Film is an evocative medium that informs and reveals through an analytical lens a powerful representation of the individual and collective human experience. In Stephen Daldry's critically acclaimed coming-of-age film Billy Elliot, this notion is prevalent, as he strives to extrapolate the inconsistencies and subtleties of human motivations and behaviors. Daldry illustrates, through his skillful storytelling and character development, the disconcerting capacity of human beings to change; challenging his audience to also recognize this ability in themselves, as well as to reflect on how their own experiences have shaped their identity. Thus, Daldry, through his use of cinematic devices, effectively captures the elusive and fluctuating essence of human nature; taking its audience through the story of its protagonist as he struggles against gender norms, expectations, and adversity itself in the world of Billy Elliot. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay. Contextually, Billy Elliot is set during the 1984 British miners' strike; in a time and city where class division, violence and hypermasculinity are commonplace. During the early scenes, the audience is quickly led to view Billy's community as angry and conservative. This is evident in the overall hostile and crude dialogue that plagues the film, as well as in the unease expressed by the townspeople when individuals ignore the prescribed behavior and interests acceptable to both male and female individuals. However, Daldry quickly makes it clear that human beings are not so one-dimensional, soon focusing on his protagonist Billy as he navigates this environment. During the boxing gym scene, Billy is confronted with Daldry's first existential question for the audience; Why. Here, Daldry challenges us to think about our own motivations or, in Billy's case, why he adheres to his supposed responsibilities as a boy and son when they compromise his own wishes. He does this through Billy's best friend Michael, who acts as Daldry's messenger and says, "Those gloves, they came out with the bow... it's shit to get people in." Michael makes this point through a simple but effective biblical allusion to the outdated perception that boys must do "male-oriented" activities to validate their masculinity. He uses the verb “to kick” because its connotations support the notion of force to maintain this attitude. However, like the audience, Billy is torn and still enters; Daldry revealing his position as Billy next to an open door in mid-shot to convey the significance of this moment, foreshadowing the crossing of paths to come. After an unsuccessful boxing lesson, Billy is asked to stay behind and practice while Mrs. Wilkenson's ballet class continues, making sure to "give the key away when he's done." this dialogue inevitably facilitates the unconventional crossing of the distinct and separate world, feminine (ballet) and masculine (boxing). Daldry communicates this because his use of proxemics and staging elements creates a clear segregation of the two, his placement of classes at opposite ends of the room, divided by a bar and a mirror to reinforce the mentality of these two things. should remain separate. Humorously, despite his reluctance, Billy is soon revealed to have circumvented this boundary as Billy's reflection in the.