THE LIFE AND WORKS OF JAMES WELDON JOHNSON Essays

THE LIFE AND WORKS OF JAMES WELDON JOHNSON James Weldon Johnson was an essayist, negotiator, educator, and editor,who likewise depicted himself as a man of letters and a social equality pioneer. Despite the fact that, he is done living, James Weldon Johnson has left much abouthis commitments to African American writing. Johnson was conceived June 17,1871 in Jacksonville, Florida to James and Helen Louise (Dallied) Johnson. Johnson's dad, James Johnson, was brought into the world a freeman and was of blended family. He was a headwaiter in St. James Hotel. Mr. Johnson taughthis child how to communicate in Spanish as a little youngster. Johnson's mom, Helen Johnson, was brought into the world a liberated person in the West Indies. Mrs. Helen was awoman of French and Black heritage. She was the main dark American to instruct in the province of Florida. Mrs. Helen likewise showed her child to play the guitar(Otfinoski 22). Johnson was brought into the world the second of three youngsters: John Rosamond, otherwise called Rozy, and a sister which kicked the bucket not long after birth (Logan and Winston, James Weldon Johnson 353). He was initially named Johnson James William Johnson, by his folks, yet in 1913, he changed his center name to Weldon (Kranz, James Weldon Johnson 78). Sept 1 Johnson was a knowledgeable man of his time. During his initial not many long periods of school he joined in, Stanton, which offered blacks training up to the eight evaluation. Stanton was outstanding amongst other dark schools in Johnson's old neighborhood. He moved on from Stanton at 16 years old and proceeded to join in an optional school and school at Atlanta University. Johnson went to Atlanta University in Georgia on the grounds that there were no school's past sentence structure school for blacks in Jacksonville, Florida and the college ran an exceptional secondary school program for blacks (23,28). Johnson advanced his instruction at the college accepting that it would teach him more to his greatest advantage of individuals of color (Adams 155). In 1894, Johnson graduated with distinction from Atlanta University accepting his four year certification. He likewise gave the graduation discourse (Kanzs 77-79). During Johnson's lifetime he had numerous vocations helping other people and composing. Johnson was an artist, musician, proofreader, social liberties pioneer, legal advisor, teacher, and negotiator (Metzger et. al. 303). Russell L. Adams, creator of Incredible Negroes Past and Present, expressed, Johnson had an ability for convincing individuals of varying ideological plans to cooperate for a shared objective. . . (Adams 77-79). Sept 2 Taking care of himself through school, Johnson worked in a machine manufacturing plant during school and in the late spring at a provincial school educating in Georgia, which paid a nickel for every understudy, to help pay his way through school (Otfinoski 23). At the point when Johnson moved on from Atlanta University in 1894, he turned down a clinical grant at Harvard to acknowledge a vocation as head at the All- Dark Stanton school in Jacksonville, Florida. While head at Stanton, Johnson visited nearby white schools to analyze the degrees of instruction being educated on the grounds that he felt that every single dark kid in his old neighborhood ought to have the same chance of being shown similar degrees of training. In this way, in doing that he began furtively showing first year recruit classes without the manager's consent. After Johnson educated his director concerning instructing rookie classes, he was intrigued to the point that he chose to extend Stanton to a four-year secondary school for blacks (23). By 1901 Johnson was monetarily and intellectually secure enough from his tune sovereignties he concluded the time had come to leave as head in Jacksonville and dedicate the entirety of his chance to composing. Along these lines, he moved to New York City with his sibling, Rosamond. While in New York City Johnson met a youngster by the name of Effortlessness Nail, the girl of a land specialist, at a party (Tolbert- Sept 3 Rouchaleau 55). On February 3, 1910, Grace Nail turned into the spouse of James Weldon Johnson. Likewise while living in New York, he examined dramatization and writing at Columbia University and graduated in 1905 (Otfinoski 25). Johnson's mom support in perusing, drawing, and tuning in to music truly paid off (Metzger et. Al. 304). He began writing in a dark tongue, impacted by Paul Dunbar, and standard english on racial issues that he was seeing around him (Kranz 78). Johnson had a large number of his sonnets distributed in the Century and the Autonomous magazines. Johnson's first sonnet, Since You Went Away, was distributed in the Century magazine and set up with a good soundtrack by his sibling to turn into a famous melody. Johnson and his sibling additionally composed the melody, Lift Every Voice what's more, Sing, to observe Lincoln's birthday,

Michel Trudeau Killed by Avalanche in 1998

Michel Trudeau Killed by Avalanche in 1998 Michel Trudeau, the 23-year-old child of previous Canadian Prime Minister Pierre Trudeauâ and Margaret Kemper and more youthful sibling of current Canadian Prime Minister Justin Trudeau was murdered by a torrential slide in British Columbias Kokanee Glacier Parkâ on November 13, 1998. Three different skiers likewise present on the slants were saved by a national park administration helicopter from the common park in the wild zone upper east of Nelson, B.C., where the youthful Trudeau was ventured to have been pushed off the ski trail by the torrential slide and cleared down into Kokanee Lake, where he was accepted to have suffocated. A private remembrance administration for loved ones was hung on Friday, November 20, 1998, in Outremont, Quebec, however his body was never recuperated from the lake. After the Incident About ten months after the torrential slide that killed Michel Trudeau, the Royal Canadian Mounted Police (R.C.M.P.) sent a jump group into Kokanee Lake to scan for his body, yet a long winter, cold summer, and snow in the Rockies hampered search endeavors. Prior to starting the pursuit, the R.C.M.P. forewarned that it was conceivable youthful Trudeaus body may never be found since jumpers could just go down to a profundity of 30 meters (around 100 feet) while the lake is 91 meters (near 300 feet) profound at its inside. After almost a month of looking - to a great extent because of the set number of long stretches of vast waters on the lake and the high height that forestalled profound plunging - Trudeaus family canceled the hunt without recuperating the body and later raised a chalet close by as a dedication to Michel. Increasingly About Michel Nicknamed Miche by Fidel Castro (surprisingly) during an encounter with his grandparents to Cuba in 1976, Michel Trudeau was brought into the world just four months before on October 2, 1975, in Ottawa, Ontario. After resigning from governmental issues, Michels father Pierre moved the family to Montreal, Quebec, where the 9-year-old Michel would spend the remainder of his youth. Michel went to the Collã ©ge Jean-de-Brã ©beuf before seeking after an advanced education in microbiology at Nova Scotias Dalhousie University. At the hour of his passing, Michel had been working at a mountain resort in Rossland, British Columbia for about a year.â On November 13, 1998, Michel and three companions set out on a boondocks skiing trip in the Kokanee Glacier Park, however the torrential slide isolated the gathering from Michel as he was cleared downhill into the lake.â After his passing, a newfound varietal of rose was named after him, named the Michel Trudeau Memorial Rosebush, with continues from deals of the new blossom profiting the Canadian Avalanche Foundation, which helps survivors and casualties of Canadas numerous torrential slides recuperate in the wake of getting trapped in one of natures most ruinous cataclysmic events.

Which Psychology Graduate Program Is the Best

Which Psychology Graduate Program Is the Best Student Resources Print Which Psychology Graduate Program Is the Best? Things you should consider before you choose a program By Kendra Cherry facebook twitter Kendra Cherry, MS, is an author, educational consultant, and speaker focused on helping students learn about psychology. Learn about our editorial policy Kendra Cherry Updated on April 11, 2019 H. Armstrong Roberts/ClassicStock / Getty Images More in Student Resources APA Style and Writing Study Guides and Tips Careers So youve decided to pursue a graduate degree in psychology, but you cannot decide which program is best.  Choosing a graduate program is a big decision, but the number of options available within psychology can make the choice particularly difficult.   Should you apply to a social psychology or clinical psychology program? Should you earn a Ph.D. or Psy. D. degree? As you begin to make a plan for graduate school, it is important to consider these basic questions in order to find the right program. Consider Your Needs and Interests Psychology is a broad field that draws upon a number of different topics, including science, philosophy, and statistics. Because of the diverse nature of psychology, it is impossible to say that one area of study is better than another. Your individual interests and talents should dictate which psychology graduate program is best suited to your needs. If you are passionate about conducting research, then a program focused on professional practice would be a poor fit. Spend some time thinking about what you are interested in and what you plan to do with your degree after you graduate. For example, if you hope to start your own psychotherapy practice one day, then you should focus on finding a psychology graduate program centered on professional practice. Be careful to check the accreditation status of the programs you look at as well as whether or not completing the program will allow you to become licensed to practice in your state. Psychology graduate programs vary widely depending upon the type of degree, area of study, and intended career goals. For example, a program might be focused on a specific sub-discipline such as social psychology, educational psychology, or clinical psychology. Each program offers an education uniquely tailored to providing knowledge and skills in a particular area of interest. Look at the Programs Theoretical Focus and Teaching Philosophy Different graduate programs also vary considerably in theoretical focus and educational philosophy. Before you choose the graduate program that is best for your needs, spend some time researching and comparing different psychology graduate programs. Talk to program advisors, visit each campus if possible, and try to meet with faculty members. It is also a good idea to ask about student outcomes, such as where graduates of the program typically find employment. These factors can all play an important role in determining which psychology program is best suited to your needs and interests. Evaluate Your Educational and Professional Goals Before you choose which psychology graduate program is best for you, it is important to take stock of your personal, educational, and professional goals. You can learn more about your own interests by researching different subfields of psychology. Consider which areas of psychology you find the most interesting. Talk to your academic advisor about possible career options and plans for graduate study.

Snakes of Time in Dantes Hell Essay - 1314 Words

Their throats are open graves; their tongues practice deceit† (Romans 3:13). Snakes have been a universal symbol of fraud in literature since â€Å"The Fall,† when God transformed Satan into a beguiling snake and â€Å"[c]ursed† Satan to slide â€Å"on [his] belly† for all eternity for his deception (Alter 41). Dante uses snakes in his epic poem, the Inferno, to tie the fraudulent nature of thieves to their punishment in the seventh bolgia of the eighth circle of Hell. Snakes have metaphorically slithered through time and shed, taking on new appearances as deceivers in society. In 2005, they revealed a new face, Olatunji Oluwatosin, an identity thief. From his base in Los Angeles, Olatunji Oluwatosin stole private information, such as credit card†¦show more content†¦Decker arranged a sting operation to catch this culprit. Caught in this operation, Oluwatosin â€Å"dropped the paperwork he had just received† in terror and was taken to the L os Angeles Country Superior Court, where he received an appropriate punishment of â€Å"ten years in prison† under charges of identity theft (O’Harrow, Mimoso). Similarly, Dante’s Inferno forces the â€Å"naked and terrified† thieves to run from venomous snakes with their â€Å"hands behind their backs,† â€Å"without a hope of hiding† (Alighieri 251). The thieves who once were concealing themselves are now exposed. Moreover, with Oluwatosin’s numerous stolen identities, his crimes resemble the â€Å"chelydri and jaculi, phareans, cenchres, and head-tailed amphisbenes† of Libya (251). Oluwatosin assumed these identities to camouflage himself, much as snakes do in their environment. However, once apprehended, both the thieves of Dante’s fourteenth century Italy and today’s society must endure punishment. As the United States court system sentenced Oluwatosin to ten years in prison, Dante Alighieri arranges a more e xtreme punishment, where snakes â€Å"thrust† between the legs of sinners and form a â€Å"knot† in the groin (253). This punishment illustrates the idea of contrapasso, or a fitting punishment. Oluwatosin’s life of crime tied a knot of confinement since his former self could never be restored and his rights were limited in prison. Furthermore, the punishment reveals theShow MoreRelatedThe Influence of Dantes Inferno Essay1380 Words   |  6 PagesAlighieri’s Divine Comedy is an epic poem that begins with the Inferno. The Inferno is an extremely influential part of European literature. The structure of story is for many people a piece of the vision of Hell. Religiously, this poem has had great prevalence. Dante paints a picture of the Hell that is both unsettling and justifiable. A whole world is created through his poem. The levels and intensity of sin is pondered. Crime is put to a level of small to large scale. Those that are intentional andRead M oreDantes Beasts2989 Words   |  12 PagesThe Beasts and Monsters in Dantes Inferno   The Inferno is the first section of Dantes three-part poem, The Divine Comedy. Throughout Dantes epic journey into the depths of Inferno he encounters thirty monsters and five hybrid creatures.   The most significant of these monsters are of central importance to his journey and to the narrative, as they not only challenge  Dantes presence in Inferno, but are custodians of Hell, keeping in order or guarding the perduta gente.   In this essay I am concentratingRead MoreEssay on Dantes Inferno and Classical Mythology1823 Words   |  8 PagesDante’s descent into Hell in Inferno, the first part of his Divine Comedy, tells of the author’s experiences in Hades as he is guided through the abyss by the Roman author, Virgil. The text is broken into cantos that coincide with the different circles and sub-circles of Hell that Dante and Virgil witness and experience. Inferno is heavily influenced by classic Greek and Roman texts and Dante makes references to a myriad of c haracters, myths, and legends that take place in Virgil’s Aeneid, Homer’sRead MoreAnalysis Of Dante s The Of Hell 1573 Words   |  7 PagesJacob Barnett Essay#2 Reid Title I think Dante’s description of Hell is a wonderful work of literature. Dante uses numerous literary techniques to describe his envisionment of Hell to the reader. In my opinion, one of the most affective techniques used by Dante is symbolism. It would be a very difficult task to compile a brief list of significant symbols from the Cantos that we read in class. Dante utilized many symbols throughout each canto. Some of the symbols that Dante used in Inferno are wellRead MoreThe Bond of Communion: An Analysis of the Communal Bonds throughout Dantes Inferno1322 Words   |  6 PagesBeginning his journey into Hell, â€Å"[Dante] came to place stripped bare of every light/ roaring on the naked dark like seas/ wracked by the war of winds.† (5.28-29) Immediately Dante establishes the setting of the second circle in a very powerful way. The simile compares the winds of Hell to the winds of a great storm, ultimately amplifying the winds of Hell and giving the reader an idea of the strength of these winds and therefore an idea of the suffering of the sinners. Dante’s use of imagery offers theRead MoreSummary : The Resurrection 1122 Words   |  5 PagesJesus’s disciples had gone during the night and had taken him away while they were asleep. Then, the 11 disciples arrived in Galilee and met with Jesus. Though some doubted, they all listened to Jesus say that he would be with them until the end of time. ï‚ § Commentary: I feel this section of the Bible is fortunately only known for its positives, rather than its negatives. Jesus had been reborn and it was a true miracle. The beauty of the situation is his rebirth isn’t something that everyone had toRead MoreEssay on Is Satan the Epic Hero in Paradise Lost?2123 Words   |  9 Pageslittle children. God does no wrong and is incapable of committing a sin; He is a picture perfect being. Satan is God’s archenemy and polar opposite, he’s popularly known for his evil ways and the fiery inferno that he inhabits, described in the book Dante’s Inferno. Rarely do people confuse the idea that God is the hero and Satan is the evildoer that needs to be extinguished from the world. I can safely say that in terms of Christianity and its beliefs there is no mistake to who the epic hero of theRead MoreThe Divine Comedy: Allegory2235 Words   |  9 Pagesbeginning of the journey ( half of man’s biblical life s pan â€Å"threescore and ten years† (Psalm 90:10) o Lost his way on â€Å"the true path† of life ( sin has obstructed his path to God o Explores the nature of sin by traveling through hell o Rooted in the Everyman allegorical tradition ( represents humanity o Little known about his life on earth o Committed a sin never specified o Participated in Florentine politics o Often sympatheticRead MoreAnalysis Of Joseph Conrad s Heart Of Darkness2142 Words   |  9 Pagesand then climax on the part where Marlow is exposed to the vicissitudes of Kurtz’s actions. The structure in which this story is written is also, in essence, very similar to Dante’s Inferno. Both the â€Å"Heart of Darkness† and â€Å"Inferno† have three parts. It thus, becomes really clear that Conrad had this classic work of Dante’s in mind when he wrote, â€Å"[m]y purpose was to stroll into the shade for a moment, but no sooner within than it seemed to me I had stepped into the gloomy circle of some Inferno†Read MoreThe Reward Of Souls By Dante s The Divine Comedy1892 Words   |  8 PagesThe Reward of Souls There are three books in Dante’s The Divine Comedy to illustrate the three worlds. They are Inferno, Purgatory, and Paradise. Throughout all three books of The Divine Comedy, Poetic Justice can be found easily: all souls get what they deserved. In Dante’s description, Inferno has a shape of a funnel with nine circles. The greater the sin, the lower someone is the greater penalty they get after they die. Poetic Justice can be found in the Inferno everywhere. The souls in the Inferno

Organizational Culture An Organization - 960 Words

Organizational Culture is defined according to Kreitner and Kinicki (2013, p. 62) as, â€Å" the set of shared, taken-for-granted implicit assumptions that a group holds and that determines how it perceives, thinks about, and reacts to its various environments.† In addition to the core definition, organizational culture encompasses three critical layers that build off one another. The three layers are Observable Artifacts, Espoused Values, and Basic Assumptions. By, defining what organizational culture is in turns helps me to perform the job I have been hired to do. With the culture we have in place it prepares me for accomplishing the mission and vision of the organization. According to Rose (2014), there are three vital building elements that help creates your organizational culture and helps your organization to exist and function. The core components are mission, vision and values. Furthermore, when these vital building blocks are welcomed, observed, and performed in your daily walk and carried out by management, , it promotes an environment that is essential to building your organization identity into something beneficial and positive. The organizational culture instituted in my job is comprised of being a workplace that has established itself as a well known brand with a reputable reputation. Many aspire to work for this organization. I have witnessed that the culture here is a well diversified mixture of backgrounds and cultures. Moreover, it is infused with aShow MoreRelatedOrganizational Culture : An Organization1251 Words   |  6 PagesThe organization that I work for has many locations but I will concentrate on my work site. The organizational focuses on the well being of the residents and families. For this paper, I decided to focus more on the organizational culture. I will look into how the administrations of this organization are directly responsible for building and sustaining the culture within an organization. Organizational Culture is the shared values and beliefs that underlie a company’s identity. In my organizationRead MoreThe Organizational Culture Of An Organization1393 Words   |  6 PagesThe organizational culture of an organization serves as a foundation that should guide the practice and attitude of all healthcare professionals and staff. King Demarie (2015) describes organizational culture as the basis that determines right and wrong. A hospital organization’s mission, vision, and goals are derived from the culture established within the organization. Organizational decisions are highly influenced by the organizational culture within an environment. Growth, advancementsRead MoreOrganizational Culture : An Organization1231 Words   |  5 PagesOrganizational Culture Organizational Culture exists in every firm, thereby placing a significant impact on the motivational factors of employees. It is communicated through perception using values, artifacts, and the assumption of how things in are done in an organization (Daft Marcic, 2010). In fact, every firm has its exceptional personality known as culture. The organizational culture presents guidelines and boundaries for the employees’ behavior in a firm, which influences the organizationalRead MoreOrganizational Culture : An Organization870 Words   |  4 Pagesdefine it. A company culture determines how employees and customers perceive the company, client treatment and how the company should react to various changes in the environment. An organizational culture is a mirror of the company leadership. Different styles of leadership ensure maintenance of various corporation cultures. The climate within an organization determines a company’s financial performance. To ensure their propos itions are deemed important, a quality company culture integrates each employeeRead MoreOrganizational Culture : An Organization1303 Words   |  6 PagesCulture, a multi-dimensional notion that resides in all individuals, yet is also the same hidden force that separates most behavioral patterns seen inside and outside of organizations (Schein, 2004). Understanding organizational culture is important because it aids in the awareness of the life of an organization, which is relative since it is believed that organizational culture impacts the performance of an enterprise, but just as leadership plays a vital in creating the organization’s culture,Read MoreOrganizational Culture Change The Organization Culture Essay1413 Words   |  6 Pagesworld to hear a new CEO, an organizational consultant, a leadership expert—talk about the urgent need to change the organization culture. Often organizations set high aspirations to â€Å"change the culture† but fall short of modifying the way that people feel, behave and get work done. Culture changes rarely manifest into noticeable long term improvements. It is important to note that corporate cultures are slow to evolve and difficult to change, that is not to say that culture cannot be changed. For startersRead MoreOrganizational Culture : An Organization1409 Words   |  6 Pages Organisational Culture The key in helping to form and provide an identity for an organisation is in its organisational culture. Northcote and Trevelyan (1853) sought to provide the Civil Service with a distinctive character. Their vision based on four principal recommendations (merit through examination, educational level, graded into a hierarchy and promotion through achievement) has meant the Civil Service has invested heavily in training programmes despite long development times. These circumstancesRead MoreOrganizational Culture And Leadership : An Organization906 Words   |  4 PagesRamirez MGT 105 Professor Call Organizational Culture and Leadership Organizational culture and leadership both affect every day working lives, even if you notice it or not. There is no single definition for organizational culture but the concept consists of socially developed rules of conduct that are shared by members of an organization. Some researchers believe that many traits of an organization’s culture are so vague and general that even the members of the organization cannot accurately describeRead MoreOrganizational Culture And Change : An Organization1288 Words   |  6 PagesOrganizational culture and change Organizational culture is defined as that particular system of shared values, beliefs, and assumptions that happens to govern the way that people behave in a different organization. The shared organizational values happen to have a very strong influence on the employees of a different organization and dictate how they act, perform, dress, and carry out their jobs (Anderson Ackerman-Anderson, 2001). As such, organizational culture happens to be one of the mostRead MoreDefining Organizational Culture : An Organization2382 Words   |  10 PagesDefining Organizational Culture With numerous meanings given to organizational culture, scholars claim that the field is grounded in the shared assumptions, attitudes, and behaviors accepted and enacted by employees within an organization, which affect its performance and overall welfare (Belias Koustelios, 2014). Another widespread definition of organizational communication often used by organizational scholars states that: â€Å"Organizational culture is the pattern of basic assumptions that a group

Strictly Ballroom Free Essays

string(67) " representation of industry experienced a revival of its fortunes\." Study Guide Strictly Ballroom fiieducation SYNOPSIS At the Waratah Championships ballroom dancer Scott Hastings goes against Federation rules and impulsively dances his own steps, causing partner Liz Holt to dump him. Then Fran, ugly duckling of the beginners’ class, offers to be Scott’s new partner. Initially sceptical, he is persuaded by her ideas, and together they plan to dance their own steps at the Pan-Pacific Grand Prix Championships. We will write a custom essay sample on Strictly Ballroom or any similar topic only for you Order Now But Scott’s rebelliousness does not go unchallenged. His mother Shirley and coach Les Kendall try various ways to prevent Scott from dancing with Fran, while corrupt President Barry Fife plots Scott’s downfall by concocting a story about his parents’ dancing career that will convince him to compete at the Pan-Pacifics without Fran. All seems lost until Scott’s father Doug reveals the truth. With Barry Fife’s desperate attempts at sabotage having little effect, Scott and Fran complete their spectacular dance to rapturous applause from the crowd. Everyone takes to the dance floor in celebration. CAST Scott Hastings Fran Barry Fife Doug Hastings Shirley Hastings Liz Holt Les Rico Ya Ya Paul Mercurio Tara Morice Bill Hunter Barry Otto Pat Thomson Gia Carides Peter Whitford Antonio Vargas Armonia Benedito Ken Railings Tina Sparkle Charm Leachman Wayne Burns John Hannan Sonia Kruger Kris McQuade Pip Mushin Vanessa Cronin Kylie Luke Leonie Page Lauren Hewett Steve Grace CREDITS Director Producer Screenplay Baz Luhrmann Tristram Miall Baz Luhrmann and Running Time Craig Pearce 94 Minutes CONTENTS Introduction 4 Images of Australia 5 Baz Luhrmann’s Vision 7 The World of the Film 10 Hero, Heroine, Villain 14 APPENDICES A – Baz Luhrmann interview 18 B – Tristram Miall interview 20 C – Sequences for study 22 D – Key moments 23 E – Film language 24 F – Filmography 25 INTRODUCTION Australian director Baz Luhrmann’s flamboyant and colourful debut feature Strictly Ballroom (1992) opens with a theatrical swish of red velvet curtains and leads us into the larger-thanlife world of competitive ballroom dancing. It tells the story of Scott and Fran, who rebel against Dance Federation rules in order to dance their own steps. The film is the first in Baz Luhrmann’s ‘red curtain’ film trilogy, and can also be described as a combination of the following: a fairy tale, a romantic comedy, a dance musical, even a satire. This study guide is aimed at teachers who are teaching the film as a comparative text in the Leaving Certificate English syllabus. As well as sections relevant to modes of comparison such as The World of the Film, (for Cultural Context/Social Setting) and Hero, Heroine, Villain, a central feature of the study guide is our exclusive interview with director Baz Luhrmann. He discusses his artistic vision and defines red curtain cinema, the concept central to his trilogy of films Strictly Ballroom (1992), Shakespeare’s Romeo Juliet (1996) and Moulin Rouge (2001). We are also very pleased to include an interview with Strictly Ballroom producer Tristram Miall in which he discusses his involvement in the making of Strictly Ballroom, and also provides insights into his role as a film producer in the Australian film industry. Both interviews will provide invaluable background material for both teachers and students. Strictly Ballroom is an excellent choice for comparative study as it is accessible, fun and fast-paced, but it also has serious themes and ultimately celebrates Australia’s multicultural society, a view that has strong resonance for contemporary Ireland. I hope you will find this guide an interesting, useful and enjoyable resource in your teaching of Strictly Ballroom. Grateful thanks to my colleagues Alicia McGivern, Grainne Humphreys and Liz Fehilly for their valuable suggestions and editorial contributions. Ann Ryan Schools Officer fiieducation The Film Institute of Ireland STRICTLY BALLROOM 4 Uluru (Ayers Rock) IMAGES OF AUSTRALIA â€Å"You will find a warm welcome waiting for you in Australia, one of the most fascinating and spectacular places on earth. A land of contrasts, at once a youthful, vital nation and the home of the planet’s oldest continuous culture. † 1 A SPECTACULAR HOLIDAY DESTINATION A SUCCESSFUL MIGRANT NATION Just as the Irish Tourist Board represents Ireland in a certain way to attract tourists, the Australian Tourist Commission promotes travel to Australia by highlighting its bright, colourful aspects. Famous landmarks such as the Sydney Opera House, Uluru (Ayers Rock) and the Great Barrier Reef are featured as well as Australia’s indigenous people, the aborigines. Ever since Australia was first colonised by British settlers more than two hundred years ago, there have been successive waves of migration to its shores. The majority of migrants came from Britain, Ireland and northern Europe until after the Second World War, when Australia welcomed refugees from war-torn Europe and also began to accept thousands of migrants from southern European countries such as Italy and Greece. (Melbourne for instance has the largest Greek population of any city in the world outside Greece). STEREOTYPICAL IMAGES What expectations do we have of Australia and its people? There are several familiar Australian stereotypes, including the enduring image of Aussie bushman hero seen in Paul Hogan’s Crocodile Dundee. This is continued in recent film release Crocodile Hunter: Collision Course (2002) tarring TV naturalist Steve Irwin. A more negative stereotype is that of a Today, Australians whose ancestors hail from Britain or Ireland2 still form a majority of Australia’s population but the country has also become one of the most successful migrant nations in the world, welcoming people from all corners of the globe to its shores. Notwithstanding the typical Australian male being depicted as beer-swilling, loud-mouthed and uncultured, like Barry Humphries’ comic creation Sir Les Patterson, ‘Australia’s 2002 government’s controversial stance on illegal immigrants, contemporary Australia is a diverse and vibrant multicultural society. ultural attache. ’ Characters and settings in Australian TV soaps such as Home Away and Neighbours conform to stereotypical views of Australia, such as the mistaken AUSTRALIAN CINEMA* During the 1970s the Australian film belief that it is permanently sunny there, or that people are always tanned, goodlooking, athletic ‘surfie’ types. Perhaps the soaps’ appeal lies in their representation of industry experienced a revival of its fortunes. You read "Strictly Ballroom" in category "Essay examples" The development of a government-assisted film industry reflected a desire to develop and nurture Australia as a sunny suburban paradise, a far cry from th e more downbeat settings of Eastenders or Fair City. a national cinema. Films made during the 1970s and since reflect Australia’s increasing cultural diversity. STRICTLY BALLROOM 5 The Dish, Australia’s biggest ever box office success Peter Weir is an important figure in the Australian film renaissance. His haunting success. This gentle comedy is set in July 1969 in a small rural town in New South 1 Australian Tourist Commission Traveller’s Guide 2002, p3 and atmospheric Picnic at Hanging Rock (1975) was a success both in Australia and Wales. Australian scientists become unlikely heroes because of the part they play in 3 Adrian Martin, More than Muriel, Sight and Sound nternationally. Adapted from the novel by Joan Lindsey, the film is set in 1900 on Valentine’s Day, when a group of schoolgirls on a picnic at Hanging Rock in Victoria disappear without trace. broadcasting the first TV pictures of the Apollo moon landing. In the 1980s the phenomenally successful Crocodile Dundee (1987) relied on the bushman stereotype for its comedy. In 3 addition to 1990s ‘kitsch comedy’ successes like Strictly Ballroom, Priscilla, Queen of the Desert (1993) and Muriel’s Wedding (1994), other comedies also proved popular. The Dish (2000) emerged as Australia’s biggest ever box office Another box office success is Phillip Noyce’s film Rabbit Proof Fence (2002), which explores a significant and tragic part of Australian history: ‘The Stolen Generations. ‘ From 1905 to 1970 part-Aboriginal children were forcibly removed from their families and placed in institutions. Set in the 1930s and starring Kenneth Branagh, the film tells the story of three Aboriginal girls who escape from the institution they have been placed in and walk 1500 kilometres across the continent to find their way home. STUDENT EXPLORATIONS 1 Travel brochures promote Australia as one of the world’s most spectacular holiday destinations. What mpressions of Ireland are shown in travel brochures, do you think? 2 Describe a stereotypical Australian, then a typical Irish person. In what ways are these stereotypes limiting? Where do we see such stereotypes used? 3 Do you think Australian TV soaps are realistic? What images of Australia do they present? Compare their stories, cha racters and settings to an Irish or UK TV soap. 4 Compare another Australian film to Rabbit Proof Fence  © Miramax Release Date Ireland: 8/11/02 Strictly Ballroom. In what ways are they similar/different? What impressions of Australia do you receive in each film? *See Filmography (Appendix F) for ore details of Australian films. STRICTLY BALLROOM 6 2 Known as Anglo-Australians, or Anglo-Celtic Australians Vol. 5 No. 6 (1995) p30 – 32 (p30) Picnic at Hanging Rock BAZ LUHRMANN’S VISION ORIGINS OF STRICTLY BALLROOM company, the Six Years Old Company, subsequently revived the play for a it won the Festival’s Prix de Jeunesse. Strictly Ballroom also won several other Ballroom dancing is hugely popular in several countries around the world. With successful season at the Wharf Theatre in Sydney before touring to the World Expo awards, including eight Australian Film Institute Awards, three British Academy ts garish costumes, obsession with detail and rigorous rules, it has evolved into a dance sport and has recently been introduced to the Olympics. There are clubs and societies in countries around the world devoted to the promotion of ballroom dancing. Baz Luhrmann was introduced to the world of competitive ballroom dancing as a child growing up in Australia. His mother was a dancing teacher, and he took lessons, danced competitively and became a champion ballroom dancer himself. at Brisbane, Queensland in 1988. Awards and a Golden Globe nomination. FROM PLAY TO FILM VISION PASSION The next phase in Strictly Ballroom’s evelopment, however, was more challenging. Adapting the successful stage play into a film became what the filmakers describe as a â€Å"David and Goliath journey†. Producers Tristram Miall and Ted Albert had approached Baz Luhrmann with a view to buying the film rights. They agreed that he would write the script and direct the film. In 1991 Baz Luhrmann and Craig Pearce wrote the final screenplay for Strictly Ballr oom, but the Australian Film Finance Corporation were cautious about financing a first time director, producer and a largely unknown team. Few films were being made in Australia in the early 1990s, as it was in the midst of an conomic recession. In many ways the ‘David and Goliath’ struggle to get the film made reflects Scott’s struggle to dance his own steps in the film. His creativity and vision eventually win out despite the obstacles in his way. Similarly Baz Luhrmann’s team overcame what seemed to be impossible odds to triumph. Their vision and passion, combined with tenacity, hard work and determination helped them succeed in getting Strictly Ballroom made. Given the economic circumstances in Australia at the time, and the fact that Baz Luhrmann had never directed a feature film before, this was indeed a substantial achievement. AT DRAMA SCHOOL By 1985 Luhrmann was studying drama at the prestigious National Institute of Dramatic Art1 (NIDA) in Sydney, where he felt that its traditional teaching methods and strict rules were oppressive, stifling students’ creativity. Inspired by this experience, the original premise for Strictly Ballroom was based on overcoming oppression. Luhrmann chose the world of ballroom dancing because of his own experiences in that world. A DEVISED PLAY STUDENT EXPLORATIONS Despite several setbacks, including the 1 Baz Luhrmann and the producers have described the experience of making Strictly Ballroom into a film as a ‘David Goliath’ struggle. Find out about the sudden death of producer Ted Albert, the money was eventually raised to make the film, with the Australian Film Finance Corporation as main investor. But there story of ‘David Goliath’, and discuss how it has parallels with Scott’s story. 2 The theme of overcoming oppression was the premise for Baz Luhrmann and SETBACKS The first version of Strictly Ballroom was a thirty minute devised play, created by Luhrmann and fellow students (including long time friend and co-writer Craig were other difficulties along the way, including Paul Mercurio (Scott) injuring his ankle just before the start of filming, and he Film Finance Corporation allegedly Pearce). Luhrmann then directed the first ever stage production of Strictly Ballroom at NIDA. The play’s success led to its selection for the 1986 World Youth ‘hating’ the film after viewing a rough-cut. (See Interview with Tristram Miall). Despite all these difficulties, Strictly Ballroo m became a huge hit in Australia and Theatre Festival in Czechoslovakia, where it received awards for best production and best director. Luhrmann’s theatre overseas. Made for $3. 5 million Australian dollars, it screened at the prestigious international film festival at Cannes, where fellow NIDA students when they evised the play version of Strictly Ballroom. The students felt oppressed by the strict regime at their drama school. Do you have any personal experience or knowledge of such a regime? Give some examples. 3 Discuss the different stages by which Strictly Ballroom became a film. What impressions do you receive of Baz Luhrmann and his team? STRICTLY BALLROOM 7 â€Å"All our films use this cinema form which we call theatricalised cinema, red curtain cinema†¦Ã¢â‚¬  Baz Luhrmann Moulin Rouge (2001)  © Twentieth Century Fox RED CURTAIN CINEMA Shakespearean language, and Moulin Rouge is a musical. Once the audience Baz Luhrmann describes his trilogy of ilms as exam ples of red curtain cinema. accepts that they are always watching a movie and are not seduced into believing This concept, which he defines as a theatricalised, participatory cinema form set in a heightened world, is central to our understanding of his work. Strictly Ballroom, the first film in the red curtain trilogy was released in 1992, followed by Shakespeare’s Romeo Juliet (1996) and finally Moulin Rouge (2001). that it is real, Luhrmann believes that they will be able to participate actively in the viewing experience. According to Baz Luhrmann, there are rules and conventions in red curtain inema just as in other film genres. The first rule is that the story needs to be set in a heightened creative world. Strictly Ballroom opens with a theatrical swish of red velvet curtains. The opening image leads us into the world of competitive ballroom dancing, peopled by larger-than-life characters obsessed with winning. The second rule is that the story should be based on a reco gnisable story shape. In Strictly Ballroom, the David Goliath myth can be seen quite clearly in Scott’s Romeo Juliet (1996)  © Twentieth Century Fox struggle against the mighty Dance Federation. Similarly, the fairy tale about he ugly duckling being transformed into a swan is mirrored in the character of Fran. Baz Luhrmann for a detailed account of his artistic vision (Appendix B) Interview with producer Tristram Miall for details of his involvement in Strictly Ballroom. Thirdly, and finally, red curtain cinema is also audience participation cinema. For Luhrmann, the audience needs to be aware that what they are watching is not meant to be real. Unlike other films which give the illusion of reality, red curtain films use ‘devices’ to keep the audience aware that the film is heightened and stylised. In Strictly Ballroom the central device is ancing; in Romeo Juliet it is See (Appendix A) Interview with director DISCUSSION from his review of Moulin Rouge reve als: â€Å"The director clearly exults in the thrilling films like Top Hat (1935), the all-powerful Dance Federation is represented as the Luhrmann is influenced by radical theatre practitioner Bertolt Brecht, who was theatricality of the genre, which he communicates so infectiously to the enemy in Strictly Ballroom. ‘Mockumentary’ interviews in the opening interested in creating ‘active spectators’ in theatre audiences. To achieve this he employed distancing techniques to ensure that the spectator stands outside the xperience. 2 Brecht’s aim was to keep the audience intellectually involved, but emotionally detached. Baz Luhrmann wants the audience to be active participants, aware that they are watching a film. He describes red curtain cinema as being like ‘Brecht with heart’ because he also welcomes their emotional involvement. audience in this exuberant, intoxicating spectacle, a blissfully romantic paean to the power of love. † 3 sequence provide another example of the film’s parodying of conventions. So does red curtain cinema work, and are we convinced by it as a new cinema form? The world created in Strictly Ballroom is indeed larger-than-life, lamboyant and stylised. And in Shakespeare’s Romeo Juliet and Moulin Rouge Luhrmann continues the concept of red curtain cinema in ever more fantastical ways. The Verona in Shakespeare’s Romeo Juliet is hot, sexy and violent, a created world comprising of twentieth century icons. Moulin Rouge, STUDENT EXPLORATIONS There is no doubt that Baz Luhrmann’s red curtain films offer audiences larger-thanlife fantastical created worlds, stunning visual spectacle and stories based on recognisable myths. But perhaps the audience participation element of red curtain cinema works more convincingly in Strictly Ballroom and Romeo Juliet han in Moulin Rouge because in the final film of the trilogy the pace is just too frenetic and rushed. Those who love watching MTV may disagree, but in my view the audience simply does not have time to absorb the myriad images, sounds, sweeping camera angles and special effects. Far from encouraging our emotional involvement with the characters and storyline, these distancing techniques in fact have the opposite effect. A COMBINATION OF GENRES 1 Define ‘red curtain cinema’ in your own words. 2 We are used to seeing films at the cinema that are set in the ‘real world’. Give some examples of films like this. How do Baz Luhrmann’s films differ? Do you prefer films that have a realistic setting/storyline or films that are obviously set in a heightened, fantasy world? 3 What do you think of Baz Luhrmann’s concept of red curtain cinema? Does it work, in your opinion? (Consider Luhrmann’s other films, Romeo Juliet and Moulin Rouge as well as Strictly Ballroom in your response). 4 Strictly Ballroom also draws from other traditions in film and theatre. Give examples of key moments from the film that illustrate its combination of genres (eg. ‘mockumentary’, fairy tale, dance the final film in the red curtain trilogy, is an extraordinary musical love story, set in computer-generated Paris of 1899, featuring music from artists as diverse as Baz Luhrmann defines Strictly Ballroom as red curtain cinema, but it also draws from several traditions in film and theatre: slapstick elements of silent film; musical). Randy Crawford and Nirvana. Luhrmann’s red curtain films have been box office successes and are hugely popular with audiences. This is clear commedia dell’arte; even ‘mockumentary’. It can be described as a combination of the following genres: a romantic comedy, a fairy tale, a dance musical, a satire, and evidence that many people enjoy the experience of watching his films, and are illing, either consciously or unconsciously, to accept the conventions finally an example of ‘kitsch comedy. ’ Baz Luhrmann uses these conventions in Strictly Ballroom, but he also parodies them. The film self-consciously subverts loosely in English as distance alienation or the ‘A’ of red curtain cinema. Film critic Michael Dwyer is an enthusiastic admirer of Baz Luhrmann’s work, as the following extract our expectations of the backstage musical, so that far from being a celebration of the show business dance community as in narration, mask, song, and actors playing a variety 1 The National Institute of Dramatic Art (NIDA) is ne of Australia ’s best-known drama schools. Graduates include Mel Gibson, Cate Blanchett and Toni Collette. 2 The concept of ‘verfremdungseffekt’, translated effect, is used in Brecht’s epic theatre to remind the audience that they are watching a play. (A-effects include a presentational style of acting, use of of roles). 3 Dwyer M. , The Irish Times, 5 September 2001 STRICTLY BALLROOM STRICTLY BALLROOM 7 9 THE WORLD OF THE FILM As we have seen in the discussion on red curtain cinema, one of its conventions is that the story takes place in a heightened, fantastical world. There are two contrasting worlds in Strictly Ballroom. Both are located physically in the suburbs of Sydney, but they are distinct and separate, reflecting the film’s collision of wills and cultures. THE BALLROOM DANCING WORLD The first world we enter is the competitive world of ballroom dancing. Locations in this world are always interior. It is represented as being fiercely conservative, with rigid rules that must be obeyed. Characters are Anglo-Australian comic stereotypes, whose costumes are garish and glitzy. They wear heavy make up, have elaborate, cartoon-like hairdos, and are overly concerned with outward appearances. Obsessed with winning ballroom dancing competitions, they are nable to talk about anything else. They have created an insular, claustrophobic world where outsiders are not welcome and innovation is seen as a threat. The heightened and stylised ballroom dancing world satirises aspects of Australian society. It serves as a metaphor Scott: I’m just asking you what you think of the steps. Liz: I donâ€℠¢t think. I don’t give a shit about them. We lost. (New Partners: Sequence 2) FRAN’S WORLD The second world is the Toledo Milk Bar, where Fran’s Spanish family lives. As recent migrants to Australia they are shown as living on the fringes of mainstream society, literally beside the railway tracks. Providing a stark contrast to the artificiality of the ballroom dancing world, their world is shown as more real. The exterior location suggests space and freedom. Characters are portrayed as more passionate and authentic than the winning-obsessed AngloAustralians because they dance from the heart rather than from a desire to win competitions. Baz Luhrmann explains: for a particular Anglo-Australian attitude, shown here as hierarchical and conservative. The Dance Federation’s obsession with rules and conformity â€Å"The Anglo world took the Paso Doble, which is a dance of expression, and put a whole lot of rules on it, and made it about inning. Whereas in Fran’s family, dancing is could also be said to represent a fear of change in a part of Australian society that discourages spontaneity and creativity. a tradition, it comes from life, it is an expression of life. † Scott’s crowd-pleasing steps are seen as pointless compared to the obsession with winning competitions. After Scott and Liz lose the Waratah Championships Liz is inherent in dance before it became restrained and stifled. When Ya Ya encourages Scott to â€Å"listen to the rhythm† (Paso Doble: Sequence 5), the film furious. Scott tries to persuade her to listen to his ideas but she is only nterested in winning: suggests that expression in dance should be lived and enjoyed, rather than made into a competitive sport. The film tries to capture the original passion STRICTLY BALLROOM 10 FAMILY ultimate patriarchal, authoritarian figure, treats women as decorative objects. His forced me into it – where the man goes the lady must follow – I had no choice. † Although they appear conventional enough, with a mother, father and two scenes with ‘loyal companion’ Charm Leachman (No New Steps: Sequence 6) (Waratah Championships: Sequence 1) Liz’s words are ironic, especially when we children, the Anglo-Australian Hastings amily is shown as dysfunctional. The film subverts our expectations of the ‘average’ family. Shirley, like the other characters from the ballroom dancing world is onedimensional. She is depicted as a stereotypical domineering wife, browbeating mild-mannered husband Doug. She is also a stage mother who lives vicariously through her children’s successes. Shirley is ambitious for her son Scott to win the Pan Pacific Dance Championships, but only if he dances the Federation way. and when he demonstrates the Bogo Pogo dance step to Wayne and Vanessa (The Pan-Pacifics: Sequence 7) reveal his sleazy side. consider that she is the one who refuses o dance with Scott after he dances his own steps, and throws a temper tantrum when she does not get her own way (New Partners: Sequence 2). Similarly, Shirley bursts into tears at the dance studio when the efforts to get Scott and Liz back together fail. Fran’s Spanish family is portrayed more sympathetically, but also somewhat stereotypi cally. Like Cinderella, her real mother has died. Her father Rico is shown as swarthy, unshaven and ultra-strict. Fran’s body language and actions suggest that she is afraid of him and when we first meet Rico after Scott walks Fran home (Sequence 3) his words to Fran are harsh. Fran’s grandmother Ya Ya, dressed in black with a crucifix around her neck, grey hair But elsewhere there are men who do not have such authority. The ‘camp’ representation of Les Kendall throughout the film indicates that he is homosexual. The fact that he is different, the film suggests, has not been to his advantage. Barry Fife calls him â€Å"a pathetic fag,† at the Pan-Pacifics (Sequence 8) when Les discovers the truth about the 1967 Championships. Doug Hastings is also different. Far from being the conventional male head of the family, he is bullied by his wife Shirley and seems to have no authority at home. Whenever he tries to talk to Scott he is ignored, until the Pan-Pacifics (Sequence 7) when he is finally able to make Scott listen. Their portrayal is in marked contrast to the way Fran is depicted. Shown very much as a fairy tale heroine, Fran is shown more positively. Her shyness and lack of self-confidence give way to her blossoming courage and independence. Her natural appearance contrasts with the heavily made-up ballroom dancers, again reinforcing the idea that Fran is genuine and has more depth than the superficial female characters of the ballroom dancing world. Doug’s role as father is in marked contrast Children There are two children in the film, Kylie, Scott’s younger sister, and Luke, her dance partner. Both are aged ten, and are tied back in a bun at first looks like a stereotypical ‘ethnic’ grandmother, but her appearance is deceptive. She is in fact Fran’s ally, covering for her when she goes to the way Rico is depicted. As a strict, authoritarian father, he is also portrayed as strong and masculine, his dance prowess seen as a macho attribute. He dressed as miniature ballroom dancers, complete with elaborate costumes and hairdos. Their function is to comment honestly and insightfully on the action, ut, and revealing a playful sense of humour at Scott’s expense during the Paso Doble scene (Sequence 5) when she speaks in Spanish about Scott’s becomes a mentor, even a father figure to Scott when he teaches him about the real meaning of dance. (Practising for the Pan-Pacifics: Sequence 6). and they also provide comic asides, for example wh en Kylie says: â€Å"It’s the inconceivable sight of Scott dancing with Fran,† as she watches them dance ROLES OF MEN, WOMEN, CHILDREN Women The film satirises Anglo-Australian women by depicting them as hysterical, bitchy and backstage at the State Championships (Sequence 4). Kylie and Luke also act uring the Pan-Pacifics (Sequence 8) to help Fran and Scott. Realising that Barry Men In the ballroom dancing world, the men appear to be in control. Barry Fife, the manipulative. The following melodramatic comments by Liz Holt suggest that men lead, at least on the dancefloor: â€Å"He Fife plans to cut the music, they lock themselves into the sound booth so that his plans are thwarted. Their heroic â€Å"nice body†. STRICTLY BALLROOM 11 actions at the end and the way they cheer for Scott and Fran suggest that they European migrants started arriving in Australia. It is clear that Fran’s family is not represent a brighter future for dance. s financially well off as the AngloAustralians. But the fiesta that takes place WORK at the back of the house (Paso Doble: Sequence 5) conveys that there is life and soul here. Although dancing is an amateur pastime for most of the characters in the ballroom dancing world, they are so obsessed that it dominates their lives. For some of the characters, ballroom dancing also provides their livelihoods. Les Kendall and Shirley run Kendall’s Dance Studio together. Shirley’s explanation of why she dumped Doug at the Pan-Pacifics in 1967 reveals her fear of insecurity. It also suggests that in this world people feel hey have to sacrifice their dreams to obtain job security: â€Å"There was too much at stake. Our dancing career was on the line. I couldn’t throw all that away on a dream. We had to survive. We would never have been able to teach. † (The Pan-Pacifics: Sequence 7) Barry Fife displays quite a different attitude to work. He uses his position as Federation President to f urther his own business interests, notably the way he POWER The Anglo-Australian characters are those who are depicted as having power in the film. But Barry Fife’s power is represented as hierarchical and corrupt. During the Waratah Championships (Sequence 1) the Dance Federation judging panel is framed with a low angle shot, showing Barry and his fellow officials placed on a stage above the audience, reflecting their superior status. Barry is willing to fix the Pan-Pacific Grand Prix Dance Championships, so that Scott doesn’t win, as his words to a drunk Ken Railings reveal: â€Å"Your year, Ken. Just get on the floor, go through the motions and it’s in the bag. † (Scott Fran’s Big Moment: Sequence 8) Throughout the film, his unscrupulous places his video, Dance to Win, on display at every opportunity, and gives a copy to Wayne as a sweetener to get him on his side against Scott (The State ethods reveal that he is willing to do anything to hang onto power. He is portrayed much like a corrupt politician or businessman who will do favours for Championships: Sequence 4). certain people in order to gain personal advantages. By contrast, Fran’s family business is the Toledo Milk Bar. Business does not seem In c ontrast, Fran’s family, who live on the to be booming, as the milk bar looks shabby and rundown. Its paintwork is dingy and worn and there are bins full of rubbish in front. In some ways the Toledo edges of society, are depicted as less powerful because they are not part of the established, dominant Anglo-Australian ulture. However, their sympathetic Milk Bar suggests an earlier era, the 1950s, when such places were first popular, and also when southern portrayal in the film suggests that despite their marginal status, they are culturally richer than their Anglo counterparts. CLASS others. (The Try-Outs: Sequence 3). It is as if Fran’s ethnicity marks her as different, STUDENT EXPLORATIONS Although the film shows two cultures in opposition, it is more difficult to position and is considered a drawback to her integration and acceptance into the 1 Baz Luhrmann’s describes the world of Strictly Ballroom as ‘heightened and them in terms of class. The AngloAustralians can be described as white working-class or lower middle-class. They have more money and status in society than the characters in the Spanish world, which places them in a higher position. Yet their values and attitudes are satirised in the film, so that the Anglo-Australian world is presented as tacky and artificial, lacking depth. The Spanish characters, living on the margins of an urban society can also be described as working-class. However, their values are celebrated in the film, placing them above the Anglo-Australians. Anglo-Australian world. At the Pan-Pacifics Fran tells Scott how difficult it has been for her: RACE In the film the Anglo-Australian world is shown as dominant, and ‘normal’, with Fran’s Spanish world represented as the ethnic ‘other’. This could be said to mirror the migrant experience in Australia, where Anglo-Australians form a majority of the population and have lived there longer than more recent arrivals. Fran’s â€Å"Frangipannidelasqueegymop. Wash the coffee cups Fran. How’s your skin Fran? † (At the Pan-Pacifics: Sequence 7). When Scott is introduced to the Spanish world, he is at first treated with suspicion by Rico (Paso Doble: Sequence 5). At first characters speak in Spanish in front of Scott, often at his expense, and as a way f excluding him from their conversation. For the first time Scott experiences what it is like to be an outsider. But after initial suspicion he is accepted. Scott is willing to learn from Rico and Ya Ya, and realises that the experience is enriching. It is interesting that as Rico and Ya Ya help Scott and Fran practice for the Pan-Pacifics (Sequence 6) they begin to speak both Spanish and English, indicating their growing acceptance of him and their openness to the Anglo world. 2 3 4 5 fantastical’. How does the film language used illustrate this? See Appendix E: Film Language. (Comment on costume, lighting, characters, amerawork, colour, music in each of the contrasting settings). How does the film depict the Anglo Australian characters? How does this compare with the film’s portrayal of Fran’s Spanish family? Who is portrayed more sympathetically, do you think? Many of the characters in Strictly Ballroom are cartoon-like and one dimensional. What advantages are there in creating characters that are stereotypes? Can you see any disadvantages? â€Å"No new steps! † Why do you think some of the characters were so frightened of new dance steps? Discuss the relevant characters/key moments. Do you sympathise with any of them? Why/why not? Do you agree with Baz Luhrmann that dance should be ‘an expression of life’ rather than a competitive sport? Do you experience at Kendall’s Dance Studio reflects this marginal status. She is known as ‘just Fran’ rather than by her full name Francisca. She is reluctant to say her The film’s triumphant finale, which shows the two cultures uniting on the dance floor, offers a celebration of Australia’s multicultural society. As characters from have any personal experience of dancing competitively? (Irish dancing, for example) What is your opinion on such competitions? Spanish name because it reinforces her outsider status, making her a potential arget for name-calling by Liz and Vanessa. Fran’s appearance is also the ballroom dancing world and Fran’s Spanish world dance together, Rico with Liz Holt, Ya Ya with Les, the film offers an optimistic ending. From being two 6 How does the world of Strictly Ballroom differ from the cu ltural contexts/social settings of other comparative texts you have studied? Are there any similarities? different. Her dark hair and natural skin provide a contrast to the artificial glamour of the other ballroom dancers. Shirley, in her role as cosmetician, is always separate, distinct cultures, the finale ensures that they intermingle, each nriched by the other. Only Barry Fife seems not to fit into this new, inclusive encouraging Fran to use apricot scrub or Buf Puf to improve her skin, and tries making her up so that she looks like the world, suggesting that he really does belong to a bygone era. STRICTLY BALLROOM 13 HERO, HEROINE, VILLAIN Mainstream Hollywood cinema draws from principles and structures established in Greek mythology. Stories are driven by the struggle between a central hero and another, usually darker force. The conventional cinematic hero is strong and virile, who proves himself by overcoming obstacles set out for him by the narrative. The hero always achieves his goal and wins the love of a woman through combat or physical confrontation with another male. HERO Scott is the central character in the film. Positioned as the hero, he is a passionate, ambitious ballroom dancer who also wants to dance his own steps. Scott has to balance his desire to win with a need for individuality and creativity. As he progresses through the film, he overcomes pressures and obstacles in his way and finds the courage to dance his own steps with Fran at the Pan-Pacifics. How film language* positions Scott as the Hero We know that Scott is the hero because he is central to the plot. The action he takes at the Waratah Championships when he dances his own steps is the catalyst for the story. But the way the story is told through film language also shows us that he is the a desire to win marks him as unconventional. He is also put under pressure to conform at different times during the film from Shirley, Les and Barry Fife, and he gives into the pressure more than once. The hero’s qualities of physical strength and virility are shown through ballroom dancing, an activity not normally associated with macho cinematic heroes. Scott’s Journey Scott also has to change his own attitudes to fully understand the true meaning of ance. There are several key moments in the film that illustrate Scott’s emotional journey: New Partners (Sequence 2) Fran approaches Scott When Fran asks to try out as Scott’s new hero. The camera frames Scott in particular ways to emphasise this. The following elements in camerawork illustrate how a film can position the hero: Scott: You’ve come up to me who’s been dancing since I was six years old†¦ and †¢ Framing of shots – the camera stays with the character as much as possible †¢ Close-ups of the character’s face reveal you want to dance non-Federation, and convince the judges at the Pan-Pacific Grand Prix with 3 weeks to train? Fran: Yeah. how the character is feeling †¢ Point-of-view shots make the audience see things from his perspective *See also Appendix E: Film Language STRICTLY BALLROOM 14 An Untypical Hero? Scott is an untypical cinematic hero. His interest in artistic self-expression more than partner, he is dismissive of her ability: Scott: I don’t think so. Scott only listens to Fran after she loses her temper and tells him he’s a â€Å"gutless wonder† for not having the courage to give her a chance. Even after Scott accepts Fran as his new partner, he holds onto the attitudes and beliefs of the ballroom dancing world. As they dance the ne last look at Liz, Shirley and the other competitors before jumping offstage to An Untypical Heroine? But if Fran fulfils many of the rumba, he instructs Fran to â€Å"look at me like you’re in love,† emphasising the artificiality find Fran. requirements of a fairy tale heroine, she is also untypical. Although Fran appears to of the ballroom dancing style. STUDENT EXPLORATIONS State Championships (Sequence 4) Scott and Fran dance together backstage Scott is caught between wanting to win the competition and his desire to dance new steps with Fran. The opportunity to dance with Tina Sparkle is tempting, and he is esitant when Fran asks him directly what he intends to do: 1 What are the qualities of a typical Hollywood hero? 2 Give examples of 2 other films in which the central character can be described as heroic, and give reasons for your choices. 3 How does the film position Scott as the hero? 4 Give examples of key moments that show Scott as the hero, and explain how film language conveys this to the audience. be a passive and shy individual at the beginning, at important moments she shows determination and defiance. But she also falters under pressure at times, particularly when faced with Scott’s indecision, or when bullied by Shirley Hastings. Fran: Are you going to dance with Tina? Scott: I†¦ she’s a champion. But as Fran watches Tina Sparkle and Nathan perform, Scott follows her gaze. The close-up shot of his reaction indicates that he is beginning to realise what he wants to do. As he dances with Fran backstage the lyrics to the song ‘Perhaps’ – â€Å"If you can’t make your mind up, we’ll never get started,† fit the scene perfectly. HEROINE Fran’s Journey Unlike the journey Scott makes to change his attitude towards dance, Fran already knows that she wants to dance ‘from the heart’. The Spanish proverb, ‘Vivir con miedo, es como vivir a medias/A life lived n fear is a life half-lived’ is one of the main messages of the film, and is closely associated with Fran. Her journey is about overcoming her fear so that she can reach her potential and live life to the full. Paso Doble (Sequence 5) Rico and Ya Ya dance the Paso Doble Ric o and Ya Ya, having laughed at Scott and Fran Fran is positioned as the heroine in the film. Like Scott, she is a complex character who has to overcome obstacles to achieve her goals. In many ways she fulfils the requirements of a fairy tale heroine, with clear similarities between her character and Cinderella or The Ugly Duckling. At irst she is portrayed as a shy, awkward Fran’s ballroom dancing version of the Paso Doble, teach Scott their way. As Ya Ya encourages him to â€Å"listen to the rhythm,† Scott is transformed by the experience and beginner dancer. Wearing glasses, no make-up and a baggy T-shirt, her plainness provides a contrast to the glitz and glamour of the other ballroom rejects her shows her strength of feeling: learns that dancing from the heart makes it more meaningful and real. dancers. you’re just really scared, you’re really scared to give someone new a go because you think, you know, they might just be better than you are. Well, you’re just There are several key moments that illustrate Fran’s journey: New Partners (Sequence 2) Fran approaches Scott Fran’s angry response to Scott when he â€Å"You’re just like the rest of them. You think you’re different but you’re not because The Pan-Pacific Grand Prix Dance The film shows Fran’s journey towards confidence and fulfilment through the Championship (Sequence 7) Doug reveals the truth When Doug catches up with Scott and tells him the truth about the 1967 changes in her costume and appearance. From the opening sequence which features a close-up shot of an ordinary looking Fran speaking to camera about athetic and you’re gutless. You’re a gutless wonder. Vivir con miedo, es como vivir a medias! † Championships, Scott realises that he can dance with Fran at last. The film moves into slow motion as he spins around to have Scott and Liz’s ‘wonderful steps’, she undergoes a transformation, blossoming into a beautiful, confident dancer. Fran is then positioned in the centre of the frame, standing in the spotlight, just as Scott had been earlier. This indicates STRICTLY BALLROOM 15 that she too wants to dance her own steps, and suggests that she and Scott go home rather than spoil Scott’s chances. The use of low angle close-ups of Shirley, re more closely linked than we have previously realised. Vanessa and Liz, seen from Fran’s point of view, represent them as villains and Fran as a victim of bullying. The Try-Outs (Sequence 3) This montage sequence shows several aspects of the story that happen over the same period of time. Scott’s try-outs with prospective new partners are juxtaposed with Scott and Fran continuing to practice together. The camera also cuts to dates being crossed off the calendar, indicating that time has passed, and the soundtrack, appropriately, is the song Time After Time. The montage also shows how Franâ€℠¢s transformation is taking place. Gradually er appearance begins to change, her hair becomes darker and more attractive and she wears skirts rather than leggings. The use of colour is also significant, and by the end of the sequence she is shown wearing stronger colours (black and red), reflecting her growing confidence. The State Championships (Sequence 4) Fran and Scott dance together backstage After the revelation that Tina is to be Scott’s new partner, Fran retreats backstage where Scott finds her. But the spell is broken when Liz Holt scathingly comments: â€Å"You’re kidding! † when she sees Fran and Scott dancing together. Fran becomes self-conscious again, and falls ver, injuring her ankle. Practising for the Pan-Pacifics (Sequence 6) Fran and Scott practice for the Pan-Pacifics with the guidance and support of Rico and Ya Ya. When Fran dances complicated steps with confidence and poise during a practice with her father, the reaction shot of Rico shows his surprise and pride. It is as if he is seeing his daughter in a new light. Like Ya Ya, he accepts that Fran has overcome her shyness and is ready to dance at the Pan-Pacifics. STUDENT EXPLORATIONS 1 Fran can be described as being like a fairytale heroine. Choose 3 key moments from the film that show parallels between Fran and a fairytale heroine. How does the film reveal Fran’s transformation? Give some examples of key moments where Fran’s image changes, referring to costume, facial expression, movement, camerawork etc. Is the transformation more than just her appearance, do you think? VILLAIN Barry Fife There is one obvious villain in the film – Shirley, Liz and Vanessa persuade Fran to go home This scene in the dressing room is Barry Fife, President of the Australian Dance Federation. Symbolising a bygone patriarchal, authoritarian era Barry is portrayed as being shifty and corrupt. Like reminiscent of Cinderella, when Shirley (like the wicked stepmother), Vanessa and Liz (as the ugly sisters) persuade Fran to many of the characters in the ballroom dancing world, Barry is depicted as a cartoon-like stereotype. He is often filmed STRICTLY BALLROOM 16 in low angle close-ups, which make his face look grotesque, and his shiny blue speech about heroes to Les, which is both comic and satirical, bearing similarities to table and is shown on the floor looking dishevelled and defeated. The high angle suits, red face and false hairpiece convey to the audience that he is not to be the kind of speeches we are accustomed to hearing from certain politicians: camera shot used here makes him appear ulnerable for the first time. To symbolise trusted. Barry’s fear of change, combined with his desperation to remain the allpowerful President by ruthless and corrupt means, results in his loss of power and authority at the end of the film. Barry fulfils the role of a typical cinematic villain, being the darker force that tries to prevent Scott from dancing his o wn steps. Despite his villainous ways, he is also responsible for many of the film’s funniest moments, particularly when he confuses proverbs and sayings like: ‘Let’s not chuck the baby out with the bathtub,’ and ‘One bad egg can rot the whole barrel. ’ Several ey moments reveal Barry Fife as a villain: Waratah Championships (Sequence 1) Barry’s office Barry is sitting in his office behind his desk, a position that emphasises his authority. Speaking directly to camera, Barry’s statement hints strongly that he is more than an impartial judge at the dance competition: â€Å"You can dance any steps you like, but that doesn’t mean you’ll†¦ win. † â€Å"Let’s not forget, Les, that a Pan-Pacific Champion becomes a hero, a guiding light to all dancers. Someone who’ll set the right example†¦ I love dancing, Les, and I won’t let what we’ve fought for all these years be destroyed. † The film then cuts to an obviously drunk Ken Railings dancing with Liz, providing an ironic comment on what exactly Barry Fife has fought for all these years. Practising for the Pan-Pacifics (Sequence 6) Barry’s version of Doug’s downfall When Barry tells Scott that Doug’s crazy steps lost the 1967 Pan-Pacifics for Shirley and Doug, the audience does not yet know the truth. Barry’s fake version of events is conveyed to us through a flashback sequence, which he narrates. The past is depicted as a drama, a playwithin-a-play in which Barry, naturally is represented positively. His version of the past is designed to create a rosy nostalgia, ut his words sound unconvincing and false: The film language used during this scene conveys Barry’s untrustworthy nature. The ADDITIONAL EXPLORATIONS 1 The final sequence at the Pan-Pacifics reveals acts of heroism by other characters in the film. Name the characters involved, and describe the actions they take that might be considered heroic. 2 From your study of Strictly Ballroom as well as other comparative texts, compare the heroic qualities of each of the main protagonists. In what ways are they similar/different? The Pan-Pacific Grand Prix Dance Championships (Sequence 7) Barry falls and knocks over the trophies Les that he wants Scott to dance with Tina Sparkle. To the tune of Danny Boy in the background, Barry makes a sentimental 1 How does the film communicate that Barry Fife is a villain? Comment on the film language used and refer to selected key moments in your response. 2 Is Barry Fife more than just a villain? Are there any reasons why we might feel sympathy for him in the film? we used to scruff it together†¦ Lessie’d come along of course. The three of us together, the old gang. We were a bunch of old funsters. † State Championships (Sequence 4) Barry talks to Les Barry’s motives become clearer as he tells STUDENT EXPLORATIONS I was your dad’s best mate in those days, lighting is shadowy and the camera zooms in to a close-up of his mouth when he says the word â€Å"win,† which echoes ominously. Barry’s sudden and dramatic fall from power, his hairpiece has fallen off and the trophies are scattered around him. After Barry’s schemes have been foiled, one of the last images we see of him is when he literally topples over the trophy STRICTLY BALLROOM 17 APPENDIX A BAZ LUHRMANN INTERVIEW FII: When did you first see cinematic overcoming seemingly impossible odds, on the culture of Australia. But beyond that, possibilities for Strictly Ballroom? BL: Well, what happened was I did it as a and it’s finally about the fact that the young David with the belief, comes up because it is David and Goliath, and because there was an election campaign at play and then I met this producer and he said, look I’d like to buy the rights, and I with the solution†¦ No one wanted to finance the film, I was a first-time director, the time about republicanism it had political implications too. The all-powerful said, well I’d like to make a film of it and they agreed to let me do the film. But I you know what I mean, there were lots of no’s. I went to Cannes the year before and Federation, they have a very particular Australian attitude, which is an old guy always thought it would be a film and I always thought it would be a musical as doors were slammed in my face. Not twelve months later the same people that going, â€Å"There’s only one way to cha cha cha mate, and you’ve got to do it that way or well. I mean all our films we make have this cinema form which we call had said, â€Å"What a waste of time†¦ † were like crying with tears going, â€Å"Remember else. † It started to smash away at that. FII: What films have influenced you? I theatricalised cinema, red curtain cinema Strictly Ballroom, Romeo and Juliet and How to cite Strictly Ballroom, Essay examples

Albert Einstein Essay free essay sample

The lack of ethos made the argument less effective because even though Albert Einstein is one of the most famous scientists of the twentieth century, he did not show any credibility that he had towards the argument. Yes he might have won a Nobel Prize for Physics, but that does not mean he knows anything about religion, also being the only scientist responding to Phyllis’s question, Einstein does not necessarily have the correct answer because he does not give the point-of-view of the other scientists. Yes, Einstein was most likely one of the only known scientist at the time, and for that reason he would be the â€Å"go-to† guy, for this question, but that does not give him much credibility for this question. The lack of pathos made the argument less effective because he did not show any emotion towards the reader, Phyllis Wright. Einstein should have showed more compassion towards Phyllis because she was merely a 6th grader, not one of his colleagues. We will write a custom essay sample on Albert Einstein Essay or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Yes, Einstein had many facts on why scientists may or may not pray, but by the way he worded the response, it seemed that he did not take into consideration that Phyllis was just a young girl. He also says that â€Å"a research scientist will hardly be inclined to believe that events could be influenced by a prayer,† thus making it seem that there was no reason for Phyllis to even ask the question, thus making her feel like she just wasted his time asking him the question. His answer too was not straightforward, due to how he would say one thing and then went on saying something else that would go against his first argument by doing this; he is making it difficult for Phyllis to comprehend what he is trying to say. If he were to use more pathos the argument would be more effective because it allows the reader to feel what the writer is feeling. Einstein did not lack logos, but he did fail to give a straight forward answer which in turn made the made the argument ineffective. He uses the â€Å"Red Herring Fallacy† in order to divert attention from the original question. For example he stated †the belief in the existence of basic all-embracing laws in Nature also rests on a sort of faith† which has nothing to do with the question on whether scientist pray or not. Using this fallacy makes Phyllis’s attention to her question divert from whether or not scientist pray to, whether or not there is a god. Einstein’s use of logos was used greatly throughout his argument, but he must remember that he is talking to a young girl and should not be talking to her as if it was one of his colleagues, so there is a chance that she did not comprehend the argument thoroughly. Because Einstein’s argument lacked ethos and pathos, as well as not giving a straight forward answer, it was ineffective. The fact that he lacked ethos, made this essay ineffective because being a scientist does not give him any credibility towards religion. The lack of pathos, made this argument ineffective because he needs to make the reader feel the way he felt while writing this response. The way he worded the response made the argument unclear of what he wanted to say, which made the reader unsure of what his stand on the question was. Ethos, pathos, and logos are all necessary when attempting to make an effective argument, but Einstein seemed to have left some of these key factors out of his argument.