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This assignment will take you through media devises and method used by the directors of "Bend it like Beckham" and "Billy Elliot" use to construct their narratives.

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6. The reflexivity of Medhurst's essay is characteristic of a large section of the book as a whole, and is evident in Joanne Lacey's piece she calls 'Discursive Mothers.' An emphasis on the autobiographical emerges again, as an interpretive mode enabling scholars 'educated out of their class' to come to some understanding and accommodation with their new and alien class position. This position can be experienced as 'out of place;' the predominantly middle-class milieu of the academy inducing uncertainty in the interloper and the ever-present fear of failure, or, as Lacey describes it, 'being found out.' The title of her essay relates to the importance in recent years of female scholars' engagement with the issue of class background and its influence, and how this has assisted a younger cohort of academics making their way through. Lacey picks out Carolyn Steedman, Beverley Skeggs, Annette Kuhn and Valerie Walkerdine in this context. These women provided the narrative support and space which enabled her own expression and interrogations of being working class, and for coming to terms with being 'educated out' and having to fit into a quite different social and cultural environment. The cultural theory and practice developed by these women writers is informed to a very important extent by their own working-class backgrounds, and rehearses the familiar feminist notion that the personal is political, offering a take on class that resists the colder probings of a more distanced traditional Marxism and ideas of economic determinism, as well as questioning the post-structuralist ideology of the 'death of the subject' and the end of class. The emotional politics of class identity become a central concern, allowing for explorations of structures of feeling that revolve around painful encounters of loss or lack. Steedman's (1986) is an obvious paradigm case, in which she questions a range of theories and positions which claim to 'speak' the working-class subject. This involves castigating some of the more reductive writing on working-class life in Hoggart's while at the same time, nevertheless, shaping her own text along similar narrative and formal lines. If Hoggart strove to validate a resilient and respectable working-class culture that he felt to be under threat of a fatal penetration by commercialism (I choose the metaphor consciously), Steedman's text aspires to legitimate her mother's (commodity) desire as perfectly proper, in a world which withheld from her what she identified as the necessary trappings of the good life -- mostly small comforts; not too much to expect. The kind of comforts and securities taken for granted by the higher class women she had to service most of her working life. Central to is , and how the past remains active and pressing in the present. Memory, of course, is a crucial component in autobiographical discourse, and for Steedman (as evidenced in her other books) life writing is about understanding self and relations with others. It represents a way of narrating difference and sameness, and the memory texts mobilised in recount and reshape the lived experience both of herself and her mother and gives form to the story she tells.


essay into the world essay billy elliot color ..

In Billy Elliot, the boy starts to dance and the dad is against boys dancing and says they should be out boxing or playing football....

‘Billy Elliot’ relates to the elective ‘Into the World’ as the film is about new possibilities opening up, determination, family support and individual growth....


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The film techniques in ‘Billy Elliot’ enhance the audiences view on Billy’s story by using a variety of techniques such as sound, lighting, acting and editing.

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Students will utilise their familiarity and enjoyment of film-viewing to , to make more informed critical judgements of the creative elements and values of the core text and other related texts. The allows students to enrich their vocabulary to describe, explain and analyse a wider range of texts that build on the visual language they develop in their investigation of Billy Elliot.

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23. Notably, however, it is the working-class -- something the title of the film reinforces -- who occupies the central focus of this working class narrative of re-fashioning. Billy is the exceptional individual who, in a theme that goes back at least to Lawrence, can only fully express himself outside the stifling confines of the enclosed and embattled community. Though Billy's story could quite easily have been set in the present (as much as any time in the past, for that matter), choosing to set it during the Miners' Strike only seems to emphasise the imperative of escape from an aggressive and disintegrating landscape -- the 'negative emplacement' referred to earlier. In some respects the Strike is the exotic backdrop in which Billy defines his Otherness, only connecting ambiguously with the cross-dressing Michael, as they stand isolated in a world of male violence and threat. That Michael learnt his cross-dressing from is father is a good joke, but the total absence of his father or mother in the film further accentuates the boy's isolation, or , as well as the sense that here is a culture that cannot nurture, and that the good, the true life, must lie elsewhere. In many respects this typifies the escaper paradigm in some forms of working-class writing and representation: Billy becomes emblematic of the necessity to escape the restricted codes of working-class life. Amid the aggression, there is also a kind of about this culture, it is inert: Billy's father seems unable to express emotions that are clearly damaging him, the grandmother has trouble putting together a single, coherent sentence and Billy's brother tends to resort to angry, helpless tirades or demands for silence from his brother. On one level there are evident reasons for these behaviours -- the death of Billy's mother, the tensions of the Strike, the on-set of senility in the old woman. But this all contributes to a certain sense of closure, which represents far more powerfully the terminus point suggested by Bromley in his discussion of . Billy escapes south to become William, the film jumps fifteen years, and we never come learn how well he negotiated his border crossing (we assume he did ok), or how the community he left behind coped with economic and social decay. Recoding the escaper-paradigm to suit postmodern times conveys the 'New' Labour message of meritocracy and classlessness as the film's over-riding ideological point of view.