A leading example of a resurgent Latin American cinema -- 'la buena onda' -- in the early twenty-first century, City of God was a huge international popular and critical success. A combination of intoxicating, Hollywood-style genre film-making and hard-hitting, social-realist subject matter it was hailed as a masterpiece at Cannes in 2002 and seen by over 3 million people in Brazil, including the Brazilian cabinet. In Studying City of God, Stephanie Muir considers: The historical and industrial context of City of God -- a brief history of Latin American cinema is followed by a more detailed account of film-making in Brazil -- from light-hearted travelogues to Cinema Novo and after -- all in the context of increasing globalisation,
Narrative and Genre -- how the film uses the components of narrative in a complex way, ex-perimentally manipulating time while using traditional genre conventions that are highly recognisable to mainstream audiences,
Film language -- the formal elements of the film are dissected through a detailed illustrated analysis of the kinetic, scene setting opening sequence,
Audience responses -- from establishment critical reaction to fan-based Internet sites and student feedback,
Representation and Ideology -- just how 'authentic' can a film such as City of God hope to be? Does its style overwhelm its subject matter?