Literary Devices in Non–Western Films: The City of God

LITERARY DEVICES IN NON–WESTERN FILMS
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City and State
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Literary Devices in Non–Western Films
Introduction
Literal and stylistic devices enable the authors to convey information conveniently and accurately to the target audience. Stougaard-Nielsen (2019) defines literary devices as tools an author incorporates to infer a more profound meaning or theme. They also enhance the quality of content and enabling an author to achieve his main objectives (Gabrielsen, Blikstad-Balas, and Tengberg 2019). In addition to using various stylistic devices, The City of God and No Man's Land differ from traditional Hollywood films in their film approach by incorporating notions of the third cinema movement. For instance, The City of God aspires to portray the social realities of poverty, gang violence, and drugs in the favelas of Rio de Janeiro. Similarly, No Man's Land represents the human cost of war without glorifying either of the two sides or even the UN, which tries to remain impartial despite the suffering caused by the Bosnian War. Both films deviate from the commercial genre of Hollywood filmmaking by focusing on the social and political realities of the communities and nations they represent.
Stylistic and Literary Devices in The City of God
Cinematography
Cinematography is incorporated to enhance the film quality and infer key and deep meanings regarding the themes in The City of God. Cinematography constitutes the art of camerawork and photography in filmmaking. Competent authors effectively use cinematography to evoke an emotional reaction from the audience (Totawad 2019). The effective use of cinematography is depicted in how the slum transforms throughout the film while presenting the favela. At the film's beginning, the slum is portrayed as an open field where characters can play football. However, as the author offers insight into the inner setting of the slums, the audience can ascertain a transformation in critical features. First, the open spaces become cramped with narrow streets, tin-roofed shacks, graffiti-spattered walls, and apartment blocks (Mqtthxw 2019). The transition enables the audience to associate with the progressively dangerous nature of the favelas. Furthermore, it is in these cramped spaces that a majority of the characters are imprisoned and murdered. Overall, the director creates an illusion where characters are hemmed and must tolerate gruesome conditions. Therefore, the cinematography approach is reparable and informative to prepare the audience for a deeper insight into the critical issues in the favelas. 
In the scene "The Story of the Apartment," the director effectively uses arrangements and lighting to create an illusion of tableaux. While the film is primarily mobile, this scene first prevents the audience from seeing the character's view in the apartment. However, when an idea is permitted, the characters are offered a wide-angle lens of the apartment's interior. This style creates an exaggerated misappropriation of the characters' appearances. Put into perspective, they appear prominently in the foreground and more minor in the background. Additionally, the camera is fixed while the story is told in a dissolved manner. In such a way that characters seem to appear, disappear, and reappear. This cinematography technique is convenient in portraying the unpredictable nature of the favelas. 
Symbolism
The favelas are symbolically used to refer to the implications of the slum life on the characters' lives. On the open, the slum seems like a typical community with diverse opportunities for success (Porter 2019). Many can play football and enjoy the simple things in life with little to no risk of harm. However, as the film delves into the inner aspects of the favelas, the situation becomes gruesome to the characters' lives. Put into perspective; the symbolism asserts that as characters interact with the internal components of the favelas, they become more exposed to the dangers of the slum, and their righteousness is further tarnished (Mqtthxw 2019). This literary device achieves the function of informing the audience that lousy company erodes good morals. And as a result, many are exposed to the dangers of the slums. Overall, symbolism is a crucial aspect that enables the audience to relate better to the situation in the favelas. 
Monotone
           The voice-over for Rocket is primarily a monotone. The film is narrated in the third person through the perspective of Rocket, the protagonist. However, it is essential to note that a monotone and monochromatic film approach has been maintained in the text. On the one hand, the monotone enables the narrator to elaborate in detail about the conditions in the slum. On the other hand, the monochromatic film technique is cheaper and creates an illusion of a frugal lifestyle in the slums. It is also important to note that incorporating a monotone creates suspense for the upcoming revelations in the film. For instance, the monotone describes a scene where Rocket meets Li'l Dice's gang while chasing a chicken to slaughter (Mqtthxw 2019). The transition from a happy moment where the team was enjoying meals to a short altercation that forced Rocket to run was suspenseful to the audience. This approach made the introduction captivating and entertaining to the audience. Thus, the producer aimed to engage the target audience to present critical concepts in the film. 
Local Stars
           The film prioritized using local and unpopular stars to make the film more convincing and relatable. Often, typical films adopt the services of already-established film stars. This approach is crucial in captivating the attention and interest of the target audience as the stars have already established skills and expertise (Dastidar and Elliott 2020). However, while the director was aware of this effect, he prioritized local stars' expertise instead. Alexandre Rodriguez, Alice Braga, Douglas Silva, Phellipe Haagensen, and Darlan Cunha played Rocket, Angelica, Li’l Dice, Benny, and Steak and Fries, respectively. These actors were unpopular before the film's creation, thus better relating to the audience. 
Cinematic Detail
           The cinematic detail creatively reinforces societal issues and offers insight into the lives of poor residents in the favelas. A perfect analogy for this regards the ticking clock in La Haine. The clock represents that there are only 24 hours in the city. This representation elucidates that city life is quick to live and die (Salih 2020). The daily endeavours in the town are hectic, thus necessitating desperate attempts to provide for oneself. Also, it portrays clearly to the target audience that the extreme situation in the favelas requires tenacity among characters (Mqtthxw 2019). Therefore, the literary device enables the audience to empathize with the characters' cases despite their vices. 
Conflict of Culture
           The mis-en-scene presents the conflict between European and Western cultures. In La Haine, the characters are seen walking through the street when someone plays loudspeakers with hip-hop music and French lyrics. Hip-hop music is a typical American film. However, the incorporation of French songs ascertains the interactions of cultures. Furthermore, an individual mix different music genres to create a unique genre. This approach affirms positive social cohesion between the two cultures (Iordanova 2019). It is important to note that while the critical concepts intended for the audience must be prioritized, influential directors address extensive societal issues and enhance the content's quality (Mqtthxw 2019). Overall, it evokes an emotional and psychological reaction to the content from the target audience. 
Stylistic and Literary Devices in No Man's Land
Irony
           The irony is used to insist on a pervasive societal issue that needs immediate intervention. It is important to note that the film creates an illusion of an action-packed presentation. However, irony emerges in the denial of action while the film strives to develop such an expectation (Khamdamovna and Khalimovna 2020; Ronderos, Tomlinson, & Noveck 2023). When evaluating the activities of the soldiers of the trenches, the film depicts them doing typically inaction acts on the frontlines. For instance, some soldiers are shown listening to music while another is seen reading a newspaper with the heading: "What a mess in Rwanda!" Irony has the effect of informing and entertaining the target audience on key issues regarding the content (Zino 2018). For instance, in this perspective, the irony achieves the goal of being entertaining. There...