Urban Stories address the issues of society at a specific time and place and the films I have studied use its cinematography to portray this. La Haine has a signifiant scene, regarding urban issues when Vinz, a main character re-enacts a scene from taxi driver. His performance is aggressive and violent as he imitates a character from western culture. It is clear that Vinz is desensitised to violence and he is more engrossed with the concept, as there is a sense of him escaping into another character. This is a reflection on the french projects and how society are comfortable living a life of violence because it occurs nearly every day. This scene sets up the issue of the impact western culture has on the french culture because the powerful western ideology is starting to dominate the french projects. This is seen by the mise en scene of adidas tracksuit that both Said and Vinz wear and the influence of diegetic rap music that is played from a stereo on the street. I think this rising western culture is challenging the french motto of 'liberty, fraternity and equality' as throughout the sequences, violence and crime continues to rise which contradicts the french values.
One of the main quotes that holds significance in the narrative is "the world only goes around by misunderstanding." This relates to the french philosopher; Charles Baudelaire who was very well known in France at the time. The narrative is framed around this quote and it appears in the sequence of La haine, where there is mise en scene of a sign with the writing "Charles Baudelaire" in the background of the projects. This shows that France had a very philosophical way of life.
In an early scene of 'La Haine' there is diegetic sound of a motorbike riding around, whilst the protagonists - Said and Vinz walk through the french neighbourhood, which then switches to Vinz's performance of recognising who is riding on the motorbike and what model it is. This is an important scene because it instantly identifies the idea of the french 'projects' being a very close knit community, since there is a sense of familiarity in their society. Following that, the diegetic siren in the background is a reminder that for Said and Vinz, the police and corruption is an every day situation. The mise en scene of Said and Vinz's clothing appear to be Adidas and Nike tracksuits and graffiti walls, representing the American culture and dominating western culture, resulting in less of the french culture. It also brings aspects of multicultural society into play which is a recurring aspect in urban stories where there are over 60 cultures in the projects.
The scene where there is mise en scene of the youth being on the roof in daylight shows that they are unemployed youth with nothing better to do, suggesting that the crime rate in the projects would definitely be higher than if they were employed. You see mise en scene of Said's older brother showing that he has a role model to look up to, identifying the theme of morals coming into the narrative and that the absense of a father figure means that Said only has his older brother to look up to. Said is seen as brotherhood, showed by his performance, which is from the french moto identifying his morals, always keeping the peace between Vinz and Hubert. On the roof, the mise en scene shows the boys performance where the camera is at eye level meaning there is equal conflict, face to face, leading to the suggestion of multicultural equality in the french projects and that no one has an unfair advantage. During the conflict on the roof, the camera recording at the back of the group implies that the youth have a media influence, where everything is documented. This is backed up later on in the film, where there is mise en scene of an active TV in the background. This highlights how the community in the projects are obsessed with the media, as well as Vinz learning american culture by movies and his performance shows how he mimics other idols. This link to the idea that 'the world only goes round by misunderstanding' and that conflict is caused by the westernised culture and the influence of violence originates from that. The shot moves to a mise en scene of a digital clock with diagetic sound of ticking, instantly foreshadowing a coming danger and unease in the narrative because of how a clock shows progression, indicating a sense of urgency. On the other hand, the clock in La Haine could highlight the fact that the youth are doing nothing with their life and it is infact just a recurring motif to symbolise how monotonous life in the french projects is. There is a repeated mise en scene of a media screen in Vinz's home with his back facing it. This shows that Television and American culture is always in the background of his life, perhaps suggesting that it is a form of escapism for the youth. The message behind the media is that society in the french projects are captured in the form of the expected stereotype and that the characters of Vinz, Hubert and Said are not always aggressive but the media picks out those moments to prove that youths are portrayed in a negative light. This then gives a good reason for conflicts to always be happening. Mise en scene of Vinz mimicking his idol from 'taxi driver' shows his performance as aggressive, fitting the stereotype.
City of God directed by fernando Lund has many issues relating to urban stories throughout its sequences. In the opening sequence, there is mise en scene of an extreme close up of a knife being used, with diegetic sound of a blade following. This instantly sets up the argument that living in the favela's is like living on the edge of a knife. The theme of violence is set up from the start, addressing this as one of urban stories issues. The close up of a chicken surrounded by mise en scene of fresh produce in the favela market is significant because during the shot there is an extreme close up of caged chickens. This shot represents the key theme of entrapment. The cages represent society and characters like Rocket and Benny in the favela's being imprisoned in a reality that prevents change or transformation, a recurring theme in urban stories. This inability for change reflects off Lil Dice's character, where he becomes more corrupted as he grows up and remains stuck in a violent ideology. This is shown by the performance of Lil Dice smiling as there is a close up of him shooting women who are tied up in a local hotel. His performance of him laughing shows that he is desensitised to violence and is trapped in a violent ideology that is cyclical in the narrative, further enhancing the entrapment of lives. His upbringing has shown him that the only choice is a life of crime and violence, trapping him in a corrupt society.
This idea of having no choice or free will is highlighted through a later scene with the Runts and Lil Ze tormenting the two boys. There is a mid shot of a runt holding out his hand, whilst the camera cuts to Lil Ze telling him to choose a hand or a foot. Though the runt chooses his hand, the camera pans down and he is shot in the foot. This grotesque and disturbing shot indicates that in the favela's nobody has a choice and they will always be undermined by someone higher up in the power hierarchy. This issue of power and conflict is common in urban stories and it is usually a catalyst to the corruption that unravels in society. Additionlly, this idea of no choices is presented through the performance of Steak and Fries who is told to shoot one of the runts. This concept is very common in City of God, where it is 'Do or Die.' You had to abide by the corruption or get killed yourself. It shows just how easily a society in the favelas could be manipulated.
In Chung King
Express, there is mise en scene of a long shot of the midnight express café,
with 663 sat down on the floor. The smudge motion shot shows that it Is
uncertain of how much time has passed, yet 663 still stays sat in the same
place. This indicates that living in Hong Kong
(Chung King Mansion) leaves room for little productivity and alike most
urban stories, there is a key theme of lethargy and no prospects. This shot
also shows that individuals can’t move on as they always have the same issues and
as the world moves on, characters such as 663 are stuck in the past. This is
because the place restricts freedom and resolutions, which is often a social
issue for individuals in urban stories. When 663 takes the letter, there is a
close up of loose change on the counter, suggesting the key motif of changing
the way you are. However, the constant smudge motion, shows that 663 cannot
move on from his past and so does not open the letter. This inability to move
on is one of the main issues for living in Hong Kong, where the city as the
protagonist prohibits any change in individuals but also in their ideologies
and materialism. The diegetic radio that continuously repeats ‘California
dreaming’ throughout the sequences shows this.
In the scene of
Faye and 663 walking down the streets in Hong Kong uses hand held camera
technique and natural lighting to highlight verisimilitude and a documented
style, in order to portray realism. The film, Chung King Express, directed by
Wong Kar-Wai had no permit, resulting in people looking into the camera, a
contrast to mainstream cinema. The market people recognized Faye as she walked
down the street, which not only gave a bigger sense of realism but you can also
recognize that Faye is a well known music star. This links to urban stories and
how many of the actors on screen were not professionally trained, which added
to the verisimilitude.
The mise en scene
of a crowded market population highlighted that there are millions of people in
Hong Kong but the key theme of loneliness and isolation is addressed.
Individuals carry on with their day to day lives and the realism shows that a
large population doesn’t mean there won’t be the feeling of isolation. It is a
major issue in urban stories and a continuous issue in Chung king Express,
resulting in barriers to romantic encounters and positive encounters because of
the urban environment hindering change.
This shot also shows just how easy it is for
people to rub shoulders with one another and encounter many cultures and social
backgrounds. Urban environments address the verisimilitude and documented style
that opens up Hong Kong to a variety of social and cultural issues, highlighted
in Chung King Express. 
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