War in Rio: the city goes to the movies
Urban violence exacerbates existing trends of inefficient urban planning and social fracture. On the one hand, some actors instrumentalize violence to legitimate aggressive security plans and, on the other hand, discourses that depict specific urban territories as territories of violence and others...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Journal of Urban Research
2018-05-01
|
| Series: | Articulo: Journal of Urban Research |
| Subjects: | |
| Online Access: | http://journals.openedition.org/articulo/3403 |
| _version_ | 1818380936826322944 |
|---|---|
| author | Pierre-Mathieu Le Bel |
| author_facet | Pierre-Mathieu Le Bel |
| author_sort | Pierre-Mathieu Le Bel |
| collection | DOAJ |
| description | Urban violence exacerbates existing trends of inefficient urban planning and social fracture. On the one hand, some actors instrumentalize violence to legitimate aggressive security plans and, on the other hand, discourses that depict specific urban territories as territories of violence and others as ordered spaces polarize citizens in two groups, as if each was irreconcilable, and circulate an atmosphere of generalized anxiety. Getting ready for the 2014 FIFA World Cup and the 2016 Summer Olympics has implied numerous and regular surges of violence for the Cidade Maravilhosa. If those events activated debates about public security in Rio de Janeiro and in Brazil in general, another event, this one cultural, has also created a debate on the same issues. The two movies Tropa de Elite (2007) and Tropa de Elite 2 (2010) by director José Padilha, not only were the most popular movies of Brazilian cinema but also occupied a great deal of the news. Rapidly, the line between the discourse circulated about the violence in Rio and the discourse about the movies was blurred. My paper seeks to explore how Tropa de Elite 1 and 2 produced and circulated a specific conception of place, violence and the city. My intention is, thus, not to consider movies as an object giving a more or less accurate representation of reality, but as set of relations that together create specific subjectivities and, ultimately, territorial representations. These representations will be looked at in the context of the preparation for the 2016 Olympics. |
| first_indexed | 2024-12-14T02:26:36Z |
| format | Article |
| id | doaj.art-b0b87744b4564c1890cae8f99baac91b |
| institution | Directory Open Access Journal |
| issn | 1661-4941 |
| language | English |
| last_indexed | 2024-12-14T02:26:36Z |
| publishDate | 2018-05-01 |
| publisher | Journal of Urban Research |
| record_format | Article |
| series | Articulo: Journal of Urban Research |
| spelling | doaj.art-b0b87744b4564c1890cae8f99baac91b2022-12-21T23:20:22ZengJournal of Urban ResearchArticulo: Journal of Urban Research1661-49412018-05-011510.4000/articulo.3403War in Rio: the city goes to the moviesPierre-Mathieu Le BelUrban violence exacerbates existing trends of inefficient urban planning and social fracture. On the one hand, some actors instrumentalize violence to legitimate aggressive security plans and, on the other hand, discourses that depict specific urban territories as territories of violence and others as ordered spaces polarize citizens in two groups, as if each was irreconcilable, and circulate an atmosphere of generalized anxiety. Getting ready for the 2014 FIFA World Cup and the 2016 Summer Olympics has implied numerous and regular surges of violence for the Cidade Maravilhosa. If those events activated debates about public security in Rio de Janeiro and in Brazil in general, another event, this one cultural, has also created a debate on the same issues. The two movies Tropa de Elite (2007) and Tropa de Elite 2 (2010) by director José Padilha, not only were the most popular movies of Brazilian cinema but also occupied a great deal of the news. Rapidly, the line between the discourse circulated about the violence in Rio and the discourse about the movies was blurred. My paper seeks to explore how Tropa de Elite 1 and 2 produced and circulated a specific conception of place, violence and the city. My intention is, thus, not to consider movies as an object giving a more or less accurate representation of reality, but as set of relations that together create specific subjectivities and, ultimately, territorial representations. These representations will be looked at in the context of the preparation for the 2016 Olympics.http://journals.openedition.org/articulo/3403Rio de JaneiroViolenceCityCinemaOlympicsFavela |
| spellingShingle | Pierre-Mathieu Le Bel War in Rio: the city goes to the movies Articulo: Journal of Urban Research Rio de Janeiro Violence City Cinema Olympics Favela |
| title | War in Rio: the city goes to the movies |
| title_full | War in Rio: the city goes to the movies |
| title_fullStr | War in Rio: the city goes to the movies |
| title_full_unstemmed | War in Rio: the city goes to the movies |
| title_short | War in Rio: the city goes to the movies |
| title_sort | war in rio the city goes to the movies |
| topic | Rio de Janeiro Violence City Cinema Olympics Favela |
| url | http://journals.openedition.org/articulo/3403 |
| work_keys_str_mv | AT pierremathieulebel warinriothecitygoestothemovies |