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Analysis Of Amores Perros

3465 words - 14 pages

,Compare and contrast the narrative structure of at least two of the films studied. Your answer should also evaluate the reasons why these structures were chosen.
Since the commercial success of Alejandro González Iñárritu’s Amores Perros in the year 2000, there has been an indubitable resurgence in the amount of interest in, and amount of films being produced within Mexico. This picture, as well as Y Tu Mamá También (2001) by Alfonso Cuarón both received worldwide acclaim and have set a high benchmark for the other Mexican releases since the millennium to live up to. This essay will explore the prominence of narrative structure in the aforementioned Amores Perros (2001), as well as Amat ...view middle of the document...

Whilst analysing the films narrative structures, reference will be given to the technical aspects employed in the film which accentuate meaning and allow the directors to implement their own styles.
Firstly, the theme of violence is an inherent facet of each of these films. As already stated, violence plays a part in a film’s underlying structure and it plays an integral role in its ideological process. Amores Perros employs violence as a medium through which the story takes place to move forward. The viewer becomes habituated to the savagery of gang warfare and it is used as a tool to evoke a sense of excitement among the audience and is indicative of the socioeconomic climate in Mexico City. Dog violence is seldom seen within film and in Amores Perros, its presence contrasts with the violence between humans. Violence is not only a tool for adding excitement and pacing to a story, but also it was utilised as a conduit for Iñárritu to express his lugubrious vision of Mexico and to attract mass spectatorship. A pertinent example of the use of violence in Amores Perros is the scene in which Ramiro is kidnapped and badly beaten. A contemporary pop-song is playing over the scene and the beating is juxtaposed with a sex scene. Violence appears to be the status quo, used to contrast the different social-economic backgrounds that exist in Mexico City and to delineate the films pertinence to the action genre. Furthermore, Sánchez Prado (2006) writes, ‘all of the manifestations of violence in the film are direct consequences of moral actions and are never interpreted from a social point of view’. Violence becomes an inherent part of Mexico City and is portrayed as a ubiquitous presence. Interestingly, Iñárritu has publically stated his dislike for some aspects of Mexican art-house cinema. In an interview entitled ‘Pup Fiction’, he claimed that they do not allow the audience to connect emotionally with the film, while his aim with Amores Perros was to rattle and entertain the audience. It appears that his choice of an eclectic mix of contemporary pop and rap music, along with the fast paced violent side of the film are some of the principal reasons which attracted wider audiences to the film. Shaw writes, ‘this desire to please the audience has borne fruit in terms of profit, with three films including Amores Perros’ and it is evident that Amores Perros gives us an example of a film that has thrived thanks to its commercialistic roots.
On the other hand, In Los Bastardos, an art-house, avant-garde production, violence is employed with an inverse affect. Violence is employed as an implement to create pathos and disturb the viewer, rather than as a way of adding excitement to the story. The majority of the film’s plot points take place during the break-in. After the younger of the two Mexicans fatally shoots the American mother, the viewer is left in a state of shock and is left wondering and questioning Mexican-U.S. immigration issues. Amat...

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