intervention
- Lack of educational provision (the runts)
- No social policy
- Collateral damage on families and communities
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