Tsotsi Revision
- 1. Issues in Tsotsi? Tsotsi as a film encourages empathy and develops your understanding of contemporary global issues – the disparities between wealth and poverty and the implications for society when so many are robbed of their childhoods. It is a film about chance, about opportunity and choice. BASED ON REALITY? 1
- 2. What do you know about South Africa? • Over half the population lives below the poverty line – many on just a $1 a day. • A quarter of the population is unemployed. • More than a fifth (21%) of the adult population is infected with HIV/Aids and thousands of children grow up orphaned due to the premature deaths of their parents. • Despite a rapid house-building programme over the last decade it still has many of its people living in shantytowns and squatter camps in shelters constructed from scavenged scrap. • Violent crime, though falling, still costs the lives of over 20,000 people a year - and armed-robbery, car-jacking, rape and aggravated burglary are the stuff of everyday anecdote. Some or all of these are the painful legacies of 50 years of racism, discrimination and neglect and also of the miseries in many other parts of Africa - that make South Africa an incredible melting-pot of nationalities and cultures. 2
- 3. How does the film Tsotsi represent South Africa? What impression of the country do you receive and what clues are there in it about the lives of ordinary people living there? The evidence of poverty The evidence that South and affluence – consider Africa’s capital Johannesburg the logo on Pumla Dube’s and its townships are lively, shopping bag that Tsotsi energetic, bustling places. steals to carry the baby off in – ‘Expect More’. The evidence of strong Evidence of mixed cultural/artistic forces at communities or highly work in the townships segregated communities (consider the language, music (apart from the one white and even the colourful fabrics policeman – why is there and hanging glass and metal so little evidence of white mobiles that Miriam people in this film – produces in her home to crossing Tsotsi’s path?) help make ends meet.) The evidence of pollution The evidence of disease – particularly HIV/Aids (look out for The prominence of crime and violence posters and also Tsotsi’s flashback and the response of the police to memories of his mother) crime and criminals – however young. 3
- 4. Representations and Stereotypes Every time we Representation watch a film, we therefore refers to are not seeing the construction of reality, but ‘reality' someone's version of it. Look at these images and Representation involves using your analysis skills determine what or who is analysing how identities are re- being represented, presented or rather constructed consider how the to communicate a certain representation is meaning constructed. 4
- 5. Representations and Stereotypes A stereotype is a commonly held image of a person or group, based on an over simplification of some observed or imagined trait of behaviour or appearance mise-en-scene performance camerawork framing editing sound 5
- 6. Representations and Stereotypes Character Analysis: It’s important that you are able to analyse the representation of key characters is the film. For revision purposes let’s stick with Tsotsi. Remember the PEE technique. In stories it is often suggested that something significant happens that changes things for the hero forever – initiating subsequent developments. The most obvious such ‘agent’ in Tsotsi’s story is the baby but perhaps there are some 6 other more crucial moments in his story that were just as pivotal: as life-changing
- 7. How far does Tsotsi change over the course of the film? Think about Describe Tsotsi Tsotsi at the at the end of beginning of the the film film What are some of the events that may have caused him to change 7
- 8. How far does Tsotsi change over the course of the film? • 1. Tsotsi stealing the baby. • 2. The killing of the old man. • 3. Boston’s self-disgust and his needling of Tsotsi leading to the fight. • 4. The sight of Boston’s swollen, infected face. • 5. The conversation with Morris – the crippled beggar, underneath the flyover. • 6. The first rejection of Aap. • 7. The second rejection of Aap – when they are in the hijacked car chopshop. • 8. The dream of his mother. • 9. Miriam and her home in the township. Her tale of her husband’s death teaches Tsotsi something about his own crimes. • 10. The memory of his father’s brutality triggered when visiting Miriam. • 11. The burglary of the baby’s home and in particular time spent in the baby’s • bedroom. • 12. Butcher’s discovery of the gun and threatening of John Dube – the father. 8
- 9. Themes and issues 9
- 10. Settings and locations in Tsotsi Consider each What does the setting in the film setting suggest to Describe what it audiences? looks like How does one of the settings relate to the theme or issue you discussed? 10
- 11. Micro Features and their effect Technique Example Effect Cinematography, costume and music Warm golden colours used to show Shows that although it is poor it is also a shanty town (aided by brightly coloured vibrant, colourful place that the African clothing worn, upbeat Kwaito characters call ‘home’. (However at night music played) it becomes more sinister.) Camera shots: Often used to show the shantytown Emphasises the size of the slum. It is High Angle and Wide Shot and/or where Tsotsi lives – rows of makeshift sprawling – we see the magnitude of Crane shots houses and when policemen find Tsotsi’s poverty. His story is just one of many. abandons the car on highway. It also makes it hard for the police to find criminals – they become invisible in the masses. Camera shots: Tsotsi walking on tracks, Two things: Film uses a lot of Tsotsi and gang melting into the 1. Seems stage like – Tsotsi is a Wide Shots held for a long time crowd in the railway station, character in morality play – he (alternated with Close Ups to show The pipes in the flashback has to go through certain Tsotsi’s face) Tsotsi under bridge with Morris, etc episodes and learn and grow. 2. Shows how the characters lives are intertwined with their setting – eg Tsotsi’s life would be different if he did not grow up poor/orphaned by AIDS/ in Soweto’s township 11
- 12. Micro Features and their effect Technique Example Effect Mise-en-scene Tsotsi’s corrugated iron hut is stacked Setting reveals character’s history – with stolen audio-visual equipment life of crime but also practice in townships of ‘making do’- Illegal connection to mains power when he puts on music. Contrast in lighting Warm, earthy colours used for Emphasises the difference in the ‘two township v. cool, sterile lighting used worlds’ in South Africa. We see the to show train station, hospital gap between rich and poor more clearly. The new black middle class (John and Pumla) have access to electricity, clean surroundings, modern amenities. Poor must make do with dirt floors, no running water. Contrast in Mise-en-scene Water pump, use of wooden boxes as Same as above makeshift furniture, houses made from scrap timber in the shanty town. This contrasts with a high-tech security system, high iron gates, spacious modern home with luxurious furnishings. 12
- 13. Micro Features and their effect Technique Example Effect Mise-en-scene Colourful pastel mural of African Shows the ‘myth’ of South Africa that plains with animals in baby’s room foreigners come to see - the savannah, the wildlife. The reality that people want to ignore is the poverty. Music / Soundtrack Booming Kwaito music (modern Creates mood – suggests their tough South African music with hip-hop natures. Music brings to mind US beat, strong bass line and spoken gangster rap – we think youth gangs, lyrics) used when Tsotsi and his gang crime, feeling angry / estranged from walk through township and in Soekie’s society, violence. bar where the boys fight. Sound effects Use of ‘snake rattle’ sound effect Creates sense of fear and suspense. when Tsotsi is following Morris and Highlights the sense of J’burg as Miriam dangerous/crime-ridden. Audience fears for the ‘victim’ – suggests predator is stalking his prey. 13