Daldry constructs growth as a transforma...

Daldry constructs growth as a transforma...

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Daldry constructs growth as a transformative process, suggesting to audiences that an optimistic mindset is central to the human pursuit of success and self-realisation. Such growth is often triggered by the adverse situations that disrupt an individual's identitiy, compelling them to re-evaluate thier values and aspirations.

Pirouette practice

1. Through Billy's dialogue: “forget it” and his determined facial expression , Daldry utilises the kuleshov effect to:

display the gradual development of optimism in Billy's mindset.

2. Reinforce with Billy's head shaking no in denial of failing to dance.

reveals how adverse struggles with dancing forced him to recollect on his values of dancing, thereby fostering his shift in a positive attitude

forces the audience to appreciate how this acts as a foundation to his success despite the collective pressure from 1980s gender stereotypes.

3. Daldry employs a montage of his improvement in dancing, intertwined with repetition of Mrs wilkinson dialogue “prepare” and “go” to:

Further emphasising how his difficulty dancing foregorunds his sanguine lens.

This encourages audiences to recognise that an optimistic perspective is crucial in the pursuit of success.

In a subsequent scene, Daldry emphasises how familial optimism acts as a force that sustains the pursuit of success in other individuals, elucidating how supportive relationships enable personal transformation.

Give the boy a chance

Daldry utilises a Mid shot of Jackie turning his back, coalesced with the mise en scene of the mines to

illustrate the paradoxical pressure between supporting family members or fighting against Thatchers mine strike.

Thus, he invites the audience to recognise how adverse situations require optimistic mindsets in order to underpin another individuals pursuit of success.

2. somber, non-diegetic music and the saliency of Tony and Jackie through the contrast of their jacket and dull grey background

This exemplifies Tony and Jackie's collective moment of hardship as their views towards dancing clash, emphasising the inconsistency of Jackie's mindset, from loathing dance to supporting Billy's talents

Consequently, Daldry confronts us with the emotional turmoil that comes with shifiting perspectives, compeling us to reflect on how familial positivity bolsters an inidivduals strive for success.

Overall, Daldry portrays growth to force audiences to appreciate how positive attitudes, especially in challenging moments, reinforce an individuals successful outcomes.

To a greater extent, Daldry fragments relationships with the lynchpin of dance to explore how human connections can be deconstructed, yet reforged at a greater level through his Bildungs roman genre. By this breakdown of relationships, Daldry enables characters the opportunity to reconstruct bonds on authentic foundations rather than sustaining them on superficiality.

Not for lads

1. Daldry contrasts Jackie and Billy's attitude towards dance through the dialogue “Ballet?” and “what's wrong with ballet?” respectively.

This demonstrates the tension between the two, forcing the audience to recognise the gradual disruption in their relationship as they fail to agree on the outcome of dancing.

2. This is reinforced through his employment of a shot-reverse shot between the two

It resembles the clashing ideologies of Billy and his father, intensfying their crippling relationship as Jackie fails to marginalise him against the 1980s gender stereotypes, thus further compeling the audience to realise how their relationship has corrupted.

However, as Jackies perspective later inclines towards Billy's views, Daldry urges audiences to grapple with how their disagreement about dance was critical for developing their deeper relationship.

This notion is furthered in the scene “You're not concentrating” with Billy and Mrs Wilkinson

“You're not concentrating”

1. by employing diegetic silence and Billy's body language of standing and his high modality yelling of “No!”

Daldry provokes a sense of rebellion towards Mrs Wilkinson, signifying the devestation of their relationship.

2. By further utilising the shot-reverse shot

Daldry reflects the conflict between Billy and his father into Billy and Mrs Wilkinson

similarly revealing to audiences, how fractured connections can be reconstructed on stronger foundations of understanding and acceptance.

3. By extension, Mrs Wilkinson's slap towards Billy symbolises the total destruction of their relationship as they resort to physical violence.

4. Daldry then extends this through their body language of hugging afterwards,

signifying how their relationship has evolved into a more authentic bond as this marks the greatest physical and emotional intimacy they shared

Thereby, Daldry positions his audience to recognise how the deconstruction of relationships can lead to stronger correlations thereafter.

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