Arachnophonia: City of God

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student manager Griffin (class of 2027) and features the 2002 film City of God. Thanks, Griffin!

City of God

City of God

Based in the favela of Rio de Janeiro, City of God is hard hitting and captivating from the first frame. Loosely based on real events, we follow the lives of a group of boys and their experience growing up in poverty and surrounded by crime.

Although the story jumps around to different perspectives, we mainly follow Rocket who has grown up alongside other boys from his slum. The film masterfully gives depth to the juveniles for their choices as they attempt to escape impoverishment from the limited options. Inevitably, their cruel and demanding childhood leads to gang activity and crime.

Filmically, we quickly are thrown into this whirlwind and quickly submerge into the setting. The world is beautifully pictured simultaneously putting Brazil on display but also having gritty, up close shots of what it takes for the characters to survive. Lively music is used throughout the film, putting their culture on full display. The editing is snappy, making the just over 2 hour movie feel half that length.

The plot points of the movie raise interesting questions, especially with Rocket I found. He is an aspiring photographer that tries to distance himself from criminal activities. But in doing so, he cannot perform as an upstanding citizen and often turns a blind eye to crime. It brings to question the morals of documentarians such as the ones creating the film who interviewed and captured real crime in their recordings. More obviously it makes the viewer think about the ever present circumstances and repeating cycles of crime.

These elements together craft a compelling film that is well deserved of its BAFTA Award for Best Editing it won in 2003. I highly recommend checking City of God out at the music library.

Arachnophonia: Drawn to Sound

Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student assistant Isaac (class of 2025) and features a collection of essays about music in animated films. Thanks, Isaac!

Drawn to Sound: Animation Film Music and Sonicity edited by Rebecca Coyle

Drawn To Sound book cover

Animation as a medium is something that has always intrigued me. Inherently having limits differing from traditional film, animation’s visual spectacle sees itself as a source of disagreement. On one end, you have supporters celebrating the composition of the visuals, but on the other, critics viewing it as a commodification of drawing, reserved for children. Regardless of viewpoint, however, is the music in works of animation. Masters of animation music use the medium in conjunction with what is on the screen for an expressive statement.

This book piques my interest for its breakdown of the works of these very artists, auteurs like Hisaishi have created works so fitting they have become indelible from what is on the screen. Sublimity is unequivocally achieved because of these scores, I often reflect most heavily on the sounds I heard from an animated feature, extending beyond even the most dogmatic of views on what a film “should be”. Editor Rebecca Coyle’s shared admiration for the often-ignored musical elements of these songs is something I was delighted to discover, as the focus of animated films are naturally on the animation itself. But this doesn’t mean music in animation should be marginalized, making this book all the more interesting as it is devoted to animation music. Stylistically, music drive themes in film more subtly than dialogue or visuals–– saturating the viewer in a soundscape is a pivotal role–– and throughout my life, recognizing the importance for these composers made any film an enriching watching (and listening) experience.