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BILLY ELLIOT EVIDENCE
THEME EVIDENCE
Self actualization and the - Billy’s multitude of failed pirouette attempts in parallel scenes between
formation of one's identity the dancehall, bedroom and bathroom which is accompanied by the
relies on supportive diegetic voice of Mrs Wilkinson stating “Go Billy Go!, “Up you get!”. Billy’s
relationships dependency on Ms Wilkinson’s support to achieve success highlights
the significance of positive relationships
IDENTITY
- Billy affirms his trust within their relationship by handing Mrs
Daldry presents the Wilkinson a letter from his late mother. The lowkey natural lighting,
imperative nature of shadows and gentle gesture of Billy handing the letter which urges him
supportive relationships to “Be Himself” conveys his vulnerability and longing for matriarchal
through the acceptance. This scene elucidates that Mrs Wilkinons is interwoven into
characterisation of Mr Billy's identity as both a motivator and mother figure
Wilkinson, whose
compassionate nature acts - The tracking shot of Billy and Mrs Wilkinson dancing energetically to the
as a motivator for accompaniment of ‘We Love To Boogie’, symbolises the acceptance and
protagonist Billy to self connection shared between the pair while highlighting their
actualise and pursue his commonality through their passion of dance. The duality of their
dreams whilst providing an professional and compassionate relationship facilitates Billy to pursue
escape from his individual his dreams while enhancing his individual experience and providing an
and collective grievances. opportunity to actualize his potential
- Billy’s process of identity formation is evidenced in the wide angle shot
of Billy and his supportive friend, Michael hesitating to enter boxing
class, conveying the collective struggle of conforming to traditional
masculinity stereotypes. This is further conveyed in the gym scene,
where the tension between his father and Billy, is heightened through
the large black cage, symbolising the familial divide and fractured
relationship between both characters. Also, the overshadowing presence
of Jackie, symbolises the power and control he obtains over Billy, which
is ironic as his status in society as a working class individual, suggests
otherwise. Additionally, this tension is further heightened in the close
up shot when Jackie exclaims with high modal language of, “Lad’s don’t
do friggin ballet”. This highlights how the social conflict and uncertainty
that Jackie is confronted with, adds to the tension between this
collective relationship, which limits Billy’s self expression.
Gender constraints that - the opening scene, where a close-up shot of Billy jumping vigorously on
confront individuals have his bed, reflecting his childhood innocence and establishing his love of
the potential to limit a true dance. The lyrics of the diegetic music, “I was dancing when I was
expression of self and twelve. Is it strange to dance so soon?” alludes that Billy's love of dance
ultimately the full is unconventional, foreshadowing that his search for identity will be
realisation of the human inhibited by stereotypes, as his aspirations defy the cultural
experience. assumption that dancing is only “alright for girls”. As such, Daldry
highlights that the motivations of others may present in adversity,
Daldry’s eponymous hero, requiring individuals to rebel against predestined expectations in order
Billy, the central anomaly in to develop an authentic identity
his Thatcherian mining
society, illuminates the way - In the boxing hall, Billy is presented as an anomaly compared to other
in which his community’s boys his age. This is emphasized by body language through his slow,
1984 Miners Strike against reluctant entry into the hall, in contrast to the other boys running in
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socio-economic sanctions enthusiastically, ready to perpetuate traditional masculine violence. A
catalyses the development slow motion, high angle shot of Billy falling to the ground, paired with
of individual expressions of the echoing diegetic sound of laughter and the coach's taunts convey
resistance against social Billy's sense of powerlessness, and amplifies the judgement he faces
constructs defining upon failing to meet society's expectations. This deliberate composition
masculinity reinforces the town’s rejection of effeminacy,
- During his first ballet lesson, a panning shot of graceful, white ballet
GENDER STEREOTYPES shoes is interrupted by a close-up of Billy’s blue boxing boots, creating a
visual comedy through juxtaposition. The symbolic contrast in colour is
used to further deviate Billy from society, while also challenging
prevailing assumptions as Billy continues to pursue his dream despite
his isolationism and persistent peer judgement .
- Everingtons collective view of masculinity is visible in the birds eye view
shot of Billy kicking down the blue door and entering a confined space,
in which his restrictions of movement reflects the societal masculine
standards during the 1980s. The blue motif further connotes society's
collective expectations of maculine authority in which kicking down the
blue door represents Billy and his non-conformist attitude towards such
stereotypes….. Daldry continues the blue motif in a medium shot of Billy
reflected in the mirror, in which Mrs Wilkinson stands dressed in blue,
reflecting Billy's multifaceted and therefore inconsistent approach to
masculine stereotypes. The paradox of Mrs Wilkinsons encouragement
of Billy's rebellion generates a change of perspective within the
audience on the mascline stereotypes during the 1980’s coal miners
strike….. paradox in the medium shot of Jackie crossing the picket line
in his blue jacket rebelling against the industry and conforming to the
strike, such representing the masculine standards that Jackie conforms
to.
- the wide angle shot of Billy and his supportive friend, Michael hesitating
to enter boxing class, conveying the collective struggle of conforming to
traditional masculinity stereotypes. This is further conveyed in the gym
scene, where the tension between his father and Billy, is heightened
through the large black cage, symbolising the familial divide and
fractured relationship between both characters. Also, the overshadowing
presence of Jackie, symbolises the power and control he obtains over
Billy, which is ironic as his status in society as a working class
individual, suggests otherwise.
The expression of - observed when Jackie confronts Billy about his attendance in dance
individuality has the power classes where Daldry utilizes reverse shots of the men either side of the
to forge positive table to symbolise their conflicting ideologies as Jackie demands “lads
relationships and incite the do boxing or football or wrestling… not friggin ballet”. The derogatory
human quality of colloquialism conveys how billys passion for performing arts poses
acceptance in others threat to the preconceived understanding of gender within the Elliot
household…. represents the cultural climate of 1980’s England, a time of
The notion of self conservatism stemming from the ideologies of thaterism.
actualisation and identity
ignites a renewed collective - The paradox of Jackie's unconditional love for his son is hindered by his
experience within the Elliot inability to overcome conventional gender norms, thus regarding Jackie
household, seen within as an enforcer of external expectations, which inhibits Billy’s search for
Billy’s relationship with his self-expression and also obscures his own reason for being a supportive
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father Jackie who father.
modernises his traditional
understandings of gender - In the ‘Dance of Defiance' scene, a triumphant orchestral anthem
roles due to Billy’s…. played as a two-person mid shot shows Jackie and Billy face-off,
portraying them as equals, but on opposite sides. A close-up of Billy's
defiant gaze as he presents an energetic, powerful dance for his father
Expression incites displays courage, a quality that he has gained on his journey. The focus
acceptance of the camera shifts to Jackie as he runs out of the hall, exemplifying
tension and ambiguity for dramatic effect….. this moment that sparks
Jackie's shift in perspective from self-pity and shame of his son, to
support, acceptance and even awe of Billy's talent. This is the turning
point from which their relationship becomes less dysfunctional and
they develop a sense of intimacy, as Jackie is liberated by embracing his
son's passion and rejecting the stringent gender norms prescribed by
1980s Northern England.
- … wide shot towards the end of the film shows the pair laughing and
embracing. The brighter colour palette and pathetic fallacy through a
‘sunny day’ reflects a greater sense of contentment in both characters.
Their close proximity contrasts with previous scenes of separation and
opposition, highlighting their collective growth which was enabled by
the breaking down of culturally imposed stereotypes
The contextual setting of an - The medium shot of Jackie and Tony unified facing a non-striker
individual's surroundings emphasizes how collective conformists to masculinity use aggression
can place pressure on as a tool to overpower individuals to conform and/ or in context support
human connection present the strike. Daldry's placement of Jackie and Tony references the
within the relationship metaphysical barrier to represent oppression as a by-product of
meeting the masculine demands of the 1980’s stereotypes.
Collective experience
influences individual - low angle shot of billy descending down the stairs. This shot featured
Billy concealing his ballet shoes under his boxing shorts, whilst he
Daldry's film explores the adjusts the boxing gloves around his neck before proceeding over the
challenges associated with metaphysical barriers of the banister. This establishes how Billy's
narrow values and beliefs of fathers values towards masculine stereotypes and boxing pressure
Thatcherism alluding to the forces Billy to conceal his motivations in defying masculinity
denouncement of social
diversity within the 1980’s. - high angle shot of Billy above Jackie on the table. The conflicting
The conflict established by opinions on masculinity present within the pairs relationship is visible
Thatcherism motivated the in the metaphorical barrier of uneven eye level. Jackie's lack of
rebellion of miners’ context, understanding towards Billy's rebellion to masculine stereotypes
igniting the working-class restricts Billy's path to ballet. Jackies values oppress Billy and therefore
conventional models of shape how an inconsistent relationship creates complexities amongst
masculinity, creating Billy's experience
internal and external
tension. - the prestigious judges who sit in the foreground metaphorically
symbolises a double entendre, of both dance judges, but also represent
societal judgement and the invalidation of minorities, including
individuals with lower socioeconomic status, exacerbating the
constraints placed upon Billy.
Surpassing the collective
- establishing close up shots of Billy featuring frames of sections of his
body implied that Billy's talent and aspirations surpass the collective
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view and therefore redefine the masculine stereotypes of boxing. This is
further supported by the cosmic background visible in the establishing
shots, further illuminating that Billy's aspirations go beyond
Everinting’s collective view.
- long shot featuring Billy on the bus in which the bus proceeds to drive
outside the establishing frame. Such emphasising that Billy's
perseverance to his anomalous dreams of ballet prevents the mascline
stereotypes of Everington from restricting him from achieving his
aspirations
- Reaching beyond Everington is finally successful in the final scene
when Billy leaps into the low angle frame, establishing that his dreams
of ballet have successfully redefined and shaped macline stereotypes.
Further establishing that an anomalous dream provides adversity, but
by overcoming the complex experience put forth the dream can be
achieved
