Culture is the way a certain group of people decide to live their lives. It has developed since the dawn of time and encompasses many elements such as: religion; ceremonies; moral standards; heritage and languages, to name a few. People grow up in different cultures. The reason we all see things differently is because each of us was raised differently; we taught different things and beliefs and different environmental factors influenced us. Making films about a certain culture or different cultures, with their problems and solutions, is ideal for raising awareness for anyone in society who may be ignorant when understanding another culture. People also like things that they can relate to and therefore appreciate films that incorporate aspects of their culture not only to educate and entertain, but also to acknowledge the culture; its history and what it represents. This essay aims to analyze how the theme of culture reinforces the main theme of the film Tsotsi (2005) by examining the cultural characteristics of the film's narrative; character and their behavior; film medium and scenographic elements. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essayA quote from Sir Thomas More's Utopia (2012) reads: "For if you suffer your people to be ill-educated and their ways corrupted from their childhood, then punish them for the crimes to which their early education has disposed them, what else can we conclude from it, except that we must first make thieves and then punish them. » It's a quote that rings true. for many governments in power in many countries, over time. The film Tsotsi (2005) can be considered a crime drama, however, I think it is more of a social drama that deals with crime, being the result of social problems (such as a lack of education adequate; oppression and abuse) due to politics. Tim Dirks tells us that a drama genre film usually deals with important topics that the filmmaker wants the audience to be aware of. The storyline is quite deep and tends to be more true to reality, says Dirks. The film addresses the main theme of survival, which ties in with all the other themes present in the film, such as power and redemption. The name itself is a South African slang word referring to someone who is a gangster or thug. The film focuses on the main character, Tsotsi, and the difficulties life presented to him, which led him to resort to crime. In a newspaper article written by Lindiwe Dovey (2007), Tsotsi, along with several other South African films released after 1994, are referred to as post-apartheid films. This means that the films produced are directly or indirectly influenced, culturally, by the history of the country, says Dovey (2007). In her thesis, she studies apartheid; Shawndee Marie Jenkins (2013), reminds us that colonization is part of the history that has shaped the world we know today. Many countries were conquered by stronger nations who imposed new cultures; beliefs and languages ​​about people. “Strength in numbers” is a phrase that truly holds truth, because one of the main reasons why colonization occurs is that a country that has power must maintain that power and increase it. This is achieved by acquiring more land and people to support you, by hook or by crook. An example in terms of cinema, according to Roy Armes (2006), is the presence of France in Africa. Once theFrance conquered several African countries and as cinema was introduced, the new leaders ensured that films were produced only by the French so that the majority of revenue would always go to the French and not to African filmmakers, writes Armes (2006 ). . Armes (2006) then reveals that several French and European donors were willing to provide funds to African countries for the making of films on the condition that the films were limited to what the donors allowed them to create, namely films. films that present Europe in a positive way. Armes (2006) explains that no film would be allowed to freely express social issues. They could not reveal how the colonizers forced their way into another nation and culture, because that might cause rebellion or scandal. Films also had to be created in all European languages; completely neglecting the languages ​​of the homeland and the people who created it, says Armes (2006). It destroyed an entire culture but through it, a form of cultural hybridity was formed between French and African cultures, creating an entirely new and beautiful culture to enjoy, without ever forgetting how it was formed and continues to form. 'evolve. Jenkins (2013) says that South Africa was one of those countries that was taken over by Western domination and then descended into the nightmarish regime known as apartheid, where there was oppression and inequality between different racial groups. To keep the oppressors, who were actually a minority of the community, in control, propaganda was used to indoctrinate them into believing that the apartheid system was not only acceptable, but good, states Jenkins (2013). ). Lindiwe Dovey (2007) reveals that even Hollywood helped create films that showed the apartheid government in a good light, but eventually began making films that exposed the crimes of apartheid, when I realized they were getting more views and more reviews. money. Even in Antonin Artaud's writings on Le Théâtre et son double (2010), he saw culture as a modern way for people to make money and found it disheartening that society had lost the true meaning and value of different cultures in order to render their own progress for material gains. During the opening scene of the film, the wide shot of the township not only serves to give the viewer a sense of where the story is taking place, but the high angles highlight the vulnerability and inferior position of people. who live there as well as the volume of poverty existing in this part of the world. This is a direct depiction of how the oppressed descendants of apartheid still suffer; do not hold any power in the country and whose voices remain ignored. The film is set in a poverty-stricken and dilapidated township, enhanced by the brown and mustard colors that automatically conjure up the idea of ​​“rural” to the audience. This is another reflection of the effects of apartheid and several acts and laws that were passed at the time. According to Margaret Roberts (1994), the Group Areas Act was one such law that was passed and an area known as District Six, being a non-white majority area during apartheid, saw the destruction of many houses when the area was declared “white”. area'. Non-white residents were relocated to the outskirts of the city which became townships. This setting is confronted with that of the two other characters in the film, the parents of the stolen baby. They live in a rich and westernized area. This does not mean that the rich do not commit crimes and that thepoor people do it, but rather emphasize the fact that if a government does not help its entire people, it cannot do it. the desperate do what is necessary to survive. The baby's mother, who becomes paralyzed after Tsotsi shoots her, could be symbolic. This could mean that there is a huge gap between the rich and the poor and that it is not enough to live life accepting it as it is, but that people need to come together and make a plan to help the poor to get out of their situation. Without this type of progress, we are crippling our own future. Jordache Ellapen (2007) believes that the reason for banishing the black population to the townships during apartheid was to hinder their progress in life. This was not possible because the mixing of races was inevitable. People who have not been part of the townships will never see it as Ellapen (2007) argues, however, that it is anything but a place in which the black population was also confined and where no progress has been made since then. of apartheid, thanks to the mixture of people who went to urban areas to work and the rural population; a new cultural hybridity was formed. Ellapen refers to a scene in the film where poultry eat in the dirt right next to a very modern car – a direct reference to the results of cultural hybridity. Ellapen (2007) states that even years after the end of apartheid, the effects remain. . Conditions in the townships have not improved, with rudimentary housing; poverty; hunger; lack of adequate education and crime still play a large enough role in convincing people that these aspects constitute what constitutes a township - even if it is a stereotype. A film like Tsotsi (2006) shows audiences that even though the "struggle is over, it will take a long time, if ever, for full equality to exist for all." The theme of survival is evident throughout the film. (2013) states that Tsotsi, real name David, has been trying to survive since childhood when he lost his mother and rejected his drunken father after seeing his father mistreat their dog. Jenkins (2013) brilliantly compares abused dogs to apartheid youth by stating that they are just as helpless and innocent, but nonetheless experience pain and must either adapt to the situation or die. Tsotsi had to grow up committing crimes on a daily basis in order to get food or money to continue living. Members of society itself must try to survive the crime that gangsters like Tsotsi commit on a daily basis. In one of Tsotsi's hijinks, he steals a car with a baby inside. Now, not only does Tsotsi have to fend for himself, but in a moment of sympathy, he decides to take care of the child and help him survive as well. The theme of redemption is also present in the story, however, it is rather contradictory or ironic, says Dovey (2007). Dovey (2007) points out that during apartheid, the Christian religion was imposed on the natives. One of the teachings of this religion is to find redemption and the narrative focuses on Tsotsi doing just that, but for his crimes he conveniently forgets to address the fact that the apartheid government and the injustices that he committed needed to atone and recognize that maybe this is the case. the cause of many crimes committed. Antonin Artaud (2010) talks about culture as a pure thing that corrupts over time and needs a devastating event to start again and revisit what culture really represents. Tsotsi's character shows evolution as we see Tsotsi go from being a criminal to being a heartthrobcold who would commit murder to one who suddenly feels remorse for his actions. Even if he is harassing another mother to breastfeed her child, he is doing it with good intentions for the baby. Tsotsi sees a lot of himself in the baby and begins to think about his origins, who he really is and his identity. Facing old man Morris in a wheelchair, Tsotsi is confronted with the fact that he has a lot of power and could take Morris' money and life in an instant, but he realizes that he also has the power to spare his life, after recalling his father's abuse of his dog. Another example is when Tsotsi shows remorse for violently attacking his friend Boston and reminds him that he has always been a friend to him and wants to help him - Tsotsi's version of apology. Tsotsi also takes the life of his own partner, Butcher, in order to save the life of the baby's father, John, because he knew that killing John was not the right thing to do. In a final act of redemption, Tsotsi decides to return the baby to his parents; in doing so, they submit to the law. If the low angle shot mentioned by Dovey (2007) does not directly show the redemption of Tsoti's character and his remorse, then there is a visual excuse in the tears streaming down his face, which is certainly the case. In one instance, the audience is presented with a flashback to reveal who Tsotsi really was before he became a criminal. He was an innocent child. After life's experiences push him down the wrong path, he becomes the terror he is in the film and it's only after a life-altering event where he realizes he's stolen something as pure as a baby and that he could have killed his mother, which Tsotsi begins to revisit. their identity and begin to make a change for the better as Artaud (2010) suggests. One aspect of this film that helps depict this transformation is the medium of sound. The film intelligently uses music rich in a part of South African culture which further enriches the themes. According to Michael Hatton (nd), at the beginning of the film, while Tsotsi is the ruthless gangster he appears to be; the use of raw and gruff Kwaito music is used to reveal what type of character Tsotsi really is. The public will understand that he is someone who should not be taken lightly. This contrasts with the end of the film where Tsotsi feels remorse for what he has done and returns the child. The music played is almost operatic or orchestral and evokes emotion. This represents how Tsotsi feels; how he changes and perhaps foreshadows who he will become if he can get a second chance. Tsotsi's transformation, however, shows us that even though he was a product of his childhood life experiences, he still had a choice. A person, regardless of circumstances, can always choose to do the right thing because there is good and bad in them. An example of this is the aesthetic value and meaning of the hanging ornaments she makes. This shows that there is simple honor in her poverty and that she takes pride in transforming things that someone might consider junk into something beautiful. She even sells her works to make money instead of resorting to theft. Tsotsi sees the colorful hanging glass as simple pieces of broken glass, but Miriam tells him that the colors reflect on him and that they are beautiful. The audience understands that this means that there are many different sides to a person that one might not see at first glance. She could have seen Tsotsi as a criminal and a tyrant, but she could also see that he had a more gentle and caring nature. It reminds us not to judge a book by its cover and not immediately pass judgment..