Dirty Dancing was created by Emile Ardolino. This movie goes back to 1963 with a young daddy’s girl name Baby or Frances Houseman who is played by Jennifer Grey. The family takes a trip to a resort that is located in the upstate of New York’s Catskill Mountains. Baby’s father is a doctor and is also a friend of Max Kellerman who is the proprietor of the resort that they are staying at as a family. Baby plans on attending Mount Holyoke College and to also join the Peace Corps. During the trip, Baby finds herself fascinated with the resort’s dance instructor Johnny Castle who is played by Patrick Swayze. One night, Baby runs into Billy who is Johnny’s cousin and helps Billy carry some watermelons to the staff quarters. Baby is then surprise by …show more content…
From there, Penny tells Baby that if she goes through with the abortion, she cannot dance with Johnny at Sheldrake. Billy then suggests that Baby fills in for Penny and Johnny was not to please about the idea. Johnny starts to teach Baby the mambo. For several weeks, the two spend many practice sessions together and began to have a romantic attraction for one another. As their relationship starts to grow, Penny comes back from the abortion and finds out that the doctor who performed the abortion on her was a bad doctor who caused some damage to Penny’s body. Baby goes and gets help from her dad who treats Penny but demands Baby to never associate with Johnny and his friends again. Towards the end of the movie, Baby is watching the talent show when Johnny walks in and goes onto the stage to say that he always does the last dance for the show. He leads Baby on to the stage and states that Baby has made him a better person. They start to do their mambo that they have practiced for weeks and execute their lift perfectly in front of the audience. As they are finishing up their dance, the other dirty dancers, start to put away some chairs so that the audience can join in on the dancing as …show more content…
Penny has to take leave from dancing and work to have an illegal abortion. Baby’s previous dancing skills consist of incorrect execution of the dance mambo, and is taught to do the ballroom dance style in a sexy dirty dancing. Through many clips, Baby struggles through each step of the mambo that is being taught to her, but in each scene she is seen wearing youthful girly clothing. Baby also struggles to embody the movements with an attractive and expressive sexuality of the moves. In one of the scenes, Baby is on the right of the screen and Johnny is on the left of the screen. Johnny is wearing black trousers and a shirt, as Baby is wearing jeans and a long loose sleeve shirt. There is a close up of the calves and the feet as Johnny teaches Baby the traditional Latin American ballroom style the mambo. In another scene, as I call it the mirror scene. Johnny is wearing the same black trousers and the same shirt he was seen wearing in the previous scene I described. Baby is seen wearing jeans with a top that is tied on the midriff. In this scene, Johnny is standing near Baby instructing her and helping her body into the right posture of the dance. In another scene, Baby is seen dancing on the bridge that is between the staff quarters and the rest of the resort. She is wearing jeans and a loose shirt. The camera reflects her lack of confidence in the dance. The camera shows her front side of her
Baby is an innocent young twelve-year-old, who undergoes negative changes throughout the novel. O’Neill was inspired to write Lullabies for Little Criminals because she experienced how quickly the border between adulthood and childhood could be erased by taking in
dirty when this dance takes place, but when one thinks of the waltz they think
to dance, but Crash stands up and says that she is dancing with him. When Crash
Baby narrates her story through her naïve, innocent child voice. She serves as a filter for all the events happening in her life, what the narrator does not know or does not comprehend cannot be explained to the readers. However, readers have reason not to trust what she is telling them because of her unreliability. Throughout the beginning of the novel we see Baby’s harsh exposure to drugs and hurt. Jules raised her in an unstable environment because of his constant drug abuse. However, the narrator uses flowery language to downplay the cruel reality of her Montreal street life. “… for a kid, I knew a lot of things about what it felt like to use heroin” (10). We immediately see as we continue reading that Baby thinks the way she has been living her life is completely normal, however, we as readers understand that her life is in fact worse then she narrates. Baby knows about the impermanent nature of her domestic security, however, she repeatedly attempts to create a sense of home each time her and Jules move to another apartm...
The flashback commences by recounting the years leading to Janie’s childhood through alluding to Nanny and Janie’s mother Leafy’s, life difficulties. Nanny is raised in slavery and was raped by her slave master, which led to Leafy’s birth. She had to flee in the night and hide in swamps during the war to protect her daughter. They go to live with a white family; the Washburn’s who are very accommodating. Once Leafy is older, she is raped by her white schoolteacher, leading to Janie’s birth. Leafy is absent through Janie’s life, so Nanny becomes her caregiver. Due to the abandonment of her parents, Janie is uncertain about her character and is lacking parental influence. Nanny raises Janie vicariously, so she will not encounter the same obstacles. Under a pear tree one day, Janie observes a bee pollinating a flower. She determines that this is how love is supposed to look. Love is passionate and never selfish or demanding. One day she kisses a boy named Johnny Taylor, whom Nanny does not approve. Nanny’s beliefs and authority on Janie’s life cause Janie’s abrupt marriage, before she can discover her true identity and spirit.
Janie grows up quicker than her Nanny expects when she catches “Johnny Taylor lacerating her Janie with a kiss” (11). Nanny wants...
own dance. He then remembers the blood on the dance floor and leaves soon after. In the wake
He expresses himself through his ‘Dance of Defiance,’ a scene where he displays his genuine talent and strong passion through movement. When Jacky finally discovers Billy dancing ballet, the extreme close-up shot captures their gaze and eye contact to create tension between the father and the son. Here, Billy demonstrates his bravery by dancing aggressively in front of his father, challenging his father’s authority. As his exhilaration increases, the screen lengthens and his whole body comes into view. The strong rhythm of the music played in the background emphasises his passion and pride in dance. This scene is crucial where Jacky acknowledges his son’s strong passion and genuine talent as a dancer. It is his confrontation that Billy and his father grow closer together despite their differences. Thus, his love for dance emboldens him in front of his chauvinistic father and lays down a path into a wider more rewarding
Toward the end of the story, what keeps them together is their baby and their love for each other.
Once a slave, Nanny tells of being raped by her master, an act from which Janie’s mother was brought into the world. With a
As time passes, Maggie’s persistence and Eddie’s pushiness finally change Frankie’s mind. This is when the true story begins. Maggie’s determination and strong will to fulfill her dream, combined with Frankie’s excellent training skills, launch both of them into the professional boxing orbit where they gloriously win battle after battle. Although the story seems like a big cliché, in truth, the world of Million Dollar Baby involves much more than boxing and success. Clint Eastwood treats such subject matters as love, fear, intricate relationships, and even religion.... ...
On Monday morning, KayDe was at her school's career center when she noticed the weekly newsletter for the staff. "Freak dancing is ... obscene!" she read in Mr. Bennett's column. All dances were going to be called off, he had written, unless students came up with a plan to stop the freak dancing. "I couldn't believe that he was serious," KayDe says. "That's just how we dance—like my parents used to do the twist!" She and Kelley had been elected to plan the Sadie Hawkins dance in February, and if Mr.
Action which is a fundamental element to dance as it plays a crucial role within a production. For instance, the lady characterised as Lady Jane prances, twists and turns around the stage, joyfully and energetically, to welcome her newly adopted child into her home, clearly eager to teach Mathinna about the colonialized world. However, as evidenced through her gestures to unrecognisable objects in Mathinna’s new room, she connotes to the audiences that while she is elated to teach Mathinna, it is her duty to forcibly integrate her into a white culture. At one point within the scene, Lady Jane turns to the audience, and proudly gestures a confused Mathinna to her new room; suggesting that she is insensitive or emotionally unscathed to the fact that Mathinna was forcibly removed from her home, never to see her family again. Lady Jane shows movements which suggest authority and obligation, whereas Mathinna slugs around disorientated, confused and lost in a seemingly alien culture. Choreographic devices play a vital role in the communication of
“Call and response” is also utilized, which is when the DJ and the dancers will communicate in order to maintain a certain hip hop flow, and to encourage audience enthusiasm. The moves, along with the music works together to emphasize the rapid rhythm breaks. The dancers perform moves that involve flips, upside down movement, and spinning, along with “drops” that were smooth transitions to “front swipes, back swipes, dips, and corkscrews”.” One dancer even performs a “chair freeze” which was originally one of the most popular break dancing moves, and is when the arms and upper body support the body while the legs and lower half of the body are free flowing (Forman & Neal, 2012, pg. 58). These moves require much momentum and balance, which according to popular b-boy Ken Swift, is an essential aspect to this hip hop movement (Forman & Neal, 2012, pg. 59). In both films, b-boying or breakdancing is a way to resolve some type of conflict or competition due to being able to “attack without mercy yet still see their opponents as distinct and valuable human beings” and avoid any unnecessary violence that already occurs in drastic rates within inner city neighborhoods (Chang, 2006, pg.
In roughly one hour and forty-five minutes, the film turns all expectations and predictability on their respective heads. With all the action building up towards the climactic Chicago Tattinger Trophy who could blame you for expecting a neatly wrapped package at that point: Clark rewarded for his accomplishment, all revealed and settled? But - it is its aftermath that has much to say. Yes, there is dance as the mating ritual. Bobbie (Lisa Ann Walter), earthy, vivacious, loud, generous-hearted, is disappointed at Clark’s treatment of Rumba, “the dance of love”. Paulina with her smouldering, controlled, Latino (stereotypical?) passion sets him straight. Yes, there is the hinted sexual attraction, even tension. But - there are also the bonds forged of friendship, camaraderie and candour. Life and people are given a direction by and through dance. John Clark is able to put his life in perspective, while Paulina unearths a lost spirit to chase her dreams. Beverly, a “romantic” with her sense of romance probably buried under the laundry, jackets at the apparel division where she works and the whims of two teenage children, is very understandably miffed but finds her feet again – and how!