The cinema, as vehicle of communication in mass is producing of directions, it not only represents the reality, reconstructs as well as it, ressignifica, it defines experiences and experiences, and it erects other realities. According to Ines Teixeira and Jose Lopes, the cinema is an art of the memory, of the individual, collective memory and historical, it creates historical fictions and realities. (2003). In this manner, we can affirm that the cinema is an art (not obstante the massificada cultural industry) that it makes possible varied types of subjetivao and sensitization. See more detailed opinions by reading what Stitch Fix Kids offers on the topic.. A creative act, looks and ideas in images in movement, by means of which we understand and we give sensible to the things, we ressignificamos as well as and we state them them. In the cinematographic production, the beginning of organization of the collected information he is dramatical and aesthetic, as much for the beauty of the plans as for the cinematographic narrative, being that the same one possesss a polissmico informacional character and if constitutes as an open speech to some interpretations. This speech longs for to express a direction (s) (in) to be found (s) in the tracks of the signs (carrying of meanings) that in them if they reveal. In this perspective, we understand the cinema as construto – not neutral and not passive – but pregnant of scienters, of the values and contradictions its time.
As above-mentioned the cinema is a way to look at, to understand and to express something. In this direction, as she has been understood, the violence in the slum quarter in Brazilian films meant and express, namely: City of God, 2002, directed for Fernando Meirelles and Ktia Lund; Stolen dreams, 2010, directed for Sandra Werneck and Falco, Boys of the Traffic, the directors Mv Bill and Celso Athayde. In the ficcional narrative City of God, the violence, as well as the subordinate classroom is presented as spectacle.