Tsotsi

Question 1

Who is Tsotsi?

Answer 1

Protagonist: The eponymous character and the one who, arguably, shows the most growth and reflects the themes the most clearly. Runs away from home after he is left with his abusive father due to his mother dying from an undefined disease (but heavily hinted at being AIDS). As a young child David lives with other homeless children in construction pipes.
The film focuses on him years later as a young adult and a gang leader, now called Tsotsi. After being involved in a murder he accidentally kidnaps a 3 month year old baby.

Question 2

Who is Miriam?

Answer 2

Mother to a young child, she is spotted by Tsotsi collecting water from a public tap.
She is initially followed and threatened by Tsotsi at gunpoint who
demands that she feed the kidnapped child.
Shows her kindness by offering
to look after the child when Tsotsi visits for a second time.
Is, in many ways, a surrogate mother for Tsotsi too, and reflective of the key theme of decency.

Question 3

Who is Boston?

Answer 3

Seen from the beginning of the film as somewhat of an outsider of the group.
He appears to be an alcoholic and the reasons for his addiction seem to
stem from his social situation and a way to cope with his life in the gang and life of crime.
Is, from the beginning, referred to as ‘Teacher Boy’, though was never actually a teacher. Fights with Tsotsi over the murder of the man at the
start of the film and is another catalyst for Tsotsi’s change after his is beaten to near-death by the protagonist Often the voice of reason.

Question 4

Who is Butcher?

Answer 4

Antagonist: The closest the film has to a traditional antagonist, given his
violent nature which often creates issues for the gang.
He is the one who kills the man on the train and therefore shows how prone he is to violence.
He seems to enjoy violence and killing-his first choice in any scene involving crime seems to be to choose violence and specifically, killing.
In some ways
he is the version of Tsotsi he could be if he were to not change his ways.

Question 5

Who is the director?

Answer 5

Gavin Hood

Question 6

When was Tsostsi released?

Answer 6

17th of march 2006

Question 7

Who produced Tsotsi?

Answer 7

The UK Film & TV Production Company, Industrial

Development Corporation of South Africa

Question 8

Where is Tsotsi set?

Answer 8

Johannesburg, South Africa

Question 9

What are the genres in Tsotsi?

Answer 9

Crime; drama; teen drama; coming-of age

Question 10

Describe the key elements of mise en scene

Answer 10

The township and the city are marked by notably different colour
palettes-reds, oranges and browns and grey and blue respectively. Facial expressions during the murder scene give a clear indication of what each character is like and effectively setting up each personality, apart from Tsotsi who, at this point, is difficult to read. Tsotsi is often shown away from the group or isolated in some way. Production design of locations is quite broad but very useful; Tsotsi’s shack shows poverty, Miriam’s shows warmth, the Dube’s shows wealth, the train station shows cold alienation and lack of personality. Each is created through colour, props and the overall atmosphere created through mise-en-scene. Costume also used as symbolism-leather jacket, white shirt, tie, all key in conveying ideas.

Question 11

Describe the key elements of Cinematography

Answer 11

Close ups of characters hands feature heavily early on to help establis theme of destiny through use of dice. Audience is often placed within the gang through use of camera angles, shot sizes and movement; the dolly movement is motivated by the gang’s movement at the start of the film, a POV during KS1, OTS shots of Tsotsi etc. Lighting is key-indicating atmosphere as well as theme. Light conveys warmth in Miriam’s shack, hope as the sun rises over the township and despair at night, especially when accompanied by rain. At one point, Tsotsi is ‘half-lit’, suggesting a duality to his character and personality.

Question 12

Describe the key elements of sound

Answer 12

The ‘Kwaito’ music that begins as they leave provides energy and a
contemporary feel as a hybrid between familiar black urban music and an indigenous South African sound. Later, the quiet diegetic sounds are accompanied by music which is the quiet calm of African wind instruments, contrasting with the ‘Kwaito’ in the opening sequence.

Question 13

Describe the key elements of Editing

Answer 13

Flashbacks are used in the film as a narrative device but are skilfully
edited into the film to provide detail. Cross-cutting is also used in a
number of scenes to explore the idea of fate and duality, such as Tsotsi looking at baby David and flashing back to Tsotsi looking at his sick mother. Tension is often conveyed through the editing, with pace manipulated to develop reaction.

Question 14

Recall some context about the film

Answer 14

The soundtrack features Kwaito music performed by popular South African artist Zola, who also stars in the film. Also features the voice of South African protest singer/poet Vusi Mahlasela.
It won 17 awards including Academy Award. Nominated for BAFTA and Golden Globe awards.
Its set in Johanessburg, South Africa. The title of the film comes from urban slang which, loosely
translated, means “thug”.
The novel, set in the 1950s, took place at the height of apartheid. The film features a contemporary
setting.

Question 15

How is Tsotsi represented?

Answer 15

Gangster. Seen in his clothing and violence, especially in the first scenes. Gang leader. In positioning in frame and in body language.. Teenager. His naivety and his inability to drive, his clothing and through use of the Kwaito music, similar to that of hip-hop, synonymous with youth culture around the world. Impoverished majority. Mise-en-scene of his shack.

Question 16

How are criminals represented?

Answer 16

Gangsters. Clothing and body language, especially in their treatment and actions towards
others. Use of Kwaito music at the beginning of the film; it’s similarity to hip-hop draws parallels with generalisation of American gang culture. Teenagers. Again portrayed through use of mise-en-scene and sound. Lost/orphaned children. Without guardians other than perhaps Fela, the concrete tubes and the dramatic use of the AIDS poster suggest these people have no parents and/or role model other than the criminal leaders they cling to for help and support. Uneducated. They have no plans/future and every choice they make is criminal in intent.

Question 17

How are the people of the town represented?

Answer 17

Impoverished but resourceful. Soekie’s bar, the water pump, the colourful shacks, Miriam’s mobiles; all symbols of people who suffer with impoverished conditions but people still show their resourcefulness and creativity. In theory, the majority of people living in South Africa
should now have a say in democracy and a chance to live a fuller life, but are institutionalised in the townships such as this one.

Question 18

Hpw are the police epesented in Tsotsi?

Answer 18

Incompetent. The police don’t manage to solve the crime or find baby David, but theirexcuse is valid-the township is very large. Aggressive. Their treatment of everyone asidefrom the Dubes is very aggressive; they resort to intimidation and aggression instead of being able to solve the crime through competence.
Post-Apartheid. In having policemen who are black and white, the idea of Post-Apartheid South Africa and a move towards equality is seen. However, Captain Smit still takes charge and orders Sergeant Zuma around

Question 19

How are Pumla and John Dube represented? (The Parents)

Answer 19

“Nouveau riche”. Meaning, newly rich. In the last 50 years black people would not be in the
financial position that the Dubes are. For this reason, they represent a type of people and family who are able to be ‘rich’ for the first time. Affluent. Clearly the Dubes are well off, they live in a large, gated home and drive expensive, executive cars.

Question 20

How is Miriam represented?

Answer 20

Single mother. Whilst Miriam is the only single mother we see in the film, she is clearly one of many in the township.
Resourceful. Her ability to make mobiles and other items to make
money shows how she can take rubbish and turn it into money to help herself and her baby.
Homemaker. In contrast to Tsotsi’s home, Miriam shows her ability to create a warm and happy environment that is self for her baby

Question 21

What are some themes/issues?

Answer 21

Decency: Key theme throughout-someone having respect for themselves and others.

Crime: Often seen as a way of life or potentially a way out of poverty; aspirational.

Family: Seen as aspirational for many; only the Dubes are seen as a family-everyone else is
searching for or longing for family.

Responsibility: Many do not take responsibility for their actions; when Tsotsi does he changes and becomes more mature and responsible.

Redemption: Tsotsi tries to redeem himself by putting right the things he has done wrong-there is a
suggestion that others doing the same would be beneficial for them and others.

Apartheid: Segregation still exists, especially between the impoverished and affluent-seen perhaps
best in the Dube’s gated house.

Question 22

Watch the opening scene and make noteson film form.

Answer 22

A very effective opening in establishing character, location, tone and representation. The first scene uses the mise-en-scene to establish that these characters are poor and that one of them lives in a shack. The props of the dice also helps to show how characters pass time, what they do to earn money and how some of the characters are more intelligent than others. The dice game also helps to establish that there is division and disagreement in the group, with some members either not playing or standing away from the game and those that are disagreeing. Dice of course, are symbolic or chance and tie-in
with many of the themes of destiny and having no control over fate. We then see the slum or township and the dusky, evocative colours of the area and as the camera tracks the gang we get to see the poverty, the resilience and the resourcefulness of the people who live there. The next scene is key in establishing that Tsotsi is the central figure. In a long shot he is in the centre of the group and the frame, also walking slightly ahead of everyone. The slightly
tighter shots of his face show that the others in the gang are out of focus behind him-indicating that they’re not as important. We also see Tsotsi’s clothing-a leather jacket and a ‘hoody’-items synonymous with gang culture, crime and representation of teenage rebellion. Finally, Tsotsi wears red which is
symbolic of danger, suggesting that Tsotsi is not someone to be crossed

Question 23

Watch ‘Vistiting miriam’s shack’ scene and make notes on film form.

Answer 23

Key here is the contrast between the style and representation of Tsotsi’s shack and Miriam’s. Tsotsi’s shack is representative of crime, poverty and squalor. It is dark, untidy and for baby David it is dangerous and not somewhere he should be. Miriam’s shack however, is bright, clean and the children there are safe. The
use of light is key; in Tsotsi’s shack there is minimal natural ambient light, making the scene feel dark and unwelcoming. In Miriam’s shack the light is bright, warm and much more even, with little in the way of dark areas of shadows. It represents light and positivity, perhaps most notably in the use of the mobile made of broken glass hanging from the ceiling, in contrast with the
mobile made of rust which not only contrasts but is representative of Tsotsi’s outlook and sadness.

Question 24

Watch the burglary at the house scene and make notes on film form.

Answer 24

An excellent scene for highlighting how each of the gang members are
represented. Aap’s naivety is represented through his friendly manner with John Dube and trying to have a conversation with him about wine. His lack of understanding about wine also demonstrates his ignorance and unfamiliarity with a world which doesn’t drink to get drunk. Butcher’s desire for violence can be seen in his aggressive nature towards John Dube, again highlighting the difference between the two. Finally, Tsotsi’s change and path to redemption is seen in his quest to not find money or valuables but instead things for baby David. The mural of the African jungle is significant, as it highlights both an
idealised representation of Africa and an idealised version of childhood. Tsotsi’s upbringing was not like this and the contrast between where he grew
up and this, is scene through the production design of the bedroom, especially in how clean, tidy and comforting it is to Tsotsi when he’s in the room. It is symbolic that what takes him from this is the sound of the alarm, triggered by crime committed by the gang he is supposed to be in charge of.

Question 25

Watch the ending scene and make notes on film form.

Answer 25

The final scene makes clear how Tsotsi has changed and become someone who taken responsibility for his actions and who wants to atone. This is most notably seen in his clothing; his previous gangster clothing now replaced with
a white shirt, which is symbolic of innocence, purity and also surrender which is what he does with baby David. The use of key lights places focus on characters rather than the surrounding scenes, emphasising that place and surroundings aren’t necessarily important if your actions are morally correct.

Question 26

What are some example of social context in Tsotsi

Answer 26

Set in contemporary South Africa, in the township of Soweto, where post-Apartheid survival is still a fraught process for many South Africans, who struggle to get out of poverty. Tsotsi (a nick-name meaning ‘thug’) has no access to the new South Africa so he seeks to take it with violence and threat.
• The stereotypical representation here is not specifically South African, despite the culturally specific term. The urban black violent criminal posing a threat to the comfortably wealthy is familiar from films of many contexts including Hollywood and the UK.

• The interesting thing about Tsotsi is the impact of the baby on his character and the transformation it causes him to undertake. The drama in the film comes from Tsotsi’s
emotional inner conflict rather than the physical external conflict typical of crime films.

• The co-existence of poverty and affluence in modern day South Africa, symbolised
effectively by the gate with which the Dube’s attempt to protect themselves from people
like Tsotsi but which John Dube opens at the end as he calls Tsotsi ‘brother’.

• The theme of ‘decency’ and the exploration of the roles of mothers and fathers as carers.

Question 27

What are some example of historical context in Tsotsi?

Answer 27

Films are a product of their historical context. The original story (in the novel) of Tsotsi was
set in the late 1950s, at the height of apartheid. This was the system by which the white
minority in South Africa ruled over the black majority and denied them the right to vote
among other things. The film, however, is set in a post-apartheid South Africa which allows it
to represent themes that are common to many black people around the world – themes that have
expressed themselves in the recent ‘Black Lives Matter’ movement in the USA and elsewhere.
It is nevertheless a film born of the history of Africa and more specifically South Africa.