The complexity of the human condition challenges the audience to recognise the convoluted and

intertwined relationship between collective and individual experience, thus elaborating on the
fragility of individual actions when faced with adversity, and how this may differ between individuals
within the same notion. Stephen Daldry’s bildungsroman film ‘Billy Elliot’ asserts this concept, as it
explores the paradoxical nature of human motivations that can emanate from the principles of
collective identity, consequently causing one to recognise the importance of expressing individuality.
Themes + Characters (decide on day)

Though trepidation and uncertainty have the ability to impact the actions and progression of
individuals, it is this same fear that can result in the challenging of societal expectations, thus
transforming individuals to express and identify their true selves. The titular protagonist in ‘Billy
Elliot’ exemplifies how collective views influence his individual actions, attitudes, and behaviour,
though his pertinacity for dance allows him to embrace the diversity and pursue his aspiration. Due
to the hyper masculine attitudes ubiquitous throughout the archetypal mining town of Country
Durham, Billy is seen as an anomaly given his desire to dance and embrace his femineity. The
opening sequence of the film foregrounds Billy’s innate and raw physical prowess. The choice to
represent Billy’s physicality in a narrow frame, suggests how oppressed his ability to move is
within his social and cultural milieu. His likely anxiety at this time is represented in the scene where
Billy observes the ballet dancers, as his hesitant body language and facial expression represents his
motivation in wanting to pursue dance, yet being afraid of the repercussions from the context he
finds himself trapped in. Furthermore, exploring this notion and in keeping with the subjective
experience of the film, Daldry utilizes the exaggeration of spaces through light – such as when Billy
arrives to the gym for his first one-on-one lesson with Mrs Wilkinson. High contrast, volumetric
lighting is used to emphasize how daunting this new transition in Billy’s life is, as his first private
lesson has signified his commitment to the art and commenced his escape from the town.
Additionally, when Mrs Wilkinson takes Billy out for a drive to the lake, mis-en-scene is utilized as
heavy industrial machinery in the background is juxtaposed against a serene, natural environment,
demonstrated through extreme wide shots and careful framing. As police officers are staged in the
background, this reinforces the notion of authority and societal expectations imposing on Billy’s
identity, as the diegetic ‘Swan Lake’ plays, alluding to Billy’s eventual escape. Though Billy is
subjugated by those around him, as well as the societal context and beliefs of the 1980’s that impose
gender stereotypes upon him, it is his tenacity that allows him to escape the constraints. The final
scene depicts this, as a low shot is utilized to displays how Billy ascended his anomalous exclusion,
with Swan Lake playing as a flashback to his past limitations. Thus, although Billy holds fear of
being outcasted by the hyper-masculine attitudes evident in the 20th century epoch, it is his
inherent desire to dance that surpasses this inability of expression.

In a society that suppresses and constricts individuals, the retaliation and challenging of authority
within subjugated socio-political contexts has the ability to mould individuals within a greater
collective, unmasking true characteristics and expressing individual beliefs. Throughout Daldry’s
film, he utilizes authority as a catalyst to convey the hypermasculine attitudes within society, by
which characters like Tony rebel against to expel the extremes of the milieu. The miners’ strike was a
prominent example of this, as seen throughout the rebellion scene, the non-diegetic “London
Calling” by ‘The Clash’ plays as Tony runs from the authorities, a band that were known for lashing
out against injustices and rebelling against the establishment, mirroring Tony’s objectives. A barrier
of policemen represents the constraint individuals within the specific context felt, whilst alluding and
foreshadowing Tony and Jackie’s fate of entrapment in contrast to Billy, who watches over Tony as
he is arrested, symbolically representing his transcendence over the societal norms. The adversity
faced by the mining industry within the Thatcherite society is further illuminated within the bus
scene. Tony is strategically placed in the centre of the frame, standing in the middle of the crowd
chanting, “Scab! scab! scab!”. The framing and dialogue elucidate Tony’s support for the cause and
his disapproval of those who cross the picket line. The character is shown to be standing united
with the miners, challenging Margaret Thatcher's restructuring of the mines which are adversely
affecting the industry. His aggressive body language exemplifies how he has been changed by the
strike, and the influence it has over his actions, highlighting to the audience the injustice he faces.
This is further elucidated within the supermarket scene, as Tony’s forceful dialogue to his ex-friend
Gary, enforces his aggression. “What are you doing? First rule of union Gary, you never cross the
picket line.” Tony uses a belligerent tone to expel his vexation, with his enraged facial expression
further demonstrating his commitment to the cause, providing insight into the root of his violent
actions. Overall, this exhibits how the collective strike detrimentally affected Tony and inevitably
influenced his attitudes and behaviour, as the changes within the socio-political context provoked
expression.

Individuals have a tendency to encapsulate and internally reflect the society around them,
commonly rejecting true desires whilst paradoxically embracing unwanted values imposed upon
them. Throughout Daldry’s oeuvre, the dichotomy between masculinity and feminity is elucidated
through the characters of Michael and Billy embracing their untraditional feminine tendencies, as
displayed through the dialogue of Michael stating, “Do you get to wear a tutu?”, to which Billy
responds, “Fuck off, they’re only for lasses.” Through this, it is apparent that Billy is attempting to
suppress the nature of his passion, whereas Michael responds with, “I think you’d look wicked,”,
demonstrating that he has accepted the feminine part of himself. As the tone of the movie shifts
when Billy realises in order to live his dream, he needs to embrace all it entails, the dichotomy shifts
toward Tony and Jackie. The juxtaposition between the two sons, with Tony being the epitome of
“toxic masculinity”, whereas Billy discards the heteronormative constraints, is an antithesis that
highlights how individuals can be altered by society around them, as the socio-political context of
the time, as well as influence from his exceedingly traditional and conservative father, has altered
Tony’s perception and therefore individual expression. Furthermore, throughout the dancing scene
with Jackie in which Billy truly expresses himself before his father, mis-en-scene is utilised through
the placement of the boxing ring in the background, whilst a tracking shot is further exploited to
symbolise Billy escaping his heteronormative restraints and thus societies inflicting of traditional
values. Trans-diegetic music