Night by Elie Wiesel Essay Example for Free

Night by Elie Wiesel Essay Night by Elie Wiesel. Born in the town of Sighet, Transylvania, Eliezer is a young and strong –minded individual, but doubts his religious beliefs. He and his family were taken from their home in 1944 to Auschwitz concentration camp, which was known as the Holocaust. Eliezer, being a dynamic character had many thoughts and feelings towards life and his father. His thoughts and faith always changed (Wiesel 33). But, he always tried to stay strong, hopeful and determined for himself and his father. While in Auschwitz, Elie thought alot about how his life was changing (38). He went from a 13-year old deeply observant and very religious teen, into a wishing, confused and doubtful individual. Being dynamic changes you as a person and it affected the mood and tone of the story. Eliezer’s appearance wasn’t really mentioned in the story. But you could imagine what happened with eating just bread crusts, soup, and sometimes nothing to drink (54). When Eliezer broke his foot, he still hopped for survival along with his frail father (78). His belief and faith subsided the longer they stayed in the camps. Others lost complete faith in their God that they trusted (66). It was every man for himself and they would do anything to stay alive, even kill. While staying in the camps Eliezer sometimes decided between life and death, to escape the hurt, torture, and pain. Once they were finally released free, no one thought of revenge (115). All they wanted was to eat and when they were no longer hungry, they still didn’t think of revenge. Freedom and food were the only things left to think about (113). Eliezer is a young and strong-minded individual, but doubts his religious beliefs. Being a dynamic character means that you aren’t sure about decisions and your mind is always changed. When Eliezer found the strength to get up and look at himself in the mirror, the gaze that looked back at him never left him.

Psychology Essays Human Aggression Violence

Psychology Essays Human Aggression Violence Human Aggression Violence There is not one single Psychological theory that can adequately account for human aggression and violence. To what extent do you agree with this claim? Aggression and violence are common occurrences in everyday society and something we are exposed to every day. Barlow and Hill (1985) suggest that television in Britain shows a scene of violence every 16 minutes, whilst the Home office research study 276 (2004) found 45% of women and 26% of men aged 16-59 have experienced some form of interpersonal violence. There have been many attempts to explain why aggression and violence occur, ranging from biological theories – such as evolutionary (Buss, 1990), ethological (Lorenz, 1966) and psychodynamic (Freud, 1920) approaches, to the social/biosocial explanations offered by the frustration/aggression (Dollard et al, 1939), social learning (Bandura, 1961) and excitement transfer theories (Zillmann, 1979). This essay will focus on the psychodynamic explanation of aggression as an instinct and the social learning theory that suggests aggression is a learnt behaviour. The aim is to critically evaluate these theories and to discuss to what extent they are able to explain aggression and violence. Social learning theory focuses on the individual’s interaction with his or her environment. The suggestion is that all behaviour, in this case aggression and violence, is learnt socially. Bandura (1983) puts forward the idea that aggression and violent behaviour â€Å"entail intricate skills that require extensive learning†, in other words we are unable to act in an aggressive or violent way until we learn (from our environment) how to do it. To look at the role of imitation in aggression Bandura (1961) conducted the famous bobo doll experiment. Children were exposed to adults behaving in either aggressive or non-aggressive manners towards a â€Å"bobo† doll. They were then allowed to play in an identical playroom to that previously observed – children were shown to imitate aggressive behaviour. Many different trials of this experiment were conducted; the most famous of these was allowing the children to watch a videotape. In other trials live models and cartoon videos were used. Although this is seen as important evidence to suggest imitation, the theory cannot fully account for aggression and violence. Cumberbatch (1997) describes how the novelty of the Bobo doll may have had some influence over Bandura’s results. A follow up study showed the children who had previously been exposed to the toy were five times less violent than those who were new to it. It could also be argued that the doll was â€Å"designed† to be abused. This also addresses the analogous nature of social learning theory – can behaviour shown towards a doll be used to predict or explain behaviour towards a living being. Baron (1977) defines aggression as â€Å"Behaviour directed towards the goal of harming or injuring another living being who is motivated to avoid such behaviour†. The acts of violence and aggression observed by Bandura fail to meet this definition. The doll is of course not a living being and there is no way it could try and avoid any acts towards it. The social learning theory also relies heavily on correlation studies. Lefkowitz et al (1978), Maccoby (1992) and McCord et al (1961) have all found that children who have experienced physical discipline from their parents are generally more aggressive than those who have not. However is the parental discipline the only factor that can account for this violent and aggressive behaviour? Social learning theory fails to explain why not everyone who watches a violent film or plays and aggressive video game will imitate what they have seen. One hundred children may watch a violent film but only one may go out and copy the behaviour they have seen. This suggests that there is something more than imitation. The theory also fails to account to for continuous aggressive or violent behaviour. Why does someone continue to behave in a violent or aggressive way without continuous exposure to such material? Although many psychologists believe that social learning theory can provide a very complete account of aggression and violence (Hill, 1989), there is still the fundamental question, if all violence is imitated then how did the first act of violence occur? (Hewitt, 1989) In contrast to the social learning theory, Freud puts forward the suggestion that aggression and violence are innate drives. This means it is something we are born with and is therefore unavoidable. Freud also puts the emphasis on the person involved and not the place where violence occurs. Throughout our lives we face the conflict between the life instinct and the death instinct. The death instinct is seen as the drive that pushes us towards extinction or non-existence, whilst simultaneously the life instinct strives to preserve life. The death instinct is ultimately self-destructive and if satisfied internally will result in destruction of the individual; it must therefore be channelled outside the self. This may be through displacement – taking out anger on a neutral object or through sublimation – channelling anger into a more socially acceptable activity – for example music or art. Another suggestion, made by Freud’s daughter, is that a person may transform themselves into their victim in order to become the agent of aggression (Freud, 1946). This allows the death instinct to be satisfied – transformation into and identification with the victim allows the perpetrator to attack himself. Freud also believed that divulging in some kind of fantasy violence (for example watching a violent film or playing a violent video game) would satisfy the death instinct and therefore actual violence will be reduced. This is known as catharsis. There is actually very little evidence to support catharsis, however Fleshbach (1955) conducted a study in which he aggravated and insulted his participants. Half were then allowed to indulge in fantasy activities. The group’s aggressive feelings were then measured using projective techniques. The group who engaged in fantasy play were deemed less aggressive. Also a study from the Bureau of justice (2006) in America found a negative correlation between the growth in violent video games and the rate of juvenile violent crime. It should, however, be noted that the first study relied heavily of symbolism whilst the second fails to show a cause and effect relationship between the two. The majority of evidence seems to go against the notion of catharsis. Green et al (1975) found that opportunities for dispersing aggression actually increased aggressive behaviour. During a learning task participants were electrocuted in order to increase aggressive tendencies. Half of the participants were allowed to retaliate in someway against their â€Å"experimenters†, Freud would suggest this would reduce aggressiveness. However, when the participants became the experimenter rather than the subject those who had retaliated previously gave more intense shocks than those who had not retaliated. This is actually more supportive of the social learning theory discussed above. As well as little support evidence there are many other areas upon which Freud is criticised. Hewitt (1989) says that whilst instinctive behaviour is often seen in animals, humans are far more advanced creatures and so are much more aware and able to control their actions. The theory also fails to account for the different types of human aggression and violence. There is no typical form in which the behaviour takes – what determines how the death instinct must be satisfied? We must also account for calculated murders or other violent crimes. Surely, if catharsis occurred the planning of the act would be enough to satisfy the death instinct and therefore prevent the event from taking place. Although Freud’s theory of human aggression and violence puts forward an intelligent argument it fails to recognise and account for many things. Like many psychoanalytic theories it relies on the study of immeasurable and often unknown causes, relying heavily on symbolism and projection. There is also a habit of placing aggressive motives onto non-violent actions. It seems difficult to know precisely where the psychoanalytic definition of aggression lies. This also gives a very bleak outlook on life – violence and aggression are unavoidable and therefore non preventable. One could even suggest Freud justifies violence and aggression – it is after all a human instinct. Both theories can both account for certain aspects of human aggression and violence but they cannot fully explain the phenomena. Biological theories such as Freud’s instinct theory fail to recognise the complex environment we live in, whilst the social learning theory neglects the role of biology. Both also fail to account for the differences that we see between humans. There is a feeling that each perspective seems to explain something that cannot be definitely defined. Whilst one school tries to explain it’s own defined version of aggression and violence it neglects another’s own definition. It can therefore be accepted that not one single theory can explain human aggression and violence, agreeing with the given statement. References Bandura, A (1983). Psychological mechanisms of aggression, New York: Academic Press, in Baron, R, A., Richardson, D R (1994) Human aggression, 2nd edition. New York: Plenum press. Bandura, A (1961). â€Å"Transmission of aggression through imitation of aggressive models† Journal of abnormal and social psychology, 63, 575-582. [online]. Available from: http://psychclassics.yorku.ca/Bandura/bobo.htm Accessed: 17/01/2007 Baron, R.A. (1977). Human Aggression. New York: Plenum press. Barlow, G., Hill, A. (1985) Video violence and children, Suffolk: Hodder and Stoughton. Bureau of Justice (2006). In Jan Jagodzinski, (2006). â€Å"Video game cyber subjects, the ethics of violence and addiction: A psychoanalytic approach†, Psychoanalysis, culture and society, 11, pp 282-303. Buss, D,M. (1990), â€Å"Evolutionary social psychology: Prospects and pitfalls† Motivation and emotion 14, 265-286. In Hogg, M, A. and Vaughan, G, M. (2005) 4th edition. Social psychology. UK: Pearson Prentice Hall. Cumberbatch, G (1997). â€Å"Is television harmful?†, in Cochrane, R and Carroll, D (1997) Psychology and social issues, London: Falmer (pp. 171-181) Dollard, J., Doob, L., Miller, N., Mowrer O. and Sears, R. (1939) Frustration and Aggression. New haven, CT:Yale University Press, in Glassman, Hadad (2006), Approaches to psychology. 4th edition.Norfolk: Open University Press. Feshbach, S. (1955) â€Å"The drive reducing function of fantasy behaviour† Journal of abnormal and social psychology, 50, 3-11. In Glassman, Hadad (2006), Approaches to psychology. 4th edition.Norfolk: Open University Press. Freud, A. (1946) The ego and the mechanisms of defense.New York: International Univer. Press, 1946. In â€Å"Transmission of aggression through imitation of aggressive models† Journal of abnormal and social psychology, 63, 575-582. [online]. Available from: http://psychclassics.yorku.ca/Bandura/bobo.htm Accessed: 17/01/2007 Freud, S. (1920) Beyond the pleasure principle, in Glassman, Hadad (2006), Approaches to psychology. 4th edition.Norfolk: Open University Press. Hewitt, D et al (1989), Social psychology: conflict and continuities, Buckingham: Open University Press Hill, G (2001), Psychology for AS A level. 2nd edition. Glasgow: Oxford university press. Home office research study 276 (2004), Domestic violence, sexual assault and stalking: Findings from the British Crime Survey [online]. London: Home office, Research, development and statistics directorate. Lefkowitz, M, M et al. (1978) â€Å"Parental punishment: A longitudal analysis of effects† Archives of general psychiatry, 35, 186-191. In Glassman, Hadad (2006), Approaches to psychology. 4th edition.Norfolk: Open University Press. Lorenz, K. (1966) On aggression. New York: Harcourt, Brace and World, in Hogg, M, A. and Vaughan, G, M. (2005) 4th edition. Social psychology. UK: Pearson Prentice Hall. McCord, W et al (1961) â€Å"Familial correlates of aggression in non delinquent male children†, Journal of abnormal and social psychology. 62, 79-93. In Glassman, Hadad (2006), Approaches to psychology. 4th edition.Norfolk: Open University Press. Mccoby, E,E. (1992) â€Å"The role of parents in the socialisation of children: An historical overview†, Developmental psychology, 28, 1006-1017. In Zillmann, D. (1979). Hostility and aggression. Hillsdale, NJ: Erlbaum, in Hogg, M, A. and Vaughan, G, M. (2005) 4th edition. Social psychology. UK: Pearson Prentice Hall.

The Nature of Leadership in Billy Budd The Scarlet Letter Essay

The Nature of Leadership in Billy Budd The Scarlet Letter While it would be logical for good character to be in accordance with good leadership ability, this is rarely true in application. History has proven that many effective leaders were cruel and corrupt, and even American literature has reflected the commonplace nature of corrupted politicians. Upright politicians have existed but do not stay in the brief spotlight of American attention as the ones consumed by scandal. Therefore, Americans labor under the misconception that it is acceptable for a politician to be dishonest. Politicians will ignore moral guidelines to suit the lackadaisical characters of the voters as well as for their own personal gain. Only when Americans decide that personal character is more important than charisma will quality of leadership be supplemented by the moral awareness that the job demands, but which ironically the voters often complain that American leaders do not have. A primary implication in American literature is that behind every good leader lurks a few dark secrets. In Nathaniel Hawthorne's The Scarlet Letter, the Reverend Dimmesdale is a devoted leader of the church who causes great inspiration to his congregation over the years. In fact, it seems that the greater his personal suffering grows, the more the public view of him appreciates. Arthur Dimmesdale is an adulterer and a hypocrite. While his lover Hester Prynne suffers publically for their combined sin, he is exalted as a moral icon. Through his own casuistry, he has convinced himself that he is serving the interests of the people this way. He is a very good minister, but a weak man. His dabbling in sin caused him to understand the peo... ...d gone without notice because they have not been involved with a scandal. The fact that the job can be adequately performed without a moral conscience doesn't mean that immorality is a prerequisite. In fact, citizens should reconsider the motives of their leaders if they know that the person feels no moral obligation to do what is right . When Americans look at their government officials, they should be proud rather than ashamed. By examining the literary and historical past of America, it should be apparent that serious thought should be involved in the selection of leaders as well as scrutiny of those already in power. With the system of government that America has today, it is imperative that the intentions of the founding fathers be remembered: "to form a more perfect Union, establish Justice."1 1 The Constitution of the United States, 1787

HIV/AIDS in the Workplace

  HIV[1] is the virus that causes AIDS[2], an epidemic that is killing working adults in their prime years with no cure in sight.   In fact, AIDS has become the second leading killer of adults in the United States today.The Center for Disease Control and Prevention states that approximately fifty percent of people infected with AIDS today are between the ages of 25 and 44 and are currently employed. In Per Austin/Travis County Health and Human Service Department, there were 4,239 documented cases of HIV/AIDS in 2005, and many were in the workforce.AIDS is sweeping across the nation and taking talent from the nations work pool at an alarming rate.   Many employees and employers are unaware of the increasing numbers of their peers that are plagued by this disease because of the lack of education in the workplace.   The effects of insufficient education are and will be costly for all employers in the future years.The stigma surrounding HIV/AIDS yields discrimination in the work environment.   Idle gossip and exclusion are the most prevalent forms of discrimination and often leave those that are infected feeling ostracized from their peers (Dunlap, Mary C, 35).Other forms of discrimination include, firing, unsupported transfers, and lost promotions.   Employees that are subject to these discriminations based on their illness can suffer from a myriad of problems including, low self esteem, hopelessness, and shame.The lack of education in the workplace encourages employees and employers to continue discrimination.   Because people bring their bias and prejudices into the workplace, it has become the job and responsibility of the employer’s human resources team to educate its employees on the topic of HIV and AIDS.Media hype also feeds the beast of discrimination by stereotyping people who are infected by HIV/AIDS and by providing false information about how the disease is transmitted from person to person.Although information in the last two dec ades has come a long way to educate the public, the population is still dumb to many facts about the virus and how it affects them in their daily lives when they come in contact with a person who is infected.The media in the last two decades is redeeming itself by providing truthful information about this disease.   There are many forms of materials from pamphlets, websites, newspaper articles, and public announcements that are now available to business to educate on the epidemic.These materials squash the myths that HIV/AIDS can be contracted through drinking fountains, toilet seats, and shaking hands.   Those employees that do not have access to this type of information, however, still believe the myths and are still discriminatory against infected peers.Discrimination against employees that are infected cost employers money due to work disruption, low productivity, and potential legal problems.   â€Å"Employers need to recognize that there are talented, motivated people l iving with HIV/AIDS who can bring valuable expertise to the workplace-and that current valued employees may contract HIV/AIDS.†(Franzoi, 5)By not recognizing this, employers are setting themselves up for a potentially huge loss.   Employers need to consider the big picture and what this catastrophic illness and the discrimination that comes along with it can mean for their business; because thus far, lawsuits arising from HIV/AIDS is more than any other disease in the history of the nation.They need to consider insurance and health care cost, job accommodations, disability requirements, and confidentially and privacy laws to name a few.  Ã‚   These effects could cost employers money in the long run.There are many laws that now protect employees who are infected with HIV and AIDS, but little is known about these laws and how they affect the working community of those who are infected.The Americans with Disabilities Act â€Å"†¦prohibits employment discrimination on th e basis of disability.†    The Family Medical Leave Act allows for protected, unpaid leave from employment for persons with serious illnesses, including HIV/AIDS for up to twelve weeks in a twelve month period; and the Health Insurance Portability and Accountability Act (HIPAA) protects against discriminatory treatments.Despite the increasing number of laws set up for persons who are infected, education is still needed to reduce legal problems and management errors.â€Å"73% of working Americans surveyed feel that their employers should offer a formal workplace AIDS education initiative.† (Employee) Also, â€Å"75% of American adults view their employer as the most reliable source for unbiased, trustworthy HIV education.† (Brown, 2).The desire for education has been voiced by the working public, so why do employers continue to make policies about HIV and AIDS in the workplace but not take the initiative to develop a formal training program?The Teacher Retiremen t Systems of Texas has a policy in place mandated by the state of Texas called Human Immunodeficiency Virus Services Act (1989).The policy brings awareness that discrimination against people infected with HIV and AIDS will not be tolerated, and the laws that protect them.   This policy is disclosed at the time of hire, but is not reviewed; and a mass email is sent yearly to current employees.When it comes to formal policy most people do not take the time to review the information on their own; therefore, employees are still ignorant to the facts surrounding HIV and AIDS in the workplace.

Federalism in India Essay

India is a big country characterized by cultural, regional, linguistic and geographical diversities. Such a diverse and vast country cannot be administered and ruled from a single centre. Historically, though India was not a federal state, its various regions enjoyed adequate autonomy from central rule. Keeping in view these factors in mind, the Constitution makers of India opted for the federal form of government. Though, the Government of India Act 1935 envisaged a federal set-up for India; federal provisions of the Act were not enforced. Thus, India became a federal polity with the Constitution of India. Federalism is a system of governance in which the powers to legislate is in two levels as Central and subordinate levels. Features of Federalism Federalism in India has a strong bias towards the Union Government. Some unique features of federalism in India are: * There is no equality of state representation. Representation in the Parliament can vary widely from one state to another depending on a number of factors including demography and total land area. * No double citizenship, i.e. no separate citizenship for country and state. * The consent of a state is not required by the Parliament to alter its boundaries. * No state, except Jammu and Kashmir, can draw its own Constitution. * No state has the right to secede. * No division of public services. The main features of Federalism * Provision for more than one form or government to act simultaneously on the same territory and on the same time. * Each government must have their own authority and spheres of power, though they may overlap. * Neither level of government, state or national can abolished the other. Why Federalism is Important? Federalism is important because of the following reasons: * Because of diversity, there is a division in the power of federalism (to legislate in better manner). * For better Administration. * Economic development in cultural diversity, linguistic groups, traditions, customs, natural resources. The concept is taken from U.S.A. in 1776 and at the time of U.S. government independence. How Democracy is linked with Federalism? In a democracy, the involvement of people at state level is more, as the people are free to choose their own representatives, for the people, of the people, by the people. What makes India a Federal Country? India is a vast country with numerous languages, religions and regions. The concept of federalism plays a vital role and the power sharing arrangements plays a crucial role in maintaining unity and harmony in the country. India got its independence in 1947 but it also resulted in painful partition that paved way to the formation of Pakistan. After independence, several princely states became a part of the country and the constitution declared India as a Union States. Despite the fact that the word federalism is not used or implied with Indian Union but it is largely based on the principles of federalism. All the above key features of federalism are well suited to the provisions of the Indian Constitution. The constitution of India provided two tiers of levels of governments â€Å"Central or Union Governments representing the Union of India and the state governments. Later, a third tier or level of federalism was formed and added in the forms of Panchayats and Municipalities. These three different tiers of governments enjoy separate jurisdictions and the constitution provides a three- fold distribution of legislative powers between the Union governments and the state governments. It comprises of three major lists and they are as follows: – 1. Union List: – This list includes subjects of national importance such as defence, foreign affairs, banking, communications and currency. They form as the part of Union list as we need a uniform policy on these important matters throughout the country. Union or Central government can only make laws relating to these above mentioned important subjects. 2. State List: – This list contains subjects of state and local significance and state governments alone can make laws relating to subjects like police, trade, commerce, agriculture and irrigation. 3. Concurrent List: – It can also be termed as co-existing list and includes subjects of common interest to both the Union Government as well as the State Governments. It includes subjects like education, forest, trade unions, marriage, adoption and succession. Both levels of government (Union and State governments) can make laws on these subjects. If their laws conflict with each other then the law made by the Union Government will reign and succeed. How is Federalism practiced? The success of federalism in India cannot be merely attributed to constitutional provisions but to the nature of democratic politics in our country. It ensured that the spirit of federalism, respect for diversity and desire for living together became a common goal in our country. The major reasons in which federalism has succeeded in our country are as follows: – 1. Linguistic states: – The formation of linguistic states was the first major test for democratic politics in India. There were lots of changes in democratic politics of our country from 1947 to 2006. In India, many old states have vanished while many states have been created. Even the names of areas, boundaries and states were changed during this period. In 1947, the year of independence, the boundaries of many old states were changed in order to create new states. It was done to ensure that the people speaking same language should reside in same state. It led to formation of some states that were created not on the basis of language but to recognise differences based on culture, ethnicity or geography. It includes states like Nagaland, Uttarakhand and Jharkhand. There was fear of disintegration by some national leaders in our country when there was demand for the formation of states on the basis of language was raised. Earlier central government resisted linguistic states but the experience has shown that their formation has made country more united and integrated. It made administration procedure easier and opened doors of opportunities for everybody. 2. Language policy: – Our constitution has not given the status of national language to any one language. Language policy proved second major test for India federation and finally Hindi was identified as the official language of the country. Hindi, the official language of country proved to be mother tongue of only 40 percent of India and therefore there were many safeguards to protect other languages. Besides Hindi, constitution recognized 21 another languages as scheduled languages. All the states had their own official language and much of government work took place in the official language of the concerned states. Our leaders adopted a cautious and vigilant attitude in spreading the use of Hindi in India. According to Indian constitution, the usage of English for official use has to be stopped by 1965 but many non-Hindi speaking states resented it violently and wanted to continue with English. In Tamil Nadu, the movement took ugly turn as it turned into violent agitation. Thereafter, Central government responded positively and agreed to continue with usage of English along with Hindi for official purposes. But still Government of India continues to have encouraged the promotion of Hindi in their official policy. It does not mean that central government can impose Hindi on states where people speaks their own regional languages. 3. Centre State Relations: – The concept of federalism was strengthened to large extent by restructuring of centre and state governments relationships. It also largely depends on how the leaders of ruling party follow these arrangements. In India, the same party ruled both at the centre and at the most of the states. It means that the state governments did not exercise their rights as autonomous federal units. There were occasions where the parties at centre and state were different and in such cases central government tried to undermine the powers of state government. In those days, central government misused the constitution to dismiss the state governments that were governed by opposition parties. It undermined the spirit of federalism to large extent. After 1990, there was significant changes as the country saw the rise of regional parties in many states of the country. It was the arrival of the era of coalition governments at the centre. It led to new culture of power sharing and created a respect for the autonomy of state governments. This new trend was supported by a major judgment of Supreme Court that made difficult for Central government to dismiss state governments in an illogical manner. Federal power sharing holds more significance in today’s time than in early years when constitution came into force. Conclusion There are still other subjects that don’t fall in any of these lists. These subjects are computer software that came much after the formation of constitution in India. According to our constitution, Union government has the power to legislate on these left over or untapped subjects. Generally, it is learnt that holding together federations do not give equal power to its constituents so all states in Indian Union does not have identical powers. Jammu and Kashmir has its own constitution and enjoys special status and many provisions of Indian constitution are not applicable in this state. There are some units of Indian Union that enjoys very little power and these are areas which are too small to be recognized as an Independent state and could not merged with any other states. They are referred to as Union Territories and include areas like Chandigarh, Lakshadweep and Delhi, capital city of India. These territories do not have the powers of the state as Union or Central Government runs these areas with their special powers. It is not easy to make changes to the power sharing arrangements of Union and state governments as it has to be passed with both the houses of parliament with at least two-third majority. After its approval from both the houses of parliament, it has to be authorized or ratified by the legislatures of at least half of the total seats. In case of disputes about the division of powers, the High court and Supreme Court makes the decisive decision. Both Union and State governments have the power to raise resources by imposing taxes in order to carry on the government and the tasks allocated to them.

Strictly Ballroom

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. 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 spectacul ar dance to rapturous applause from the crowd. Everyone takes to the dance floor in celebration. CAST Scott Hastings Fran Barry Fife Doug Hastings Shirley HastingsLiz 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 20C – Sequences for study 22 D – Key moments 23 E – Film language 24 F – Filmography 25 INTRODUCTION Australian director Baz Luhrmann's flamboyant and colourful debu t 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 BA LLROOM 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. † 1A 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, wh en 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-m outhed 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. 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 the more downbeat settings ofEastenders or Fair City. a national cinema. Films made during the 1970s and since reflect Aus tralia’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 comed y’ 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 officeAnother 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, characters 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 success ful 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 Alb ert 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 Ballroom, 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 SCHOOLBy 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 Ballroom 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 a t 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 examples 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 o ur 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 recognisable 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 reveals: 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 theat ricality 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 t he 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, se t 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.B oth 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 Franà ¢â‚¬â„¢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 stereotypically. 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 contrastChildren There are two children in the film, Kylie, Scott’s younger sister, and Luke, her dance partner. Bot h 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 when Kylie says: â€Å"It’s the inconceivable sight of Scott dancing with Fran,† as she watches them d ance 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 further his own business interests, notably the way he POWER The Anglo-Australian characters are those who are depi cted as having power in the film. But Barry Fife’s power is represented as hierarchical and corrupt. During the Waratah Championships (Sequence 1) theDance 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: S equence 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 contrast, 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 inte gration 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 t he 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. Sh e 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 cultural 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 bal lroom 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 ShirleyHastings. 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 F ran 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 Rico 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 ho me 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 Fran’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), re flecting 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 fi lm 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 andLiz (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 her oes 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 own 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 ba rrel. ’ 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 S cott 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) Bar ry falls and knocks over the trophiesLes 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 ar ound 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 be fore andFederation, 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

Suicide Before and After Essay Example | Topics and Well Written Essays - 1250 words

Suicide Before and After - Essay Example This paper submits that while these measures are important, and in fact, are supported by a great weight of scientific evidence, in dealing with the family and helping them cope after the suicide of their loved one, it is best to treat the person as a unique individual, rather than as a statistic to affirm previously-projected patterns. It is important to discuss my first-hand experience on this matter, as this will prove to be relevant to the abovementioned thesis statement. My brother shot himself to death recently. He was married to his wife for 27 years and was the father of two boys. He was a quiet worker, albeit a bit quiet and not too comfortable in social functions. He decided to undergo therapy to cure his social disorder, and his sessions have largely been successful as was saw him become more relaxed, outgoing and openly affectionate. He then found out that his wife was having an affair, and the next day, he decided to end his life. Our family did not see it coming. We knew the revelation of his wife's affair had hurt him greatly, but we did not know that he was suicidal. We saw no indicators of that. InIndeed, the problem of suicides is a serious one. In the United States, more people die because of suicide each year than because of HIV or homicide. (SPRC Internet). That is why there have been many studies conducted about the "type" of person who is more susceptible to commit suicide. In the website of the American Foundation for Suicide Prevention, it was stated that at least 90% of those who kill themselves have a diagnosable treatable psychiatric illness, such as major depression, schizophrenia, or are suffering from alcohol or drug abuse, or have an antisocial personality. (AFSP Internet). Males are also three to five times more likely to commit suicide, and elderly Caucasian males have the highest suicide rates. (Ibid.) Hopelessness and pessimism are also an indicator of long-term suicidal risk. (Beck, et. al. 190). There are studies that have been conducted that state that family genetic history may be partially responsible for suicidal impulses of a human being. (Brent, at. al. 1) Of course, it is not difficult to conclude that a stormy family life - one riddled with conflicts and problems - can probably affect a person's coping mechanisms and make him more susceptible to suicide. These studies are good in the sense that they can provide a macro picture of trends and patterns, so that solution on a more general level may be reached. However, on a micro level, when one is dealing with an individual with a name and a face, foisting stastistics and data might not work. In order to more effectively prevent a suicide, the intervention must be one that operates on the premise that the individual is precisely that - an individual with with a unique personality, a unique emotion, and yes, a unique patchwork of problems that desperately cry for resolution. According to Edwin Schneidman, a clinical psychologist who is a leading authority on suicide, "Suicide is not a pointless or random act. To people who think about ending their own lives, suicide represents an answer