SECTION A- TSOTSI

TSOTSI- (HOOD) 2005 (SOUTH AFRICA)

Directed by Gavin Hood, Tsotsi is set in the midst of the South African slums. The word Tsotsi meaning thug refers to the protagonist himself who is a small time but dominant gangster. This film of the gangster genre follows the themes of crime and deviance and also portrays the redemption of David, Tsotsi’s true name. This is achieved through a non linear narrative style of his life and his daily struggles for survival in the harsh world of poverty. Shooting a woman to steal her car for money, he soon realises he accidentally steals her baby which is still in the car. Tsotsi’s morals kick in and he is forced to look after it. The baby acting as a ray of hope brings out his true nature revealing his past through flashback sequences giving the audience a back story about how he became a Tsotsi.

Themes

· Redemption

· Crime and Deviance

Power

· Tsotsi- Has hegemonic power over his small crew. He is the dominant male in terms of leadership and Boston, Butcher and Aap act as his followers. (Last to be introduced in opening sequence. Also centrally framed as they enter the slum streets, dust blocking off other characters portray his prime importance in the pack.)

· Fella- Seems to be a more affluent and big time gangster in the slums. Wears more expensive clothing and jewellery. (He has ladies massaging him when they play dice.)

· Boston- Has the power of knowledge and education compared to everyone else in Tsotsi’s gang. Only character to have a sense of decency at start of film before Tsotsi’s redemption.

· Police Force- Although mainstream society visualizes them as the dominant ideology of control in society, they have no control in the slums.

· Pumla- A true example of a strong woman. Not only intellectually but physically even after taking a gunshot from Tsotsi’s pistol rendering her disabled she still manages to use body language to belittle those who don’t treat her without the respect she deserves. (At ending sequences.)

· Males are promoted as the ones in power in the film. There are more males filmed on set than females giving the audience the idea that in the world of poverty, it is the males who react in a more primitive state of mind for power and survival. (However, the few characters that were females played strong decisive roles.) (Women, by Fella’s grasp massaging him.)

· The Pistol, A key prop that is used in the film to reinforce power to the user. It helps the criminals feel in control of the dangerous situations they engage, used as threats and for protection.

Poverty

· Over 500000 rapes per year. Most apparently go unreported. More likely to be raped than to finish high school. Evidence of corrupt state.

· Around 18% living with HIV. (5.6 million people)

Conflict

Binary Oppositions

· The distinguishing of the terrain of those in poverty and those of affluence. (Barriers)

· The Police Force and the criminals.

· Decency and Immorality. (Tsotsi’s suppressed emotions and state of mind.)

· Boston and Butcher. (Brains and brawn) (Could be a conflict of which type of hegemonic masculinity is more important in the diegesis.)

Characters

Tsotsi- He is the main protagonist of this psychological thriller. 19 year old and curious Tsotsi is a dominant but small time gang leader with a suppressed past. Tsotsi literally means thug or gangster in South Africa. His real name is David and he acts only on instincts for survival in the deprived shanty town he lives in. He seems to be smarter than the rest of his group and plans their money making schemes. Upon stealing a car, he shoots a woman and accidentally takes her baby in the car. Tsotsi starts to look after the baby where a new side of him is displayed as his nurturing instincts kick in. He begins to understand decency and gains some morals. He unlocks his true self disregarding that of a Tsotsi. Although he redeems himself to the audience, in time he faces the consequences to his actions as “crime doesn’t pay” so he is arrested at the films resolution.

Baby- The baby was found by Tsotsi accidentally in Pumla’s car. It acts as the centre of hope for Tsotsi so he can triumph in the struggle and conflict with his emotions between his morality against his hatred. (Binary Oppositions)

Aap- This is Tsotsi’s longest friend. It seems that he used to live in the barrels with Tsotsi from childhood and has grown to be his follower. Aap is clueless about the criminal world he lives in and how to make his own decisions. At one scene, Tsotsi through mocking body language numerously pokes him in the head telling him to think and make his own decisions. He eventually does when Tsotsi kills Butcher, a fellow gang member as he fears his friend has lost it.

Boston- He is the newest recruit to Tsotsi’s small gang. Boston, a social realist is educated and understands the key value in this film of decency. He tries to make Tsotsi understand decency but is severely punished in a violent attack due to suppressed memories being recovered. Boston calls Tsotsi a dog which he remembers from childhood as his father breaks his dogs back. Later, as Tsotsi begins to recover his morality due to the baby’s influence of his nurturing instincts, he helps Boston and apologises to him about the previous incident beforehand. Educated and understanding moral values, Boston forgives him. “Tsotsi, Thug that’s not a real name.”

Butcher- He is a cold blooded killer/assassin. Another social realist, Butcher kills because to him it’s the only way of survival and keeping his identity hidden. He’s uneducated so he understands nothing else but survival deciding to walk the dark path in life beyond redemption. “Quick and Silent, Old Style”, he says to Fella the local big time gangster in terms of wealth.

Fella- He is the local big time gangster in terms of wealth. His costume and expensive props such as his jewellery clearly show this as well as the fact he has women who are at his feet. He is also a car theft dealer requiring drivers to steal them for his gain. Fella try’s to persuade Butcher and Aap to join his gang instead labelling Tsotsi as incapable of having the ability to be a leader.

Miriam- As a character, she is the binary opposition of Tsotsi acting as a catalyst. She’s pure hearted and at first she is portrayed with no authority but as Tsotsi begins to unlock his true nature, there is a shift in power. He begins to ask her for help rather than demand it through the key prop in the narrative signifying death, the gun. Quote, “If you tell anyone about this I’ll kill you”. Through flashbacks, Miriam reminds Tsotsi about his mother who had HIV. She is the trigger that allows Tsotsi to face his dark side and convinces Tsotsi to return the baby. When Tsosti decides to do so, he asks whether he can come back and see her in which she accepts.

John- The father of the baby Tsotsi accidentally steals and the wife of Pumla. He is robbed by Tsotsi’s gang the second encounter. Even in his position at this point of the film he is still portrayed with authority over Aap who is like a child asking to get food from his fridge because of John’s dominant role of expected respect through affluence and education.

Pumla- The mother of the baby Tsotsi accidentally steals. Pumla is the strong woman of the narrative. Through her fierce body language even though she is now disabled she still has supreme power and authority over others. This could be because of class division and the fact that she is wealthy. Pumla tells of her guard in a strict manner and during dialogue refers to Tsotsi merely as a “boy” showing how lower he is to her.

Morris- He is the old disabled beggar that used to work in the mines before he lost his legs. He is mocked by Tsotsi at earlier parts in the narrative but rewarded at the end, could this be Karma taking place in the diegesis.

Zuma- He is the black and ruthless police officer. He has the ability to communicate with those in the shanty towns because he understands the language unlike his partner Smit.

Captain Smit- He’s a white police officer and one of the only few white people in the film. Could this still be evidence of segregation in the country even after apartheid?

Messages and Values

Key Messages, “Crime doesn’t pay,” “Consequences to your actions,” “You can change yourself before it’s too late.”

Key Values

· Family

· Respect

· Decency

· Wealthy

· Loyalty/Companionship

Cinematography/Visuals

· Low Key Lighting largely emphasizes most of crime being depicted at night.

· Central Framing of Powerful Characters. (Clothes, Jewellery,)

· Tsotsi Centrally framed as gang walk through the slum streets. The midst slightly blocks the other characters representing his importance and control.

· Eye-line matches, panning shots and jump cuts when Tsotsi scan’s territory for a criminal opportunity at the tube station.

· Resolution- Tsotsi wears a white T-shirt signifying purity. Shows he has returned back to David, his good side.

· Close Up to Tsotsi’s face when watching Miriam as he has flashback images of his own mother.

· Close up of Dices at establishing shot signify chances.

· Use of Pathetic Fallacy emphasizes the emotions felt as Tsotsi runs through the fields after beating up Boston plagued by horrific flashback memories of his past.

· Gates at John and Pumla’s household act as physical and mental barriers to keep crime away from their home.

· L/A and H/A when man in train is murdered. Filmed in a way L/A representing “under-dogs” in society killing a “top-dog.” Business man still portrayed in a way that he is looking down at his murderers.

· The film is subbed because the characters speak in a different dialect than people in British society so we can understand them much easier.

· Visual signifiers, blood connote death/danger. (Guns)

Macro Elements

· Non linear structure, past sequences explained through flashback sequences. Helps audience to develop a sense of empathically understanding of the characters life experiences.

· Breaks Todorov’s rules of calm, disruption and equilibrium. The film opens up and almost instantly proceeds with acts of disruption.

· Narrative Structure is focused on theme of redemption and unravelling the back-story of Tsotsi used to understand how he became that of a Tsotsi.

· We almost view the plot directly from Tsotsi’s POV. He is centrally focused almost all throughout. And in the scenes he isn’t shown there are discussions about him. (Case of Aap and Butcher discussing about Tsotsi’s driving to Fella.)

· Tsotsi ironically refers to the title of the film itself.

· Resolution Sequences ends all ties. You pretty much know what will happen next and the factors that lead to the situation in hand.

Sound

· Dialogue is short and simple quickly getting to the point. The protagonist seems to be a man of little words too.

· South African’s seem to express themselves largely by their body language instead of using words. (Pumla’s belittling of police officer.) (Attitude is added to the sound of voices)

· Kwaito Soundtrack- Reflects the lifestyle of those who dwell in the slums and are in poverty. An example of South Africa’s answer to American Hip-hop.

· Uses a musical score to set the tone of the film.

Spectator/Audience Theories

Two Step Flow Theory- The director is the expert who is able to set the mood and tone of the film. Using a non diegetic musical score sets the audiences mood putting them in a trance like state where the film is constantly making them think in relation to their emotions. This puts the audience into a state of accepting the theme of redemption rather than being able to thing for themselves.

Uses and Gratifications- Part of the uses and gratifications in the film regards Tsotsi as constantly remaining in a state of escapism. Why? This is because of his distraught past. Tsotsi however reforms and faces the consequences to his actions.

The Male Gaze- Through the protagonist’s mind we embark on a journey where he has to perform what is regarded as masculine acts in a more primitive lifestyle in order to survive the harsh world he inhabits. We as spectators view the plot from his point of view and not only sympathize with his actions but learn there is a clear reason behind them.

Context and Intertextuality

· Over 90000 Car Thefts per year.

· Over 500000 rapes per year. Most apparently go unreported. More likely to be raped than to finish high school.

· More than a fifth 21% living with Aids/HIV. (Case of Tsotsi’s Mother)

· Around 20000 deaths a year from violent crime.

· There is an estimate of around 50 murders a day.

· Country is wealthy in resources but corrupt government. (Evidence of Mining)

· Apartheid finished in 1990, so no longer segregation of colour but it is now segregation of class. The upper class live in the luxury of the city, lower class live in shanty towns.

· Still evidence of segregation, Tsotsi’s lack of contact with white people in during the film.

SECTION A- CITY OF GOD

CITY OF GOD, 2002(Meirelles)

Set in the urban slums of Rio De Jeneiro and released in 2002, City of God tells the life in a decade of Rocket a youth who strives in the struggle of corrupt police and dangerous gang crime occurring in his area. The plot is mainly viewed from his point of view in the narrative as he is the reliable narrator in the diegesis. The film is of the crime drama genre and was directed by Fernando Meirelles, based on a true story about the events that occurred in what is referred to as “City of God”.

CHARACTERS

Rocket- The main protagonist of this merciless true life story. Rocket has to struggle to survive in the slums of Rio, a diegesis packed with crime and corruption. The plot is mainly viewed from his point of view making him the reliable narrator. Rocket becomes a photographer chasing the story of his life from a gang war between Lil Ze and Knockout Ned. He wants to escape the diegesis, part of the uses and gratifications and is rewarded by staying clear from crime. His status changes from Rocket to Wilson Rodriguez, a professional photographer.

Lil Ze- Originally Lil Dice, Lil Ze becomes the new crime lord in City of God after eliminating pretty much all the competition apart from the street wise Carrot. He achieves this with his best friend is Benny and he was once a tag along follower of the deadly trio gang. Lil Ze becomes possessed by a key prop in the narrative, the pistol making him murder civilians in a motel for fun due to an urge to kill. He fades to black in the scenery as he exits. After selling his soul pretty much to the devil for power quote, “Will you remain in City of God where God has forgotten you,” says the Shaman or Witch Doctor dice encounters before obtaining his power, he takes over City of God with his best friend Benny. However, Lil Ze is ironically killed by the children he punished mid way in the film for causing trouble who he later had to recruit after the battle with Knockout Ned and Carrot’s thugs. You could regard him as the antagonist.

Benny- Is Lil Ze’s best friend who has been with him since childhood. They take over “City of God” together. However, Benny grows bored of this lifestyle, befriends much of the public and finds true love from Angelica. He redeems himself to the audience and becomes referred to as “The coolest hood in City of God.” He decides to retire as a gangster and leave the diegesis with his girlfriend. He convinces most of the civilians in City of God to attend his leaving party. However he is ironically killed as Karma got back to him giving the audience a key message, “What bad you do will come back to you”.

Knockout Ned- Is the reluctant villain in the narrative and main thug to fear from Carrots gang. Ned was once in the army so he can easily dispatch gangsters with no trouble. Ned wants revenge after Lil Ze kills his family members and rapes his girlfriend out of jealousy.

Carrot- Is the leader of the gang against Lil Ze. Carrot recruits members who want revenge from Ze’s tyranny of leadership in City of God.

Shorty- The grass, snitch or squealer earlier in City of God. “Man buries wife alive in City of God.” He kills his wife because of Rocket’s brother.

THE TENDER TRIO- The old Robin Hood like gang of “City of God” before crime rose dramatically in the area. Consisted of 3 members, Rocket’s older brother and Benny’s older brother were 2 of the members.

Blacky- Once owned Lil Ze’s headquarters but it was taken over. Blacky tries to kill Ze when he is chucked out from the gang but fails and kills Benny instead. He is shot dead by Carrot. “You killed the coolest hood in City of God”, Bang!

Angelica- Rocket’s romantic interest but unfortunately falls in love with Benny who dies.

NARATIVE STRUCTURE AND MACRO ELEMENTS

· There is a constant use of Framing Devices showing text of the subtitle’s of chapters in the narrative. (e.g The Deadly Trio, The Story of LiL Ze, The Sixties)

· The narrative structure is quite irregular and breaks Todorov’s rules, constant disruption is used within the narrative.

· The film is non linear, the opening sequences are repeated at the end where more sequences are added for a clear resolution. The sequences between them are explaining how it got to that point in the narrative.

· There are 2 main binary oppositions. Conflict between the criminals and the police officers who have to pay them off to continue running crime in the area. Another is between LiL Ze’s gang and the Knockout Ned’s allies. There is very little evidence of decency in this film apart from the character Benny. Even the protagonist who the audience would regard as good was tempted to commit crime and use his brother’s gun to do so.

· Police are the villains because they are represented as corrupt, they shoot some of the innocent civilians who are the victims of the plot which we found when one of the deadly trio was walking past them they shot an innocent who ran from fear.

· The takes are rather fast paced showing how the events occur very quickly within narrative. There are lot of jump cuts and montage editing especially in the opening sequence where the prop of knife and chicken are constantly repeatedly shown.

· The back-stories of the setting, characters and events give the audience a quick understanding getting to the point very fast. (E.g In the Chapter, The Story of Lil Ze, nice use of Freeze Frame) (E.g Lil Ze’s drug dealing headquarters which was previously owned by Don Zelia a female drug dealer, then Big boy takes over, Big Boy arrested and dies in prison, Carrot takes over Big Boys operations, Carrot hands down the location to Blacky, Little Ze shows up hostile to take over.)

· The narrative structure explains Rocket’s change from a boy to a man. Partially his biography where he becomes Wilson Rodriguez a true photographer and there is a change of status. (There’s a contrast in the narrative with Lil Ze’s change from small time delinquent to crime-lord.)

GENDER REPRESENTATIONS

· Females portrayed as subordinates in a patriarchal immoral society. It is the males who control the crime in the area. Lil Ze is the local dominant crime lord who is male. All his goons are males.

· Women regarded as lower in authority to men, see this when there is point of view low angle shot of Shorty’s wife who is being bludgeoned by him looking from her perspective when she is unfaithful. (Rocket’s brother flees)

· Males are seen as the ones who perform crime. Lil Ze rapes Knockout Ned’s girlfriend and the gang kill his family members which is the cause of the main binary opposition between LiL Ze’s gang and Knockout Ned’s. (95% of criminal inmates are males.)

· Women seem to be well behaved; they make the men become good. Benny’s girlfriend wants to get him away from the criminal world. One of the deadly trio members falls in love and also tries to escape the diegesis because of his lover but is ironically shot dead in the process.

NOTION OF CINEMATOGRAPHY

· Takes were often short at points in film, especially at opening sequences. They were incredibly fast paced. Quite a few jump cuts were used. (Emphasizing getting to the point fast)

· ECU of faces during important times for showing facial expressions. (LiL Ze screams “Hahaha. Get that Chicken!” fires his prop in air.)

· (ECU)Confrontment with Lil Ze and Benny.

· (Close Ups)When Lil Ze takes over Blacky’s headquarters.

· Close up at Knockout Ned’s head to tilted point of view shot of Knockout Ned watching Lil Ze rape his girlfriend.

MICRO ELEMENTS

· Chicken- At the opening sequence and the resolution sequence, the chicken represents the fact that Rocket would chase the story of his life.

· Film is subbed in English.

· Little Ze centralised in the framing upon a photographic image shot of him and his goons taken by Rocket for the newspaper.

· Freeze Frames used at various points in the film. One as the chapter is opened up for The Story of Little Ze where there is a Framing Device as Chapter introduced. Freeze Frame is at a Big Close up of Lil Ze’s face.

· Use of Sixties soundtracks for non diegetic and diegetic sound.

· Framing Devices used for chapters in the narrative. (“The Story of Lil Ze, The Tender Trio, The Sixties”)

· Red-harring Techniques used to make audience believe protagonist eliminates guy in taxi going to Sau Paulo.

· The use of enigma codes with the editing, slow mo as LiL Ze enters the scene gives audience time to think about key questions that will occur in narrative. (E.g. At opening sequence suggesting will Rocket be shot at that moment?) (Tsotsi and baby in car) (Vinz gun and confrontation with officer)

· Constant use of dissolves to emphasize the history of the headquarters which much represents the history of City of God.

· Low Key lighting is pretty much always used when criminal activity is taking place. (E.g. When Lil Ze eliminates the competition(BEV Shots).) apart from the juxtaposition sequence at the opening and ending where there is natural lighting because Carrot wanted to surprise Lil Ze and finish him off once and for all. Explains how crime occurs at any time in that setting.

· Restricted scenes, (Death of Lil Ze) (Murder with Shorty’s wife) connoting to the audience that the people in the area will not witness what has occurred.

Values- Friendship, Loyalty, Family, Respect.

Messages- “Crime doesn’t pay” “Consequences to your actions” (Rocket heeds these messages, which is why he is rewarded to compare and contrast with the other films.)

Intertextuality- Many have compared this film to Goodfellas but set in a different location. However this film portrays crime in a less glamorous style than the Hollywood successor.

· 74% of Brazilians are regarded as Roman Catholics.

· There are around 50000 murders a year according to official statistics in Brazil in 2006.

· 95% of criminal inmates are males.

SECTION A - LA HAINE

LA HAINE 1995 (KASSOVITZ)

La Haine is a 1995 French black and white documentary drama film, the title meaning “hate”. This is repeated several times in the film like motif for the subbed dialogue. La Haine’s camera work is strangely odd breaking much of the traditional Hollywood Rules. It was directed by Mathieu Kassovitz winning many Oscars and got tons of nominations. The film is about the aftermath of a riot against the dominant and corrupt ideology of the police force from the under privileged and alienated in society who are also depicted as criminals. We follow the composite 3 characters Sayid, Hubert and Vinz and their encounters and struggles in the street.

THEMES

· Crime and Deviance

· Companionship

CONTEXT

· Three Classes in France took place in 1950’s. The High Class, the Middle Class and the Lower Class. High class consists of politicians, wealthy families and business owners. Middle class consists of people who do white collar jobs like executives of companies. Lower class consists of people who do blue collar jobs such as retail and food service.

· The country is also a multicultural one. Full of diverse ethnic groups.

· Prisons are bursting with almost 60000 inmates.

· More than 30000 car thefts a year.

· 1.4% of population are victims of assault.

· Slate Magazine label’s Kassovitz 1995 film as predicting upcoming riots in 2005 November.

POWER

· Prop- Pistols (Vinz wants power and respect.) (Vinz centrally framed when he shows it to other two characters.) (Point it towards audience off screen)

· Hubert (Physique, masculinity as an accomplishment.)

· Violence is a way of expressing masculinity which is one of the few ways of having power in an environment where there is lack of authority.

· Media has power to right stories about delinquents. Showed them filmed above the composite 3 looking down on the other characters.

· Territorial Power, Police have no power on the rooftops but in Police Station they are in complete control under closed doors. Sayid friend tells the police to pretty much get lost.

POVERTY

· 16 million, ¼ of the population are in education. Over 2 million in university. Effects local residents who are uneducated and oppressed as such.

· Destroyed Gym, High Rise flats.

· Unemployed Youths causing trouble due to no jobs. (Relative Poverty)

Binary Oppositions

There are 2 main binary oppositions:

· One is between the middle class and the working class who are the rioters probably rioting because of class inequality and exploitation.

· Another is between the criminals and the police officers. The criminals are represented as partly fighting for justice where as the officers are represented as corrupt treating criminals like animals. Why? Because the film is filmed in a way to take the side of the oppressed during corruption. (Riots in November 2005)

CHARACTERS

· Sayid- Has a Persona lying somewhere in between his companions which creates stability of their friendship. Although the plot focuses on the composite 3, it is almost filmed from his point of view. He is the first character to be introduced to the audience after the riots have taken place. The characters also have to go and collect money from Snoop, another sub plot in the narrative because of him.

· Vinz- He is the hot headed youth who craves respect from his peers. He’s also one of the few of his friends that has never been to prison. He despises police officers. At times he is the heart of the disruption in the narrative.

· Hubert- He is the drug dealer that had his gym burnt down in the riots. He’s the more serious, wise and intelligent one of the group and a social realist who wants to escape the diegesis. Usually tends to be the one who tries to try to calms down hostile situations. Hubert states, “Hate Breeds Hate”. We see that he instead of doing something stupid; he channels the stress of the daily struggles in his life to boxing.

· Abdel- He is the key reason behind the story. He is put into Acoma after the riots by the police officers. Vinz will shoot an officer if he dies in hospital. He appears as a visual motif throughout the film placed on the TV screen in extreme close ups.

Key Messages, “Crime doesn’t pay,” “Consequences to your actions,”

Key Values

· Family

· Respect

· Decency

· Friendship/Companionship

NARRATIVE STRUCTURE/MACRO ELEMENTS

· Clock is used as a Framing Device to refer to what is happening at different times in the 24 hours occurring in the plot. (“6.00”)

· The narrative structure breaks Todorov’s rules; constant disruption is used within the narrative.

· The characters are on quests. 1 to avenge Abdul, Vinz’s personal quest and 2 to collect money from Snoopy.

· There are 2 main binary oppositions. One is between the middle class and the working class who are the rioters probably rioting because of class inequality. Another is between the criminals and the police officers. The criminals are represented as partly fighting for justice where as the officers are represented as corrupt treating criminals like animals.

· Police are the villains because they are represented as corrupt.

· Constant Disruption in the narrative. The cinematography shows the characters walking into the camera at many times signifying that they are walking into crime. As they are walking away from the camera it as if they are walking away from it.

· The film has a clear Linear Structure.

MICRO ELEMENTS

· Filmed in Black and White Film Stock

· Walking towards and away from crime. (Closer towards Camera, away from it.)

· DJ Cutter “Fuck the Police Soundtrack” (Before good use of crane shots.)

· BEV shots of the whole setting where they 3 live in.

· Medium/Long Shots Represent Nothing to do for youths and emptiness in their lives. (E.g. When Vinz talking to the little kid about events that took place prior to narrative) (Especially when characters are distanced from another, in scene where Sayid is chucking things at the kid.

· Rapid use of 360 Degree shot especially when Sayid pauses the 3 characters. (Same occurs at police station.)

· Zoom into Sayid at opening sequence, Sayid opens eyes. Same at resolution but he closes eyes.

· Large use of 3 shot to emphasize the companionship of the composite 3 characters often in medium shots.

· Real Footage of Rioting in the opening Sequence.

· The Photograph of Abdel on T.V. acts as a recurring motif.

· Vinz has premonitions of shooting the police officers but was only visually imagining doing so. (Evidence of losing his mind.)

Values- Friendship, Family, Respect

Messages- “Crime doesn’t pay” “Consequences to your actions”

SPECTATOR/AUDIENCE THEORIES

Uses and Gratifications- Theory of escapism where Hubert wants to escape the diegesis telling his mother about how he needs to leave his current lifestyle behind. Why? This is because of the stress of it all.

Two Step flow Theory- The director is the expert who seems to have good knowledge about France. We as the audience are followers and through the ideologies set by him learn the context in France. Kassovitz’s film is given the label as the film that predicted riots by the Slate Magazine. (Used to elaborate Merton's Strain Theory about the stress of W/C lifestyle likely to put pressure on them lead to criminal action which the audience is likely to accept.)

· Intertextuality/Context- There is a contrast between Vinz and Travis from the film Taxi Driver. The prop of the mirror is used for intertextuality reflecting the image of Travis. Both of them are trying to big themselves up by talking to themselves in preparation for serious conflict. However Vinz is going against the law where as Travis is taking the law into his own hands.

· Riots in November 2005, labelled Kassovitz’s film as predicting riots. (Slate Magazine)

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