Introduction Strictly Ballroom is an exciting text to study within the conceptual framework of ‘belonging, It explores the problems which arise when belonging is base! on the false values of enforced conformity, fear, coercion and blackmail. The nanative challenges these values by ultimately celebrating the concept of belonging arising from love, trust, honesty, integrity and courage. The film explores the conflict between these two sets of values 2s we view Scott Hastings’ struggle to find where he belongs. Strictly Ballroom wes originally devised and developed by the original cast as a NIDA stage production. NIDA is the National Institute of Dramatic Art, attached to the University of NSW and the iraining institution of many of Australia’s most famous actors such as Mel Gibson and Nicole Kidman. The production was then further developed by the Six Years Old Company before it was written as @ screenplay. The film that you are studying is the culmination of much collaborative work from an original idea by 822 Luhimann. Luhrmann and a group of friends with ballroom dancing backgrounds developed the idea for the original story. He had grown up in the country where he was introduced to the fantasy of ballroom dancing. There was travelling and glamour associated with it and the dancers worked all day and then dressed in fantastic gowns to dance at night. They'd spend their weekends traveling from place to place, competing, Luhrmann’s mother taught ballroom dancing socially ©The LEARNING CURVE Tristram Miall and Ted Albert approached Baz Luhrmann in 1988 to tum the 50 minute stage production into a film, After much discussion, they made the decision to keep the plot simple because they believed that in simplicity lay its strength, Too many distracting sub-plots were avoided and three main themes were focused on: * growing up + freedom to express yourself + lost opportunities. What this allowed the writers to do was create a story about a young couple who defy the restrictions of the established order, fing love and are ultimately successful as judged by the audience's reaction to their dance at the end of the film. The story aiso provided an allegory* of the growing up of Australia as 2,nation with the freedom to express itself and embrace the cuttural changes, which were occurring at the time. *An allegory is the treatment or representation of an idea in a narrative such as using Scott and Fran to represent the new post-war Australia This focus on a single narrative, even though it operated on two levels, gave the film energy. Fran and Scott represent the tuture and are contrasted against Doug and Shirley who represent a past damaged by the restrictions of an oppressive dance Federation. Barry Fife represents the Dance Federation which is similar to an Australia of the 19505, frightened of the outside worid, uncertain where it belonged in the post ‘Wor'd War Il global community. HSC ENGLISH Area of Study BELONGING &6 when you view the film, it would be advisable to focus on three key questions: 1. How ib belonging represented in the text? 2, How are the idees about belonging developed ip the-text? 5 ign does ele ucase of ve temccnvcloy and convey these ideas? WS Before you view the film, think about the title. The title, Siricily Ballroom, is en unusual combination of words, a) What do you think the word “strictly” means? Look it up in a dictionary and see if the dictionary definition is like yours. ) What image do you have in your mind when. you see or hear the word “bellroom”? ©) Now put the two words together. What ‘meaning is created by the title? Ts there anything unasual about the combination of words? Do they appear contradictory? Why? Cast and Crew Tristram Miall Producer Baz Luhrmann Director Baz Luhrmann and Craig Pearce... Writers Paul Mercurio... Scott Hastings ‘Tara Morice Fran Bill Hunter. Barry Fife Barry Otto.. Doug Hastings Pat Thompson. a» Shirley Hastings Gia Carides. Lia Holt Peter Whitford Les Kendall John Hannan... Ken Railings Pip Mushin.. .-Wayne Burns Strictly Batiroom deliberately focuses on cinematic form and narrative structure in its pseudo- documentary construction, The curtains that open uring the film’s opening sequence also draw attention to what follows as merely performance. This theme runs throughout the piece as people from all walks of life are shown for what they truly are, although their pretentious, self-centred facades may suggest otherwise. The obsessed ballroom dancers portrayed in the film are performers playing the part of performers. The film is much, like a staged performance, cramming a number of loud, over-the-top caricatures into each frame along with dramatic set dressing, complemented by traditional theatrical devices such as direct, address and narration, It stars Paul Mercurio as Scott Hastings, the budding, champion ballroom dancer who dates to step outside the Dance Federation's strict guidelines. He challenges the rules of what it means to belong, takes on the establishment - and wins. vi? View the film in its entizety without interruption. WM Now view the film again but taking careful notes ‘of what is occurring and how, through the narrative, the characters and the technical devices, Luhrmann influences the way in which we view characters and events. You may wish to use the following as @ guide. The running sheet which follows does not look like a film running sheet because the frenetic pace of the movie lends itself to a scene by scene breakdown more in keeping, with theatrical tradition than film. There are questions to answer which will assist you in analysing the film more closely. Timing occurs from the first sound of music (The Blue Danuibe Weltz”) on the black screen. Reading a film Before analysing the film, remind yourself of the techniques used by the director anid writer to influence your understanding. The following may help: Camera angle and positi ‘There are a variety of camera angles used and these suggest what the director wants you to see, affects {your perspective of what is happening in the shot and manipulates your understanding of events, people and objects. The various types of shot are: + Extreme close up (XCU) where the lens is very close to the face or object. When the camera is in XCU on the face, itis to show the audience what is really going on with a character's persona, often to sympathise. In Strictly Ballroom, you will note that Luhrmann does it to also make a character appear frightening, for example, Barry Fife, Close up (CU) is similar to an XCU but not to the same extreme. It often includes shoulders and whole of face and again manipulates the viewer into sympathizing with or rejecting the person whom the lens is focusing on, ‘High angle is when the camera is above its object and looks down on it, putting the camera ina position of power and disempowering or ‘weakening the object or person below. in ©The LEARNING CURVE+ “Law angie is when the object or person new aesumes a pasition of power because the camer, is looking up at it. If shadowed lighting is used with this angle, it appears as if the person is @ predator or evil. Note how Luhrmann uses this when showing the judging panel in the ballroom dancing scenes. Tt tends to collectivise the judges and implies that they “belong” in this world of the Dance Federation and have the power to include or exclude others + Parining occurs when the camera moves gently across the scene, «Long shot distances the viewer from what is being filmed and acts as the opposite of a close up in that it does not position the viewer to feel sympathy. Luhrmann also uses it effectively to create parailels in some scenes such ~ the rooftop scene when Fran and Scott are dancing under the coca cola sign while Doug ances in the studio below = the exhibition dance with Tina Sparkles and Nathan dancing for the audience while Scott and Fran dance backstage. Point of view shot 4 point of view shot occurs when the camera becomes the eves of the character and the viewer sees what the character sees. Lighting Lighting affects the mood of a film. Fistly, determine whether the lighting appears natural or te theatrically, Luhrmann's film plays with lighting effects to heighten the images being created. The more natural the lighting, the more open and trustworthy the message. The use of harsh theatrical lighting influences our perception that the world of ballroom dancing under Barry Fife’s Pederation is false. The use of shadows and. darkness intensify moods of fear and suspicion. Montage A montage is the piecing together of scenes. Music ‘The music of the film influences our perception of the mood of a scene, It is integral to a film on. ballroom dancing but the auclience is shown, in the bbackyard scene at Fran's house, that the music is secondary to the rhythm and thaf comes from the heart, Noie also the love song at the end of the film which acts to bring everyone together. © The LEARNING CURVE Sound Sound can influence the way the audience reacts to events or manipulate its perception. This is particularly noticeable in the opening scenes with the juxtapositioning of the “Blue Danube Waitz”, one of the world’s most famous musical pieces against the strident voice of Shirley with her “Cann 100” Costume Costume is used by the dlirector to establish the wo worlds of Strictly Baio. IF you belong to the ‘world of ballroom dancing, your costume is ashy, exiteme and, even off the dance floor, it supports the caricature rather than the character. Note especially the costumes of Shirley Hastings and Liz Holt when they are in the studio or supposedly “natural” scenes such as when Liz is in the spa with Ken Railings. Those who do not belong in this world wear ordinary clothing or clothing that is culturally authentic such as the costumes worn by Fran and Scott in the closing scene. Make-up and hair Like clothing, the use of artifice in hair and make- up either includes or excludes a character. Characters whose hair is artifical or dyed and gelled and blow dried into absurd hairstyles are identifieble as belonging. Those whose hait is natural are identifiable as not belongi Setting ‘The setting in this fiim combines the theatricel staging of the baliroom dancing world and sets it beside the more natural landscape in the city, the backyard and along the streets. Even the world behind the ballroom dancing stage fuctuates between the artificial and the real. This becomes important in how the audience perceives the characters and judges them. Icons/symbols/motifs ‘These take on representative value in the film and enhance the theatrical setting that Luhrmann is creating, There is a distinctly Australian feel to the film which creates a sense of belonging for the audience. The Hills Hoist clothesline on the roof is one striking example of this. Language devices Language defines characters and shapes our perception of them. The world of the Federation is cone of clichés and this is best exemplified in Bazry Fife and Les Kendall. There is also a strong use of Australian vernacular, particularly sporting expressions, and this adds to the humour which pervades the film as the audience studies the absurdity of glamorous people screeching support of dancers.The film Scene 1: Opening Tities and the Waratah Championships [What is happening Belonging |The music begins and the lights come up to reveal a red curtain, The curteins pull back. The title begins to | appear. Firstly, Stricty, wth the animated twinkling star | on the left suggesting the fantasy/airytale element to | follow. The star grows and brightens and writes the word, Ballroom and this light then takes the viewer into the next frame where we see dancers! feet. The image Of two men giving each other “high-fives” subverts the elegance of the previous moment where a couple was dancing Two couples move through the doors and the roar of the crowd is heard. They move onto the dance floor, present and curtsey to the committee of the Australian Dance Federation who are elevated on the stage. The camera cuts to short sequence of images of each couple: + Liz and Scott + Vanessa and Wayne + Pam Short and Ken Railings ‘They begin waltzing, very stfly, as they circle to the music. Their smiles, hands, heads and bodies are in fixed positions for competitive effect. “The committee behind the table looks down on the ancers. Bary Fife, Federation President, is in the central position, flanked by Les Kendall and Charm Leachman Shirley Hastings suddenly breaks this introductory scene in all ts stylized wonder with Come on 100 totally subverting the glamour of her persona and the whole event. who belongs in this world and who doesn’t. of costume, make-up, hair, the lighting and Be HSC ENGLISH Area of Suudy BELONGING TThe music which opens the film is "The Blue Danube | Waltz", composed by Johann Strauss (1825-1899). | There isa strong interplay between light and shadow. | ‘The camaraderie between the dancers backstage immediately establishes a connection between them, a sense that these people belong together, united by ‘8 common passion for dance. The camera pans from the dancers’ feet to full body shots but does so in siow motion and the characters are in silhouette. The first introduction of colour is in Liz's costume as the light catches the edges. ‘The music builds to a crescendo, followed by a freeze | frame on the couples then a dissolve into the next image of them on the dance floor in profile. When Shirley yells out the slow motion ceasesand | the film moves into normal speed. Shirley is costumed like the dancers with a fixed smile, hair, jewelry and make-up. |. This introductory scene is important in shaping our understanding of the characters in the film. Draw up three columns with the headings Name, Appearance and Role. In the first column write the character’s name. In the second column, describe his/her appearance (hair, make-up, costume) and in the third column, what function he or she has at this stage of the film. . The opening scene with the dancers and the spectators establishes for the audience a sense of This Is done through their language, their choice the positioning of the people. Who do you think belongs in this world of ballroom dancing and why? © The LEARNING CURVE[ What is happening a Melée of scenes of feet dancing, dancers twirling. Titles of people appear on the screen Scott Hastings ~ Balircam Champion Doug and Shirley Hastings ~ Scott's parents Shirley end Doug are in their lounge room and she Is sitting forward: he is back, suggesting the roles they will play in the film, She is more active and aggressive and he passive. Shirley refers to the traged of the event and she uses the pronoun mywhen she talks | about my son, Scott, excludes Doug. Shirley Hastings in medium close up on her own bemoaning the fact that Scott did some siliness in front of Barry Fife, Cut to MC introducing Barry Fife who. ‘waves to the crowd. ‘The MC advertises Barry file's video as the only way to dance, Shirley states that there was no doubt that Scott and Liz were to be the next Latin American champions Scott and Liz are now both dressed in yellow on the dance floor doing the Samba, The scenes now cross between Shirley's telling of the events of the night and the events as they actually took place. Ken Railings and Pam Short interfere with Scott and Liz. When he feels boxed in, Scott breaks with tradition and dances his own steps Belonging Close-up of feet, dancers pulling back to an aerial shot of all the dancers on the floor. Cut to documentary style mixing interviews with flashbacks. ‘Medium close-up of a couple. The dominant colour of the room is pink (@ colour traditionally associated with girls) denoting Doug's lack of identity in this environment. Its totaly Shitley’, From the outset of the fllm there is 2 sitong indication that Doug does not belong, either in his home or in the world of ballroom dancing, The photos in this scene are all of couples dancing, There are no natural family shots which you ‘would expect to seein @ family home, ‘The camera on Barty Fite is positioned below him to give him the appearance of power. Note the irony here when we realise that there is an, implied threat in this line that Barry Fife's way is the conly way! Barry Fife determines who belongs and who is excluded. Note the contrast between these costumes for the Semba and the previous costumes for the waltz. Again, a montage of scenes (almost snapshots) of various couples as they perform the dance. The camera shots are random and shor, reflecting the frenetic pace of the dance. There is a freeze frame on the two couples 2s Scott is positioned between Ken Railings and Pam Short. The expression, dances his own steps, comes to take on the added meaning of not belonging. Someone who dances their own steps does not conform, therefore does not belong, Les Kendall, Scatt's coach, describes how Scott and Liz became boxed in ‘The dance floor with the two couples. Liz tells them to piss off. | Kendall speaks again but his tone of voice and his ‘comments show that he does not support what. Scott di Scott breaks out of the routine. Everyone is shacked. {es i in the dance Studio ~ haf body shot with a background of dancers. His wig links Kendall to Shirley Hastings and Barry Fife demonstrating an image of the stylised conformity of Federation dancing. These three belong in this world Note the effect of the language on subverting Liz's elegant look. Kendall: He resorted to his awn flashy crowd pleasing steps. Scott on the dance floor begging Liz to follow his steps. The use of slow motion exaggerates and heightens the importance of this incident, Liz Holt (Scott's partner): Where the man goes the lady mast follow. Scott lifts Liz on to his shoulder, Shirley gasps; the judge with the clipboard shakes his head. ©The LEARNING CURVE EE EES eee eee Se Note the use of the colour, yellow. The background is her bedroom. The camera angle looks down on her and reinforces the idea behind the quotation that the woman is powerless. Note also that she Is Ike Shirley, Barty Fife and Les Kendall in the stylised nature of her dress, make-up and hairstyle. 3. What is the effect on the viewer of characters in film with elaborate make-up and hairstyles? Are you being positioned here into trusting them and/or liking them or is it the opposite? Why? HSC ENGLISH Area of Study BELONGING &What is happening Cut to Shirley Hastings. Flashback to Scott and Liz on the dance floor. Belonging _ Shirley: Did {do something wrong? Flashback to Scott and Liz on the dance floor. Shirley: Fail him as a mother? Flashback to Scott and Liz on the dance floor. Shirley (crying): In front of Barry Fife! Flashback to Scott and Liz on the dance floor. Shirley crying. Flashback to Scott and Liz on the dance floor. The crowd loves the dance. } 4. Think of another film scene in which someone has cried, How did you respond? Are you responding in the same way to Shirley's distress? What is it about this, image of Shirley that does not elicit 2 Les Kendall cannot say what was wrong with Scait's steps. sympathetic response from yout Shirley Hastings is more frightened of Barty Fife. Barry Fife Note the camera shows the direct eye contact between Barry Fife and Scott Hastings after itis announced that Ken Railings is the winner. Barry Fife is positioned behind his desk. The paraphernalia of an important businessman surrounds him: fing cabinets, phone, world, Dance Federation logo ete, | Note the shadows making Barry Fife appear frightening and threatening, He is positioned centrally in the frame, The wig makes him appear ridiculous. Luhrmann. does this to deliberately subvert (undermine) the | viewer agreeing with Shirley and Les that Barry Fife is important, Camera zooms into an extreme close-up right into mouth deliberately alienating the viewer. ‘This use of vectors shows the men’s dislike of one another. Barty Fife's look is one of smug victory; Scott Hastings’ look is defiant. Fran ~Beginner dancer Fran is introduced. Fran is deliberately made to appear ugly with oversized lasses and a red, tlushed face. Her performance heightens our negat of all the heroines in literature, y tales, who are made to appear more “ugly duckling” than “graceful swan”. Fran's interview is immediately followed by her encounter with Scott and Liz at the Championships. Liz knocks her out of the way and then Scott does exactly | the same thing. | HSC ENGLISH Area of Study BELONGING /. Luhrmann is directing our perception of the world of ballroom dancing. The glamour we were introduced to in the beginning is interspersed with ugly moments such as Liz’s piss off. How does this affect our perception of this world and Its characters? This image of Fran marginalizes her. It shows that she is of no importance. Describe Fran’s costume. What effect does the use of costume have on your perception of character! Does Fran belong in this. world? Give reasons for your answer. ©The LEARNING CURVEScene 2 Kendail’s Dance Studio three days later What is happening Juxtapositioning (contrasting) scenes of the dance studio with Shirley and Les dancing against scene of Liz | end Scott arguing. Note the ShirleyjLes scene creates the illusion or image that everything was good at the Championships but the scenes with Liz and Scott show their pactnership falling apart ve got on my happy face, Les. [Belonging Fran has placed wax flakes (a product to make it easier for dancers to slide gracefully over the floor) on the dance floor which results in Fran and Liz falling over, Introduction of tension, Doug tries to help Scott but Scott rejects his help, | Locker room scene with Scott and Wayne, Wayne refuses to show any support for Scatt in spite of the fact that they are supposed to be fiends. Scott siorms through the dance studio but Les grabs him in a dance hold Liz re-enters from the locker room and looks scathingly at Scott. He does an impressive dance across the room to intercept her. Scott dances the tango with Liz and she says, I krew you'd came to your senses. Her words prompt him to begin his erratic dancing which makes Liz furious This tension i shown in change of dance tothe argo | which is a more passionate and dramatic movement. | | The tension is ago obvious in the faces of Shiney and | Les. | Luhrmann deliberately choreographs the dance i movement of Les and Shirley to come between fether_| and son \ This scene confuses Shirley's role of mother and dancer and this creates enough Humour to relleve the possible tension. Lighting. Note the use of shadows to influence your tindestanding of who belongs inthis world and who doesn't } 8. How does Luhrmann manipulate your understanding of belonging through the use of light? Where does he piace those characters whe seer to belong to the world of the dance and those whe don’t belong! Close-up shots of each alternate face. Note that Les dances with Scott, speais to him end interrupts this by yelling at the dancers. Note the script has Wayne and his partner support tes The whole scene is highly choreographed which makes it appear more like theatre than film though the costuming subverts this as it appears more natural Les uses clichés when talking to Scott Remember, it takes two to tango. How does Luhrmann want the viewer to perceive Les! What techniques are used to create this image? Tango music plays, ‘Cut to Pam Short in car accident. Cut back to Ken Railings entering dance studio announcing that Pam hhas broken both her legs and he wants Liz to be his partner. Ken and Liz immediately begin dancing to the Blue Danube Waltz. Everyone in the studio breaks into 2 ‘waltz. Note that Fran dances by herself. Note Shirley's reaction to these events, Her happy face is on in the studio but it is evident from her moment in the tearoom thet she is devastated that Scott has lest liz, ©The LEARNING CURVE Ken’s entrance is accompanied by dramatic music denoting the entrance of the hero. His costume is all white. The word “O2” is printed on his singlet. 16, Where have you seen Ken Railings before and what function did he have! How does Luhrmann present him to ust In terms of his costume and make-up/hair, what other characters is he linked to? Now, focus on the word, “Oz”. Why would he be costumed like this? What could he represent? HSG ENGLISH Area of Study BELONGING & | L.[ What is happening Belonging Doug isin his little room off the studio watching films. This time it is Scott dancing his own steps. Cut to studio and Shirley shutting up. Doug's reaction 10 the film shows his joy and pride in his son. He cennot hear Shirley calling him. Shitley cries and itis Les who comforts her, not Doug. Doug is looking at a photo album/scrap book of a couple dancing but the man can only be seen from the back so his identity is not clear. The woman is Shirley. Doug licks the scrapbook in his own private cupboard Everyone leaves except for Les and Scott. ‘Take note of Doug's cupboard. The few glimpses we have show it full of paraphernalia of dancing: trophies, pennants, photo alburns and film reels, Theresa strong hint of a secret life hidden from everyone The Blue Danube Waltz underscores the dislogue suggesting optimism in spite of Scott having no. | partner, Scene 3: Dance Studio ‘What is happening Belonging Scott moves to the centre of the dance floor, an isolated figure. Scott dances to his own beat (note the heavy percussion), dancing in and out of shadows on the dance floor. He also goes beyond the dance floor in and out ofthe tearoom. Fran spies on Scott. Her smile tells the viewer that she approves of this type of dancing. Fran tells Scott that she wants to dance with him, his way, atthe Pen Pacifcs Scott informs her that they cennot win if they dance his way and, ironically, itis the beginner Fran who tells Scott that to win he needs to leetn how to dance from the heart. Fran admits that she makes up her own, steps as well. Scott's reaction is arrogant. He compares hner lack of experience to his expertise and then rejects her. She follows him across the floor arguing for him to partner her and finally confronts him with the reality that he s just like all the others, too scered to break with tradition. Suddenly Fran dances her own steps (a type of flamenco). Scott is shocked but impressed, Suddenly the roles are reversed because Scott is now the student, Fran the teacher & HSC ENGLISH rea of Study BELONGING He Is hit by a central spotlight which makes him the | focus of our attention but also heightens his isolation. Note the theme. The Blue Danube Waltz (music suggestive of romance and beauty) plays. The camera pans from Scott's feet to his face as he begins to experiment with dance steps. He dances before the mirrors which Luhrmann uses | to effect, to create multiple images of Scott. The light is natural light coming from two windows above the mirrors forming rectangles of light on the floor. Note the contrast with the circle on unnatural light made by the spotight inthe centre ofthe dance flor. 11. Throughout the film, Luhrmann uses the conflict between the natural and the unnatural to influence the way in which the viewer perceives their right to belong. Analyse this scene closely showing how the filmic techniques create this image of Scott. | The camera alternates between close-ups of each character as the argument ensues. Their faces mirror their feelings. As Scott softens in his atituce to her, the camera reveals her in the spotlight in exactly the same position as Scott was at the beginning of the scene, Scott steps into the spotight with her. There are the basic camera shots occurring: 1. close-up of feet 2, close-up of faces, both individual and as a pair 3. full body shots of the pair dancing, Al three of these shots show the development oftheir compatibility the possibility that they might belong together. This is mirrored in the build-up of the music, “Time after Time”, which is to become Scott and Fran’s theme. The camera focuses on Fran’s feet dancing around Scott’. 12, What does this Image of Fran's feet dancing { around Scott's suggest to tha viewer? The LEARNING CURVEScene 4: The Try-outs [What is happening This scene is basically a montage of scenes: [Belonging Costume: contrast between Fan's cake lose frumpy 1. Various girls auditioning for the role of Scott's partner dance outits and the now sleeker leotard. There is also 2 contrast between Fren’s more natural look and the ‘Calendar close-up showing the days being crossed off as time runs out stylised dance costumes of the wornen trying out as his partner. Language: note the use of the word tny-outs. Ibis Scott practising with Fren, obviously alone more a sporting term than one associated with dance Scenes of the other characters believing that Scotts career is, as Ken Railings puts it, all washed up. auditions and this use of the Australian sporting vernacular adds humour to the film. Editing: through the clever editing of these scenes, Luhrmann manages to advance the narrative quite skilfully. Fran picks up the photo that Doug had looked at earlier. She states that they don't talk about it much ‘and Scott replies that itis because of Dod. Doug enters and Fran and Scott hide, Doug walks over to his record player and puts on a record which he begins maving to. Cut to the rooftop where Fran removes her glasses at Scott's request end Scott begins dancing with her. ‘The camera pans from the rooftop to the window of the dance studio where Doug dances his own steps, ‘on his own The music which underscores this scene, “Time After Time", isa romantic ballad signifying the developing connection between Fran and Scott. Note the background and setting of this scene ~ the neon Coca- | Cola sign and the Hills Hoist clothesline. The clash of two cultures is represented: the Hils Hoist representing the traditional and the Coca-cola sign representing the 13, Luhrmann has deliberately created a romantic image of Scott and Fran. List all the elements that you can see that give it that romantic feeling. What elements are In this scene that should normally work against romance! How does Luhrmann make the scene work in spite of these common, ordinary elements! Doug dances around the perimeter of the spotiit area, in and out of the shadows. The music is primitive and tribal, a rhythmic percussion which contrasts with the music on the rooftop. ‘The use of colour celebrates the young couple. The use of shadows reflects Doug's timidity and isolation, Cut to calendar except this time, Shiney in her desperation, scribbles all over it and tears out the month of November Note the irony of Scott and Fran’s theme of “Time after Time" suggesting a future contrasted with Shirley's defeatist scribbling on the calendar. ‘Doug is confident Scott will ind a partner and this is supported by the children, There isa hint of the underlying conflict between Doug and Shirley. He dances like he did in the previous scene and ‘she screams at him to stop his stupid dancing. It is obvious to the viewer that Doug and Shirley are quite disconnected. Cut to Scott and Fran dancing in the studio and note the transition. Fran and Scoti dance well together Scott tells her that she is ready. The camera pans to the roof where Doug dances around the Hills Hoist clothesline but this time he dances to their music. This scene isa reversa ofthe earlier scene and suggests that Doug might be aware of what is going on. It also suggests and reinforces the connection and parale's betiveen father and son. The camera withdraws to an acrial shot of the dance studio and rooftop. The | lighting makes it stand out against a dark urban background lending it an air of optimism. j ©The LEARNING CURVE HSC ENGLISH Area of Study BELONGING eeScene 5: Walking Fran Home ‘What is happening Belonging The aerial shot dissolves into the next scene where. Scott is walking Fran home. During this walk, Fran teaches Scott some Spanish but itis the line, 4 life lived in fear i olife hal-lived which is the most important thing she teaches him Cut to grandmother sewing, This isthe first view of Fran's life beyond the world of dance. Fran flirts with Scott but is embarrassed when he rejects her. He uses the argument that the rumba is only pretend because love is faked For the first time we see Fran in the social and cultural context of her family. She is dictated to by her father and Luhrmann has created a strong patriarchal image of @ family dominated by its males. The grandmother watches silently ‘There is an attempt to create a more natural setting through the elements of street life, such as the ‘wrecked car, the rusted, corrugated iron and the shop front. Blue lighting is used but there is stil a “theatrical” feel to the scene making it more Ike a set than a real street. The sense of reality is not present Until Scott enters Fran's world, 14, At this point in the film, the viewer has seen both families - Scott’s and Fran’s. What does the fiim reveal about family and belonging? How do either or both of these families relate to your understanding of family? Note both similarities and differences. Scene 6: The State Championships ‘What is happening Belonging Cut to the State Championships and a meeting of the Federation. We discover that Nathan Starkey, who is Tina Sparkles dance partner, is to announce his retirement and Barry Fife insists that Scott replace Nathan as Tina's partner. He sees this as a means of making Scott conform. “The meeting shows the determination of the Federation to control Scott through Luhrmann's use of camera work. The camera focuses on each speaker's face and with Barry Fife and one other member, it uses, 2 special lens which distorts the face. The audience is being delibérately manipulated into rejecting and disliking them, Barry Fife is projected as a bully. Scene 7: A New Partner: ‘What is happening Fran’s place with Fran and her grandmother. Fran defies her father and lies to her family saying that she is going to help Natalie move, Cut back to the State ‘Championships and the meeting. Les is grateful that Scott has a partner and a second chance but he has allowed himself to be bullied by Barry Fife who has positioned himself as a benevolent dictator to whom. everyone else is supposed to feel gratitude. Barry Fife abuses his power. Barry Fife tells Les that a Pan Pacific champion becomes a hero, worthy of admiration, Fran artives at the State Championships and becomes ‘excited because she believes that everyone is happy about her being Scott's new partner. She is then devastated to find out that itis Tina Sparkles who will be his partner, Note that Scott has not yet been told of thi Fran runs away. Shirley remarks, She's a funny git! Cut to Ken and Liz arguing. Ken is an alcoholic. ‘The camera cuts to a close-up of tiz and Ken dancing, With set smiles on their faces, she accuses him of drinking and he denies it. Scott catches up to Fran backstage, away from the glitter. Camera shots in close-up register Fran's changing ‘emotions. ©The LEARNING CURVESuddenly both act as f they ere defeated, Scott by his fears about conformity (he knows itis easier to wir the Pan Pacifics by conforming and doing what Barry Fife wants him to do) and Fran is defeated by what she believes are her limitations (she thinks that she can never be as beautiful and graceful as Tina Sparkes). Both live their lives in fear Suddenly there is @ change. Scott realises that he loves Fran. This is shown through the simple sensuality of the dance but itis presented like an illusion. When Liz says You're kideing, the spel is broken and Fran’s image as the swan is dispelled anc she clumsily trips over, ‘once again becoming the ugly duckling. Scott tries to help Fran but Les and Shey conspire to get him away to speak to Barty Fife. Liz, Shirley and Vanessa take Fran into a dressing room where they convince her to leave Scott alone so that he can have a chance of winning the Pan Pacifics. Barry Fife and Les confront Scott in the kitchen. Tina Sparkles artives and everyone conspires to convince Scott to dance with her but Seott runs off to look for Fran. As he does so, he knocks over Barty Fife's video stand. Barry Fife watches as Scott runs away. Ken Railings approaches Tina Sparkles and Barry Fife convinces Wayne that he could be future champion if he danced the Federation way. Camera emphasises the uoliness of this scene, Luhrmann contrasts it against the beauty of the background dance. The music, “Perhaps, Perhaps, Perhaps”, changes, signalling a mood change. Two types.of scene interact and juxtapose to provide contrast: the sheer romance and bravery of Scott and Fran dancing against those around them, Shirley, Doug, Barry Fife and finely Liz The two children are left centre frame and Luhrmann celebrates their honest ability to see through the facades; { thought it was good. | Fran's seated and the three women surround her | standing. The camera gives them the appearance of power over her as they bully her. Shirley's tone changes as she sits at Fran’s eye level. The tone | becomes maternal and caring as she coaxes Fran into submission. Luhrmann subverts the seriousness of this scene with the chef pushing between them to grab a fistful of steak to cook, Note the prominence given to Barry Fife as he stands fon the stairs, the camera looking up at him, as he glares at Scott running past. | Scene & The Pasa Doblé [What Is happening Belonging Scott tells Fran he wants to dance with her. She rejects hirs and he accuses her of falling victim to her own philosophy of a ife hol-lived Fran's fether confronts Scott and the pasa doblé becomes the dance that unites them, The men challenge Scott to dance and mock his efforts, He dances it as he has been taught with great technical skill but no heart for understanding its intricacies. Fran's grandmother and her father show Scott and Fran the real pasa dobé, doing the flamenco on the back verandah with all the spirit of the bull and matador. The grandmother teaches Scott how to feel the rhythm in his heart, not his feet. Scott and the father dance, ‘The camera focuses on the father’s face and Scott’ face in close-up as he realises how insignificant his attempt i. ‘The father dons the costume jacket of the matador. In spite of the gold thread, this costume has greater elegance than the costumes of the dance hall as they have little significance and are only for show. A close-up on Fran's face shows how happy she is. 15. What does this image of the family dancing tell you about the dancing of the Federation? ©The LEARNING CURVE HSC ENGLISH Area of Study BELONGING oaScene 9: In the Hastings Home What is happening Belonging ‘Scott arrives home and an argument ensues with Doug failing to support Shirley in her attack on Scott. Scott declares that he doesn’t care about the Pan Pacifics Shirley slaps him across the face Les and Wayne are shocked by the news of Scott's declaration. Liz enters, seréaming that Ken dropped her Close-up of kitchen clock at 2.07 am. 16. Why do you think Luhrmann chese to show Shirley without make-up! What effect does Ithave on your perception of this scene? Note the humour of Li's announcement. There is the deliberate ambiguity of whether she was literally dropped or whether she was “dropped” by her boyfriend, Fran's father is teaching Scott how to dance. She is being ‘measured for a costume. Her grandmother tells her not to be scared. Scott and Fran practise their dance, The scenes then rush across a number of interested parties. There is a fear of new steps building but Barry Fife declares that there will be no new steps. There follows a scene with Barry Fife, Shirley, Doug, Charm Leachman and Les Kendall sitting around a table. Barry Fife declares it is time that Scott learns the truth and all eyes turn to Doug “The image of the spinning newspaper parodies the image used in films to demonstrate events of importance. This parody is humorous and makes the fuss and over-reaction appear ridiculous. Barry Fife's language shows his stupidity and undermines his authority. Eg. status quo vadis. The expression is "status quo” and Quo Vadis was a movie about ancient Rome and gladiators. The four dance; Fran's father and grandmother, Scott and Fran, ‘The grandmother tes Scott and Fran Doug dances alone, crying. they are ready. 17. Compare this scene with the dance scenes } in Les* Sudio. What are the differences? Are there any similarities? ‘The position of his arms, as if holding a partner, creates an image of lonely desolation which inspires sympathy in the viewer. Fran and Scott are sihouetted against an industrial skyfine Scott tells her he was mistaken about the rumba, about love, and kisses Fran, ‘The lack of theatricality here makes the whole scene more honest, 18, Why do you think Luhrmann chooses this location for a love scenet Scene 10: Barry Fife confronts Scott ‘What is happening Belonging Scott enters the studio to find Wayne but is confronted by Bargy Fife who tells him that Doug Hastings was potentially the greatest ballroom dancer this country hhas ever seen, Scott doesn't even know that his father was a daricer. The man in the photo is Doug, not Les. Barry fife tells Scott that his parents were couple 100, the greatest dancers of their time. But, Doug suddenly began to dance his own steps not always strictly ballroom. He lost the Pan Pacifics, Barry Fife won and, Doug cracked up. Back to the studio, Barry Fite tells Scott that his birth gave Doug a reason to live and that what Ooug ‘wanted was for Scott to win the Pan Pacifis. He uses Scott's love for his father to pressure Scott into conforming, Barry Fife leaves and Scott goes into Doug's room, breaks open his cupboard and sees a photo of Doug and Shirley Hastings winning the 1867 Championship. This appears to confirm wat Barry Fife has sai. ‘Close-up of gold statue of couple dancing against a backdrop of the red curtain signifies a retucn to the theatricality of the dance world. ‘The camera moves into the photo as the viewer is taken into the past. The story is narrated by Barry Fife ‘but enacted in a slapstick, caricatured way. 19, What image is projected of the older generation in their costumes, wigs and make~ up? 20. What does the performance of their story on a theatrical stage suggest about the validity of Barry Fife’s story! The Biue Danube Waltz” underscores this scene, (Remember, the “Blue Danube Waltz" is associated with the traditional, the “strictly ballroom”, of Barry Fife and the Federation.) Scott and then the camera spinning is 2 technique which provides a segue into the next scene. + ©The LEARNING CURVEScene I: the Pan Pacific Grand Prix Championships [What is happening — Belonging j Scott is dancing with Liz. Everyone is happy and all is right with Barry Fife's world. The competition is exactly like the earlier one which opened the film. Scott is with Liz; the Dance Federation and Berry Fife ae in control | and all are conforming. The waltz ends and the Beginners’ Final starts. Fran is dancing in it and Scott is ashamed of his betrayal. Everyone convinces Scott that he has made the right decision. Doug focuses his camera on Fran and then asks Scott if he can speak to him. Scott ignores his father and goes in search of Fran who attacks him over his cowardice. ‘The “Blue Danube Waltz” is playing and everyone is dancing the waltz. Scene 12: Scott Learns the Truth [What is happening Belonging Doug grabs Scott and forces him to hear the real story The MC announces the Latin American Grand Final Doug tells Scott that they lived their lives in fear and this jolts Scott into reality, Scott chases Fran to get her to dance Wayne and Vanessa tell Les of Barry Fife’s betrayal. They had heard him promise victory to Ken Railings and Tina Sparkles Les tries to talk to Barry Fife about this and Barry Fie’s reply is Thot’s the future of dance, sport, ond no-one, no- ‘one, is going to change thot Scott enters in a matador jecket on his own and then Fran joins him, ‘The camera cuts between the two scenes: 1. Doug telling Scott the truth of his past, that Barry Fife convinced Shirley to reject Doug and partner Les and how they lost anyway. 2. Barry Fife telling Ken Railings that he has fixed it for him to win, Wayne and Vanessa overhear this. ‘The spotlight is on Scott alone. Note the beauty and individuality of their costumes ‘which signifies @ break from the tracitional garb of the other dancers. Scene 13: Love is in the Air ‘What is happening Belonging Barty Fife tries to thwart them but Les and the children defeat him. Charm Leachman pulls the plug on the music and a shaken Barty Fie, wig askew, disqualifies and suspends Scott and Fran. They bow to Barry Fife, prepared to leave the dance floor, but Doug begins to lap them. All else i silent. Fran's family joins in the clapping, Scott begins to dance again. Les joins the clapping and then everyone is clapping 2s Scott and Fran dance to their own rhythm. Liz gets the music on again and Fran and Scott dance to the admiration of the crowd. The dance ends. Shirley s crying. Doug Is proud and .g0es to Shirley and asks her to dance. Barcy Fife is on the ground, defeated Shirley and Boug are dancing and then couples join them, dancers and audience alike. Note the mixing of partners “The sound of Doug's clapping is heightened by the silence of the room, ‘The camera then picks up Scott in slow motion to accentuate the beauty and the power of the dance, Continued slow motion in the dance. ‘The music, “Love is in the Air", begins. ‘The music builds. E21. Make list of whe is dancing with whom from all the characters you have seen in the film. What does this suggest to you? Has Luhrmann done this deliberately? ‘The red curtain closes. ©The LEARNING CURVE HSC ENGLISH Area of Study BELONGING geWays to focus on belonging 2. the use of key elements or symbols throughout the film re are a few ways in which you can focus on ee ee ee es 3. two or three key scenes in the film. belonging. It would be impossible to write a detailed discussion of the images in the whole film ‘To help you build up ideas on these three areas, 0 you could focus on the following ateas which complete the following worksheets which will would equip you for a thorough discussion: guide you in your understanding, 1. the way in which characters are depicted Et The construction of characters Use the following chart to analyse the ways in which each of the main characters in the film is constructed. Character Role Costume(s) | Language | Make-up Hair How the | character is positioned | by film techniques inthis column [inthiscolumn [inthis columa [in this column Jin thiscolumn | tn this column you should make | you should make | you should make | you should make | you should make | you should make Teference to: | reference to: | referenceto the | reference to: reference to: | reference to the + what sfhe does | the syle of | language used |e whether this |» whether the | Ways in which: inthefilm in | costume isit | by the character, | character hairs natural | + the camera termsaf plot | appropriate to | im particular: | wears ordoes | ora wig positions the + hispher the scene or | «is itcolloquial | not weer sititissimple | character~as relationship | event? or formal? make-up or very styized | important or toeach of [+ the colours) of| + Isit | + what type and why unimportant the other the costume~ | appropriateto | of make-up | the effect of | and whether characters vibrant or dull | thecontext? | isusedand |" thehaisgie | this changes or groups of | + whether the | + Are there theextent to | on the viewer's | Shroughout characters |" Costume fits | any elements | which it masks | perception of | he film + whether this | —tight, loose, | which denote | « make-up the character | * the lighting character perfect, and’ | the vernacular | approptate or | « whether positions changes or | theeffectof | of aparticular | inappropriate |” {unrmann uses | “hataeters remains the this culture? to the hair to ridicule | ~ Within same-why? |ethe changes | Is the character| character and | character or | or ouside swhetherweas | of costume | verbose his or her role? | support them. | the natural the audience | andhow this | (wordy) or | for what joa like or cisike | affects our father silent | purpose does marginalised this character? | understanding | and sparing | Luhrmann * the lighting of himyher. | with language? | make up his natural or characters? unnatural * the connection | | toany | particular theme or type { # cof music, Ee HSC ENGLISH Area of Study BELONGING © The LEARNING CURVESelect two characters and, using the above chart to guide you, discuss which world they belong to, the world of Federation dancing or the world beyond i Support your discussion with detailed reference to the film, especially the techniques which act as key signals to the fact that they belong. ESS Characters and belonging ‘Characters whom we like Characters whom we reject | | | | L Luhrmann not only constructs each character so that the viewer is positioned to accept or reject him or her, he also groups his characters and therefore creates a collective image of types of characters. At first he places most of the main characters in two groups, those wham we reject and those whom we like, This attitude is linked to the group to whom they belong in the film, By the end of the film, some of the characters in the first group have moved into the second group. Using the information you have gathered on each character, list the characters in terms of how they are initially represented and how the representation of them changes through the movie What elements exist in these characters which position them in either of the above columns? How do you knew to which group they belong? You might use the points in the character chart in Activity 5 asa guide, Creating a sense of belonging through symbols ‘Symbol / icon the Hills Hoist rotary cloth What does it represent? How does it establish or enhance a sense of cultural belonging? the Coca-Cola neon sign corrugated iron bolero (Scott's jacket in the final scene) L Pasa Doblé the word “Oz” on Scow’s singlet Luhrmann has used very specific icons* and symbols to help him create the ideas that he felt ‘were important to the audience understanding the purpose of his film. Some crities argue that the film is a celebration of a new Australia that has had to break down the prejudices that governed our way of life as we move forward and embrace the changes that immigration brought. Therefore, we can see that Barry Fife and his supporters (or, at least, those who were toa frightened to go against him) represent the old way of thinking and Fran and Scott represent the new Australia © The LEARNING CURVE * an icon is picture or image; and in this movie, a sign or representation which stands for its object because it resembles it * a symbol is something used or regarded as standing for or representing something else Fill in the table above which lists some of the symbols and icons used in the film. Can you think of any more which Luhrmann used in the film? HSC ENGLISH Area of Study BELONGING EeThe construction of the scene What is happening in “Tools of production (filmic elements) this scene? What is the purpose of this scene in the film as a whole? Costume, hair, make-up, jewelry Lighting, camera work (angles and speed), editing Music a) Nominate three scenes which you think ere important to the film in terms of belonging. If you are not sure, re-read the notes earlier on the whole film and these should help you understand what scenes are important. When you make your decision, take into account: where the scenes occur in the film (in terms of the rest of the story) what the scenes tell the viewer about the plot and characters if the scenes change the direction of the plot and if the scenes affect the way the viewer sees a character. NE Short essay No film simply constructs itself It is the careful combination of the director’s craft, the skill of the ‘camera and the construction of the characters. Select two scenes from Strictly Baliroom and show how Luhrmann influences the way in which belonging is constructed and explored. cx Wa) Extended writing tasks a) Strictly Balroom explores the potential of the individual to challenge or enrich a comrmunity or group, How does Baz Luhrmann explore the concept of belonging in his film, Stricily Ballroom. b) The film, Strictly Ballroom, explores the concept of belonging through the issue of conformity. How does Luhrmann use this issue to challenge your understanding of belonging. ) Inour day to day lives we have two choices; to conform to pressures placed on us or make our own decisions. White a reflection on this, how it has played out in your own life and how the film has influenced your understanding of this. b) Draw up the table above: Re-view the scene and complete the above table making detailed notes about what you see and hear: Now do the same thing for two other scenes. When you have finished, complete the following Activity 9, ©The LEARNING CURVE