*Belonging –* Strictly Ballroom Strictly Ballroom is a film about not belong much than belong and should be viewed in this context. Here belonging to the dance naive realism of Barry Fife means conformity and stifling creativity. The characters we come to admire and feel with all rebel against this forced conformity and competition, characters such as Scott Hastings, his father Doug and Fran who sums up the ethos of the film when she says, ‘A life lived in fear is a life half lived.’ She tells him how hard it has been for her with the others extract at her all the time and calling hither ‘Frangipanidellasqueegymop’. She as well as comes to reassign as she begins to belong together with Scott. Her complexion clears, her whisker changes and she is more confident with her life. This is reflected in her language where the quiet transition and progress stutter is replaced by a new self-assertion and clarity of thought and expression. She i s not like Liz or Tina Sparkle, not in the traditional ballroom dancing mode scarcely this is to her advantage. purge the people that reject her as one who provide ‘ erupt his chances’ come to admire her.

Les Kendall says at one tear in the film, ‘It takes two to tango’ which is a cliché but book here because separate Fran and Scott are lesser people. We can excessively collide with the pressure to belong to the group, in this case the Australian dancing Federation, through how Doug Hastings is portrayed. Here the memory and flashback technique is intact to the film. Doug belonged to the dance world but then ‘everything changed’. Barry engineered his collide with and straightw! ay requisites everyone to dance the same steps. When Doug had begun to add some flourishes Barry connives to demean his career. He tries to do the same to Scott and get a athletic supporter who will conform and ‘belong’ to him. That is why he attempts to project that Tina and visual modality win. As he tells Les, ‘Let’s not forget, Les,...If you want to get a full essay, enunciate it on our website:
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