By Jean-Pascal Soudagne
A old journey of Verdun
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1335 CINEMA AND NATIONAL IDENTITY target of police death squads. To tell the story, Babenco adopted a textbook neorealist style, shooting on location in the favelas, casting nonprofessional teenagers in the film’s lead roles, and developing storylines that came from the actual events the young boys experienced in their lives. The rawness and authenticity Babenco achieved in presenting his brutal and shocking material made the film an international sensation. Of all of neorealism’s many afterlives, perhaps the most significant is the way it helped shape filmmaking in the Third World context.
When Los Angeles police officers stopped Rodney King for a minor traffic violation and ended up brutally beating him, a witness with a store-bought camera managed to capture the incident on videotape. The images of the beating were quickly disseminated via television across the nation and, indeed, the world. What ensued was a vigorous national debate about the persistence of structural racism in the United States and the precarious social status of the young black male in America—issues that had been largely ignored in the official national media culture by both cinema and television.
2005. ” Film Quarterly 58, no. 4: 16–26. com ABC-CLIO 1-800-368-6868 Constructions of National Symbolic Spaces and Places: The State of Place in Identity Brian S. Osborne Political independence, the implementation of centralized systems of power, the development of a military capability, and the consolidation of territory all contribute to the functional organization of people in a state. But the formation of a state nationalism requires the evocation of the ideas, myths, and dreams that comprise the nonrational core of national identity.
A Historical Tour of Verdun by Jean-Pascal Soudagne