Poverty and Social Violence - Essay Example

Poverty and Social Violence Introduction The society today exposes the children and young adolescent to activities that will destroy the young generation’s future. All the authors in the four movies have one idea in common the idea of poverty and social violence that results to death. The society today experiences a lot of loss in issues related to drugs and substance abuse as the case in Favela Rising. The authors try to educate the society on activities that will destroy their children’s future (Wilcox, 84). The Los Olvidados The article involves the films Luis Bunnel which took place in the San Jose California, USA skate brand. Los Olvidados, The Young and the Damned; tackles the unethical behaviours that destroy the children who are linked to the future of tomorrow. The problem is aggravated by the poverty levels in the society; Bunnel captures the vices experienced in the big modern cities. Los Olvidados depicts Mexico at the doorsill of modernization where moral values of the Mexicans appear compromised. There appears use of vulgar language in the story where Eljaibo calls a young boy a ‘pansy’ for refusing to smoke. El Jiabo symbolizes the extent of evil in the modern Mexico; the society there appears that the Mexican society disregards respect for peoples’ opinion (Wilcox, 112). Peer pressure: The meeting between Pedro and ElJaibo appears a wrong decision for Pedro. Most of the times El Jaibo commits crimes; Pedro is usually his scapegoat. Pedro killed Julian; because, Julian, reported him to the police, who came and arrested him. Pedro hoarded the information from the police; this costs him a lot in the end. Pedro became an accomplice when he refused to talk it to authoritative people to clear the air. Pedro got a job at the blacksmith; El Jiabo heard of it and paid Pedro a visit where he stole from the blacksmith destroying Pedro’s new job and sent to prison. At the prison, Pedro appears frustrated and became troubled, later on they became friends with the principle who gave him some money to run some errands for him. While walking Pedro met El Jaibo who stole the money from him, this time Pedro appeared wiser and fought El Jaibo disclosing to the crowd that El Jaibo killed Julian (Wilcox, 118). The issue of theft is dealt within the film; evident when El Jaibo organizes robbery against Don Camel, a blind man. The society foregoes the needs of the less fortunate and oppresses them further. El Jaibo proves wrong influence when he stole from Pedro’s boss; the result was nasty as Pedro lose his job and is taken to prison. While still in Prison, Pedro encountered El Jaibo, who steals the money he had been given to run the principal’s errands. This time Pedro feels that he had tolerated enough with El Jaibo and pursues him. El Jaibo ended up murdering Pedro and flees. These episodes emphasize the need to stay away from peer pressure. The issue of theft comes in from the character El Jaibo who steals everything he comes from everyone he meets including his friends (Wilcox, 134). The theme of death proves evident in the story when El Jaibo started by killing Julian. Pedro saw what happened and kept quiet thinking that he was being a friend. Later on in the scene El Jaibo ends up killing Pedro. El Jaibo proves a tough criminal who ended up dying in the story (Wilcox, 187). Terror and loneliness: The author symbolizes this by referring to the satisfaction of a mother’s milk. Carmelo the blind man consumes goat milk with the hope that it cleanses the body. Meche, cleans her legs using milk with the hope that it rejuvenates her beat whilst big eyes sucks the teat of a cow when hungry. The characters display an element of desperation and the hunger of comfort from the nest available living thing which is the domestic animals in this case. Pedro tragically pleads for her mother’s love; the mother feels betrayed by Pedro’s lazy behavior of stealing. She wonders why she should love someone who humiliates her in the eyes of the society. Pedro’s actions prove mother’s irresponsibility for not providing for her family (Wilcox, 192). The Black Orpeus Black Orpheus (Portuguese: Orfew Negro) is a 1959 film made in Brazil by French director Marcel Camus. The dominant theme of the movie is death and selfishness. Orfew lusts for Eurydice immediately she arrives in the city; he is expected to marry Mira. Eurydice tends to accept the relationship on the grounds of loneliness and friendship. This is illustrated by the instance where she rides the trolley slowly across the line wearing a sad face. Eurydice prepares her mind that the day marks the beginning of her lonely life. Eurydice plans to go live with her cousin to ease her lonely case. Everyone in the society craves for the need to fit in and be assimilated in the society (Wilcox, 194). The theme of lies prevails in the film. Orfew seem to be less committed to the thought of getting married; the notion does not come from deep within his heart. The proof comes from the reality that he yearns over the new girl in the city, Eurydice. Consequently, Mira the supposed wife proves more excited about the marriage issue that she insists of the engagement ring. The extent of deception heightened when Orfew prefers, using her money to repair his guitar rather than use the amount to buy Mira a wedding ring. At this juncture, Mira loans Orfew the amount required to ensure that Orfew commits to the event. Later on in the film, Eurydice’s boyfriend arrives yet, Eurydice, the girl friend appears busy with Orfew, she, therefore, gives Serafine pictures and clothes resembling her own self to fool, the sailor, her boyfriend. In the process Serafine, falls in love with the new project with the sailor and would always look forward for their meeting. Serafine, would always disguise herself to look like Eurydice, to ensure that, Eurydice’s boyfriend does not suspect that he does not always meet with a difference character. Amazingly, Orfew dances with Eurydice thinking that he was dancing with Mira (Wilcox, 203). The theme of death proves evident in the scenes. Orfew appears pleased to discover that her next door neighbor is Eurydice, residing with Serafina. Eurydice flees to Rio to hide from some strange man whom she believes desires her soul. Eventually the strange man dressed in skeleton consumes gets her; Orfew acts like a Hero, and bravely scares him way from Eurydice. This prompted their supposed relationship as Eurydice feels that he accomplished and needs to be rewarded for a job well done. Eurydice compensates by inviting Orfew to her bed. Eurydice flees from Mira when she discovers that Mira had sensed the affair that exists between the two during the dance; since Mira sported Serafine in the dance. Eurydice flees for her life and from Mira’s wrath and ends up dying. Orfew mistakenly, electrocutes Eurydice when he mistakably powers the line in the trolley station (Wilcox, 212). The theme of ignorance proves evident in the film; the latter proves true when Mira does not notice the strange behaviors displayed by the supposed husband. It proves clear that Orfew does not spend more time with the supposed wife yet Mira assumes that everything is okay. Logically, individuals especially women tends to expect excitements from the men proposing marriage which is not the case with Mira, Orfew, proves reluctant to the basics of marriage like engagement rings yet Mira does not seem to notice. Mira appears ignorant when Orfew dances with another woman, before their wedding while she should be the woman dancing with the husband (Wilcox, 214). The city of God The City of God, ‘Portuguese: Cidade de Deus’, is a 2002 Brazilian crime stage film show directed by ‘Fernando Meirelles’ and co-directed by ‘Katia Lund’, shot in its home country in 2002 and internationally in 2003. The theme of death is evident when Rocket; a young man runs away from a gang that desires to kill her. Rocket is extraordinarily saved by a chicken; this flashback traces the author to the years around the 1960s. Lil Dice convinces the tender Trio into robbing a motel and avoiding the killing of individuals. The tender Trio comprises of three known thieves being; shaggy, Clipper, and Goose who is Rocket’s brother. Lil Dice responsibility included to look out for the gang and fire the gun in case of police arrival. Instead, Lil fires down the gun in the middle of robbery which attracts police; the trio manages to spit off. Shaggy one of the trio ends up shot and dies during the escape period. Lil Dice kills Goose for selfish ambition; Lil Dice again steals from him in front of Benny, his friend. Clipper reformed and joined a church to work for God. Lil Dice changed his name to Lil Ze and mobilized a group to kill Carrot, but Benny discouraged him. Benny and his girl friend decides to leave town and Benny is unintentionally killed by Blackie as he tries to kill Lil Ze. Later on in the Film Carrot kills his manager for endangering his life. After the death of Benny, Ze rapes Ned’s girlfriend. Benny recruited a gang, which revenge on his death, by shooting at Ned’s uncle house and killing his uncle. In the quest for vengeance, Ned collaborates with Carrot declaring war between Carrot and Ze (Wilcox, 217). The issue of insecurity also presents itself in this evidence. The level of insecurity presents itself where the trio of gang appears known, yet no action has yet been taken to destroy or lock them up. Lil Dice and Benny engage in drug trafficking business and kill anyone who tries to contest in their business as a competitor except for Carrot. Lil Dice tries to convince Blackie; Carrot’s manager to work for him (Wilcox, 241). The 80’s saw the development of soldiers on both sides; Ze made sure that the Runts had weapons, with time the need for war was forgone. Later in the film, Ze recruited rocket take a photo of Ze with his entire gang, the prints were later published by a female reporter; as no one else was allowed to enter the City of God. Rocket decides that the only way out of the mess is romantically involving himself with the reporter, to whom he lost his virginity (Wilcox, 217). Favela Rising Favela Rising is a 2005 documentary film done by Americans directors Jeff Zimbalist in collaboration with Matt Monarchy. The Film production, undertaken by Sidetrack Films and VOY Pictures, debut took place at the Tribeca Film Festival on 24th April 2005. The film records a minimum of 25 international festival awards and appeared shortlisted for the Oscar (Wilcox, 224). The theme of the film includes drug trafficking and Afro Reggae. The group, Grupo Cultural Reggae, appears destructive; as it aims at recruiting the adolescents into various music genres. The genres mostly handled songs such as soul, reggae, rap, and hip-hop. At the beginning, Grupo Cultural Afro Reggae, informs the youth on ways of improving their lives and refraining from activities that increase drug use and further growth of gangs. The workshop activities include; football, dance, recycling percussion amongst others (Wilcox, 147). Sa, Jose Junior, and Afro Reggae arranged appearance took place in Rio De Janeiro’s 600 ghettos, Vigario Geral, and Favela Rising involving transformation from outlaws to social revolutionaries. The debut features gave the audience an opportunity to venture into most notorious ghettos of the world’s cities. The year 1993 saw the death of four police officers by use of a single drug master. The incident prompted the butchery of 21 residents of Vigario Geral by Rio Military police. The tragedy influenced the desired change in Sa, whose brother appeared in the victims’ list. He decides to leave behind his criminal status to an activity that ensures his energies remains focused on enriching the lives and taking up the opportunities available in the community. The consequential social schedule culminates into Grupo Cultural Afro Reggae, reasons for change in the nation in which children’s career are developed earlier and incorporated in the social outlaw (Wilcox, 243). The video recording employs; film with digital rather than film cameras, inter twinned storage, and news records enlightening the viewers of conditions, and what the inhabitants of the Favelas go through on their day to day experiences. Sometimes the experiences in the slums appear disturbing and horrible; a world distant from the attractiveness and glitz of Coglitz of Cocacabana beach. An individual that knows the Brazilian Percussive music appears moved at the sound track that comes handy with the film. The director employs the use of music to highlight the high and low that pervades the footage. The music drags the individuals out of despair, slowly moved them to joy, and shoves them back to dread the soul of a movement facilitating a diverse outcome for the large population of the Favela occupants (Wilcox, 287). Favela rising encourages the young population without hope that to attempt to find hope in activities that come close to a better life, commonly in the short term. The author’s major aim proves that it takes a single committed individual to make a difference in the society. Individuals who witness the deprivations, deaths and violence that pervades the lives of individuals residing in the slums experiences heartache and sorrow for the slum dwellers, the only time they appear lifted depends on the chances they have to help the individuals hope for a better life, achieved through art, culture and creativity amongst themselves (Wilcox, 234). Works Cited Wilcox, Paula. Surviving Domestic Violence: Gender, Poverty and Agency. Houndmills England: Palgrave Macmillan, 2009. Print. Read More