Film is an evocative medium that informs and reveals through an analytical lens a powerful representation of individual and collective human experience. In Stephen Daldry's critically acclaimed coming-of-age film Billy Elliot, this notion is prevalent, as he attempts to tease out the inconsistencies and complexities of human motivations and behaviors. Daldry illustrates through his skillful storytelling and character development, humans' confusing ability to change; challenging his audience to recognize this capacity within themselves too, as well as reflect on how their own experiences have sculpted their identity. Therefore, Daldry, through the employment of cinematic devices, effectively captures the elusive and fluctuating essence of human nature; taking audiences through the story of its protagonist as he battles 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 Shouldn't Be Banned"? Get an original essay Contextually, Billy Elliot is set during the 1984 British miners' strike; in a time and in a city where class division, violence and hypermasculinity are rampant. During the opening scenes, the audience is quickly able to see Billy's community as choleric and conservative. This is evident in the overall hostile and profanity-filled dialogue that plagues the film, as well as in the discomfort expressed by the townspeople when individuals ignore the prescribed and acceptable behavior and interests for male and female individuals. However, Daldry soon makes it clear that humans are not so one-dimensional, quickly shifting focus to his protagonist Billy as he navigates this environment. During the Boxing Hall scene, Billy is confronted with Daldry's first existential question for the audience; Why. Here, Daldry pushes us to consider our own motivations or, in Billy's case, why he adheres to his supposed responsibilities as a boy and son when they compromise his desires. 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... that's a load of shit, kicking people." Michael highlights through a simple but effective biblical allusion the outdated perception that boys must engage in “male-oriented” activities to validate their masculinity. He employs the verb “kick” because its connotations support the notion of strength in sustaining this attitude. However, like the audience, Billy is conflicted and enters anyway; Daldry reveals Billy's position next to an open door in a central shot to convey the meaning of this moment, foreshadowing the crossing of paths to come. After an unsuccessful boxing lesson, Billy is asked to stay and practice while Mrs. Wilkenson's ballet class continues, making sure to "give the key once he's done." this dialogue inevitably facilitates the unconventional intersection of the distinct and separate world, feminine (ballet) and masculine (boxing). Daldry communicates this as his use of proxemics and elements of staging creates a clear segregation of the two, and 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 they should remain separate. However, humorously despite his reluctance, it is soon revealed that Billy has crossed this boundary as Billy's reflection in the mirror and the layering of the harsh diegetic sound of the punching bag over the graceful melody of the piano as he smashes demonstrates the formation of.