EXAMPLES OF PUTTING TOGETHER PARTS OF THE BILLY ELLIOT VIEWING NOTES

Texts and Human Experiences (based on complexity/paradox, etc)

Human beings are inherently complex, often inconsistent and fraught with conflict that shapes our
experiences. As such, paradox is both a natural and pervading part of both the human condition and
experience. These paradoxes are represented by composers, in order to illuminate the richness of
both the individual and collective experiences undertaken and central to the lives of the characters.
Stephen Daldry’s Billy Elliot tells the story of individuals who are inextricably linked to their past,
while simultaneous forging their own future. In understanding paradox within these texts, the
audience perceives how contradictory, malleable and powerful human perception may be.

The main opening titles of the film capture the complexity of individuals attempting to construct and
adhere to an identity while against the backdrop of social and familial limitations. Through the non-
diegetic music, Billy jumping on the bed is reconstructed to mean dancing and freedom through the
lyrics like ‘I dance myself right out the room’, paralleling Billy’s need for escape and inherent
empowerment through dancing. The mid to long shots and editing to zoom in on his arms and legs
accentuates Billy’s form, foreshadowing sex and gender, namely masculinity as central to the film
and a notion that challenges Billy’s pursuit of dancing. It is apparent that this moment of dance is
respite from Billy’s responsibilities. The orientation of the film tracks him making breakfast to serve
to absent Alzheimer’s-inflicted grandmother which suggests a partially stunted childhood with
excessive responsibility. There is a fear and tenderness when he finds her, taking her hand which
Daldry portrays through an intimate close-up, as he reminds her ‘It’s Billy’. Family appears to be a
core value or influence in his life. This family setting is contrasted with the lingering extreme long
shot of the police setting up in preparation of controlling the miner protests. We are reminded that
Billy’s story unfolds against the backdrop of a tumultuous time in Britain’s history, posing a
complexity for Billy who must elevate the value of his individual dreams compared to a collective
ambition.

Billy Elliot illuminates the struggle of being a male in a world that expects hegemonic masculinity and
potentially rejects those who contradict this version of being a man. This is part of the complexity
the Billy must navigate. Daldry establishes the masculine archetype through character contrasts and
foils, such as those that are established between Billy and his brother, Tony. In their bedroom, Tony
is in shadow while Billy is illuminated by the lamp revealing their figurative personas. Tony’s
aggressive demeanour is dictated by his anger and also an exemplar of the hegemonic masculinity
that rejects displays of sadness such as crying. In the subsequent scene, Tony is critical of his father,
Jackie’s despondency. Against the diegetic sound of Billy playing the piano, his father and Tommy
discuss leaving for the protest, where ‘the whole friggin’ world’ will be according to Tommy’s
hyperbolic assertion. There is also a sense of urgency that his father does not quite have. Their
contrasting age may explain this to a degree, however, later we sense that the burden of grief over
his wife’s death has taken both an emotional and physical toll on Jackie. When Tony exits, in a close
up of Billy’s father, with Billy in the background, he says ‘Leave it Billy’. There is both defeat and
exasperation in his tone. Billy’s reply ‘Mam would have let us’ and his dad’s subsequent gesture
(slamming of the piano lid) is the first clear indication that Billy doesn’t have a mother. It also
reinforces the juxtaposition and subconscious links between music, femininity, Billy’s mother and
grief. This adds to Billy’s struggle embracing ballet.
Lee Hall and Stephen Daldry attempt to recreate the definition of strength and masculinity through
Billy’s engagement with Mrs Wilkinson and ballet. After re-entering the ballet class, the dialogue
where Billy tells his teacher, ‘I feel like a right sissy’ demonstrates that he is clearly conflicted by his
desire to dance and his understanding of the social implications it may carry. Mrs Wilkinson’s
response is ‘Well don’t act like one’, asserts that being a ballerina is not synonymous with being the
quotidian sissy and also suggests that pursuing his interest is the most courageous act Billy can do. It
is significant that Mrs Wilkinson, even as an archetypal mother figure does embody masculine traits
of assertiveness which makes her an ideal catalyst for Billy’s growth. Her words are impactful as
revealed through the sequence of Billy rebelliously and secretly pursuing ballet. As Billy withdraws
his ballet slippers from their hiding place under the mattress, a slightly voyeuristic out of the room
doorway framing is used as a reminder that he could be caught. It is also adjacently revealed at
Billy's grandfather was also a boxer. There is clearly a proud tradition of boxing within the family.
This scene reinforces Billy's awareness of his rebellion and the somewhat shameful secret of him
choosing ballet over boxing . His father is also inflicting guilt upon Billy saying ‘We found your Nanna
in the Spar stores. Where have you been?’. The complexity of Billy’s experience seems to be
primarily from the perception of conflicting interests and his inability to adequately manage his
responsibility and passion.

In the face of the complexity of his experience, a steadfast focus on his goals and a willingness to
immerse himself in the pursuit of his dreams seems to be his strength and respite from the pain of
homelife. During the montage sequence of Billy practising in class and at home Dadlry uses parallels
and intercutting. Movements shown with Mrs Wilkinson are interwoven with Billy performing the
same movements at home in front of the mirror. Billy is dirty- a reminder of his childhood
boyishness, juxtaposing the perception that what he is doing is inherently feminine. Billy’s
frustration while practising the pirouette is denoted by his furrowed brow and sighs. Mrs Wilkinson
says ‘Find a place on that bloody wall and focus on that spot’. She mirrors his frustration, and again,
instructs with a tone of aggression, looming over Billy and shouting. At home, Billy uses the expletive
‘Fuck it’ in a moment where he considers giving up, but then resumes the preparatory position,
ready for his next attempt at the pirouette. His determination is conveyed through the building of
the piano music to an emotive crescendo, as the scene cuts to Billy at different times of the day
(different clothes), reciting Mrs Wilkinson’s instructions ‘Prepare’, ‘Hold’, ‘Go’. The final slow motion
sequence of his face as he executes the pirouette at home in his pyjamas ends with a close up of a
smile on his face. This cuts to him smiling in the studio, as we make the assumption he has also
successfully completed the pirouette in front of his teacher. The out-of-shot response from her is
‘What have I told you about that arm?’ which immediately deflates Billy and suggests that she is not
acknowledging his success. This is overturned by the following moment where she winks at Billy in
recognition and he smiles. As Billy stands proud, the pianist leans over, exhaling smoke as remarks
‘You look like a right wanker to me son’. There is some irony as the pianist is playing piano for a
ballet class which may be considered atypical. Whilst this briefly undermines Billy’s success in that
moment, the cut to him running happily home shows he is not deterred by such a comment.
SAMPLE ESSAY ABOUT PARADOX (PARAGRAPHS ON WITNESS HAVE BEEN REMOVED)

To what extent does Billy Elliot and your related text reveal paradox as an
inherent part of individual and collective human experiences?

Human beings are inherently complex, often inconsistent and fraught with conflict that shapes
our experiences. As such, paradox is both a natural and pervading part of both the human
condition and experience. These paradoxes are represented by composers, in order to
illuminate the richness of both the individual and collective experiences undertaken and central
to the lives of the characters. Stephen Daldry’s Billy Elliot and Peter Weir’s Witness, both show
the dual nature of both humans and their experiences. In understanding paradox within these
texts, the audience perceives how contradictory, malleable and powerful human thoughts,
feelings and relationships may be.

It is paradoxical that individuals are both skewed towards seeing what they already know, and
are more likely to adopt that which confronts their views. The composers of Billy Elliot reveal
this contradictory experience in the portrayal of Jackie’s reception of Billy’s ballet dancing. The
adjacent shots used in Billy and Jackie’s dialogue across the dining table make Jackie’s
perturbed facial expression salient, as he exclaims in a close-up, ‘Friggin’ ballet?’. Elongated
moments of silence within the screenplay, whereby Jackie’s face becomes perceptibly more
tense and red, shows that he is deeply and viscerally confronted by Billy’s choice of leisure.
However, despite this vehement response against his son doing ballet, he is the most
passionate in advocating for his son to audition at the Royal Ballet. In the climactic sequence
where Jackie returns to work, abandoning his previous stance as a striking miner, he quells
Tony’s aggressive shoves, transmuting them into an embrace, where he weeps ‘He’s only a
kid’, revealing his deep-seated desire for Billy to follow his passion. The crescendo of string
instruments emphasises Jackie’s transformation and duel stance- that ballet may not be for
men, but it is everything he wants for his son. Therefore, those who completely reject something
may be those who passionately promote it when a significant circumstance arises. In this case,
it is because Jackie’s desire to protect and nurture Billy surmounts all other values.

Collectively, humans are also prone to paradox, in nature and in the nature of our experiences.
The town that implicitly rejects Lee Hall’s character, Billy are also those who show support for
him. Part of this contradiction stems from the values of the fictional Everington, which are
centred on cohesiveness and a strong sense of community within the classes. Paradoxically,
those who are outside the norm may be alienated, yet those who need support are embraced.
Billy’s situation resonates with both these experiences. The early long shot of outside the
boxing hall uses mise-en-scene to draw the viewer to appreciate how masculine sports outrank
more feminine pursuits. Violence and aggression are the preferred coping mechanisms of the
male centric town. The extreme long shot reveals the blue sign ‘Everington Boy’s Club’ as larger
and literally above the miniscule red sign ‘Sandra Wilkinson’s Dance School’. During his boxing
lesson, point of view arc shots are used to capture the intimidation experienced by Billy who
struggles to navigate the ring, compounded by his boxing instructor’s derogatory sexist
comments, ‘You look like a fanny in a fit.’ Yet, the instructor, who in many ways represents the
collective community mindset, is prompt to support Jackie’s request for funds to send Billy to
the Royal Ballet. The close-up of Billy smiling over his dialogue ‘I’m gonna have a raffle at the
welfare’, shows the instructors utmost initiative and support of Billy’s dreams. It demonstrates
how humans, collectively or as communities are prone to holding two views at once, especially
if these align with core values such as togetherness.

SAMPLE THESIS TO A QUESTION

Texts are representations of individual and collective human experiences. Texts function to ignite
new ideas about the tension within ourselves and society more broadly.

Explore the extent to which this statement is reflected in the text you have studied.

The tensions within ourselves and society more broadly can be perplexing and difficult to negotiate.
Texts are able to offer new insights about such tensions that pervade human experiences, revealing
the wisdom of paradox and the normality of inconsistencies and contradictions. Billy Elliot, directed
by Stephen Daldry and written by Lee Hall, highlight the social tensions stemming from the miners
strike and the insular town of Everington that favoured a masculine approach to inciting change. The
tensions underpinning the community manifest in the protagonist, Billy, who becomes conflicted
about his pursuit of ballet and his place in the town more broadly. The creators are able use these
tensions to ignite the idea that emotional expression can rectify longstanding issues and lead to
greater success and happiness for all. Daldry represents this dynamic through symbolism and
cinematic elements of contrast, driving Hall’s all-important characterisation and narrative
development.

Sample Body Paragraph – Individual to Collective Human Experiences

A close study of Daldry’s execution of the scene ‘Dad’s Decision’, amplify Hall’s depiction of how
individual experience collide with and represent collective ones. As Jackie sits in the bus, ready to
depart to return to work, the cut between his solemn state and the vehement protesting of the
miners, highlights the severity of his decision, as he will now be persecuted as a ‘scab’. From the
inside of the bus, Daldry captures a shocked Tony, sounded muted in his cries, reinforcing the gulf
between them at this moment. When Tony catches up to him, an intense exchange of dialogue
ensues, each man driven by his own values. In response to Tony’s ‘Don’t do it’, Jackie cries, ‘It’s for
wee Billy’, revealing the deep-seated conflict that tormented Jackie, but also contextually and
collectively those who wanted to provide for their families during a strike. The melancholy orchestral
music meets the culmination of the men’s shoving that transforms into an emotional hug,
climactically revealing a point of understanding, where the family grief and desire for hope is
expressed at once. The moment reveals how despite contradictory views, the highest motivation
and value of family unites the men and serves as a precursor for their ultimate solution.