Presentation notes

1. Introduction-Title (context)
2. My Focus Films-Film Titles,corresponding pictures and dates, box office results
3. Dance Film Narrative-Dirty Dancing Hungry Eyes clip,themes, target audience, Hairspray and the difference between musical and dance film.
4. Female representations in dance films-Baby(Richard Dyer Stars-The Rebel/Pinup/Dirty Dancing DVD Empire review) Edna and Velma,(Hairspray body size doesnt matter campaign) Lily/Nina (Black Swan feature quotes)
5. Male representations-Johnny/Link  Thomas/Corny Collins (the pin up, the rebel)
6. Power of the star-Hairspray cast, Mila Kunis/Natalie Portman, Patrick Swayze. (Heritage, star as a character)
7. Controversial dance films- Black Swan and Dirty dancing. (Black Swan clip and feature, Dirty Dancing generation multiplex pages,sexuality and heritage,Generation multiplex code of conduct, ) 
8. Future for dance films-Dance School...is dance film genre dying out?

Slide title ideas

Introduction 

1. Chosen films and their worldwide success box office results
2. Common themes in dance films (racism, letting go, sexuality) common narrative structure Hungry Eyes clip
3. Female representation in chosen films (Baby, Edna/Velma, Lily/Nina) and comparisons to Mamma Mia (Sophie/Donna)-You can't stop the beat clip
4. Male representation in chosen films (Johnny/Link, Thomas-teacher, Sky/Sam-Link/Wilbur-Tracey's dad, Corny Collins)
5. The difference between musicals and dance films,music (hairspray, dirty dancing) The Stage of Dance
6. The power of the star (HAIRSPRAY Cast, Mila Kunis/Natalie Portman, Patrick Swayze/Jennifer)
7. Controversy of dance film (Black Swan, Dirty Dancing) Nina's fantasy scene clip
8. The future for dance (Step Up 5, School dance) http://www.imdb.com/title/tt2179936/?ref_=fn_al_tt_8

Black Swan scene analysis

Personally, the intimate scene between Lily and Nina begins inside the taxi after having gone clubbing. Both characters are shown wearing black and white coats to show their similarity (in design) but opposing personalities (colour) where white strongly represents purity and innocence and black what Nina strives for, a darker sexual personality that Lily has. The lighting during this clip is natural night city lighting to show that maybe Nina is still sane, for now. The ECU of Lily's hand reveals the intimacy of the moment for Nina, therefore the spectator as the film is shot in Nina's POV. Lily's walking hand also shows that her character is teasing, almost playful to Nina which contrasts their characteristics again. Nina decides to hold Lily's hand instead showing her innocence by confirming companionship between them than letting Lily carrying on. This is then followed by a CU as Nina looks out the taxi window in an almost distorted shot where Lily is not shown making the spectator question what is real and what is not, much like the rest of the film.

The first shot we see as Nina and Lily enter her house is them in the mirror to show that how Nina perceives herself in the mirror is different to her reality, the mirror additionally is framed by segments therefore further hinting at Nina's distortion in this scene. The lighting is low level, this is to create an intimate feeling between the characters(Lily, Nina), (Nina, her mum) but also to symbolise the darkening innocence of Nina as she strives for perfection of the black swan. This is supported by the lighting being even darker when she completely loses her mind when she thinks the pictures are screaming at her and her leg dramatically breaks. However, all the characters; Lily, Nina, her mum are all wearing black therefore connoting the story getting darker. Lily stands in the doorway when Nina's mum arrives, mouthing Nina's words therefore showing the metamorphosis of Nina into Lily through Nina's voice and matching clothing.
There's quick cuts as Nina's mum is outraged at her daughters state and distorted angles showing the high tension between Nina and her mum to the point it's become distorted and fragmented as Nina fights for 'privacy.'

The quick cuts as Nina rushes to close the doorway and her mum resisting is also fragmented to show Nina's strong  desire and desperation for Lily/Lily's personality. However, earlier in the scene Lily was shown wearing jeans whereas in this part she's shown wearing what looks like a skirt over her jeans. A skirt represents femininity and childhood innocence that Lily contrasts with  therefore I can only suggests symbolises Nina's distorted mental state again.
The 180 degree rule is broken as Nina strides towards Lily through a 2 different angled short panning shots that subtly confuses the spectator for the second. Nina's aggressive kissing represents her compressed emotions and intimate feelings she has as both strip. Both characters have matching underwear to their coats therefore maintaining their differences and distinct characteristics. Nina's legs start scaling connoting her transformation therefore reminding the spectator that Nina isn't completely sane, especially after the drinking and drug influences which is also presented through Lily's face change into Nina further supporting the metamorphosis that her dance instructor has encouraged and her delusional state. Lily's (CGI) tattoo symbolises the black swan therefore Nina's ambition.

$329 398 046 worldwide gross (IMDB source)

Dirty Dancing scene analysis

The scene starts as Baby runs up to the rehearsal studio wearing a cardigan implying she is insecure about her body. However, as a shock effect to the audience, she is shown in the next shot wearing a crop top (bikini/bra) and shorts. This is a two shot with Johnny therefore Johnny has suggested this costume due to the intensity of training (as a trail of sweat is revealed down his back) or it is her trying to impress him. However, to overshadow Baby's appearance, Penny's costume seems more professional and attractive showing Baby's want to progress to their level.
The CU of her feet in white plinsoles show this amateur level as she turns. The white also displays her innocence of character at this point in the film. Johnny is also shown wearing a white tank top possibly suggesting innocence but as we find out later, he isn't therefore reveals their companionship early on which is needed for this kind of dance. However, these shots are filmed in the dance studio and stage which means production can have more control of the lighting to create a more intimate level between the characters.
The cut from the plinsoles to heels therefore shows the progress Baby is enduring but also what clumsy mistakes she's making along the way creating a relatable comical effect on the audience.
The pan up from Johnny with two pairs of black tights and heels doing the similar movements creates a guessing game for the audience as to who's Baby before the pan reveals the answer showing her want to reach Penny's level therefore to reflect her movements and possibly/most likely seem attractive to Johnny onlooking which is further supported by her using lipstick on the bridge. She is still wearing a white top in this scene but as the shot cuts back to the studio we see that the majority of the top is gone and a CU of her wearing black knickers and tights with Johnny's hand occasionally on her bare hips presenting sexual tension between the two characters. The progression has paid of as both of them look more relaxed and happier as they look directly into each other's eyes, something Baby has struggled to avoid during the sequence.

The following shots show Johnny trying to stroke her armpit and downwards to then hold her hand into a spin. The audience however don't see this aim until the last shot but it's clearly a dance move Johnny wants Baby to learn as he gets annoyed as she bursts into laughter, quite relatedly at his touch which is probably tickly creating further comical effect during the sequence as Johnny tries to do it seriously as Baby fails to keep a straight face. The last two tries are interesting as the 3rd she stops laughing but both their eyes follow the hand making the shot seem more sexual and intense than probably intended whereas the last one seems perfect and more romantic as she makes eye contact with him before the camera follows the hand helping us as an spectator understand the purpose of the move. This panning downwards shot additionally creates intimacy between the characters and spectators making the spectators question whats going to happen next between Baby and Johnny.



$213 954 274 worldwide gross (IMDB source)

Hairspray-You Can't Stop The Beat Scene analysis

The song starts with Tracy coming down a lift with '1962' (the date the narrative is set) wearing a black and white mini dress. This dress displays many things, one being the social change,black and white resembling racism and colours coming together therefore changing times that Tracey has fought for throughout the duration of the film. Additionally, the mini dress she wears as the other girls in this scene, with the exception of Edna and Velma are all wearing petticoats that was the popular get-up in 50's than 60's therefore representing living in a trapped time.(That could also be symbolised when Velma gets trapped in the studio by Tracey's crew.) Additionally, the black and white shows the technology at the time (also shown in this clip with Penny's mum) as TV during those times where in black and white therefore making sense to wear black and white to make their costumes bolder which is why the male performers except Corny Colin himself wear black and white suits matching Tracy with Link, confirming their companionship.

The words of the TV show are shown also, the squared title in the background therefore, like the on-set camera crew put the scene into 60's context. Additionally, the sponsor is also shown next to Tracy further displaying TV context. Tracy's composition in this first few shots shows that she is the one who is going to make or at least start the social change that the film has lead up to and also putting her center stage as the main character that she is. 

Amber on the other hand is shown wearing a petticoat and lace gloves that suggests living in older times altogether,almost Austen time period. The yellow outfit matches her hair showing that she's living life perfectly with everything matching and therefore the rest of her life is set too (by Velma). The pastel however shows that she's aging compared to the other characters in bright colours(in changing times sense) and possibly a little bit dim in this scene anyway. 

The dancing in this scene is big and bold but not necessarily partner dancing like films such as Dirty Dancing but instead creates a sense of unison from all doing the same routine, started by Tracy. This is mainly filmed using high angle shots to reveal the big numbered cast, MS and CU's of the singing character. Some of these shots I find interesting as they are OTS of the camera men which confuses context in a way. If the shots were in 60's we wouldn't need to look OTS but through the camera the camera crew use instead of an additional camera therefore supposing it is from the POV of a crew member. The lighting for this sequence is studio based much like the scene blacking out the studio audience and lighting up the main stage allowing different lighting effects to be used had this scene been filmed in the street like Welcome to the 60's and I Know Where I've Been. 

The actors in this scene are all smiley and happy except Amber and Velma distinguishing them as the antagonists in a melodramatic style which is shown throughout this sequence. 

Edna's outfit in this scene is interesting as it's red with gold; the red therefore displaying passion that the basis of the song is about but red to also represent danger to Velma and her 'perfect plan'. The gold tassels work well as Edna shimmy's during her sequence and also revealing some social status by her glamorous glitter which contrasts with Little Inez's plain blue dress that shows the effects of her racial and social discrimination until now presenting the contrast of different class. 

Talking of different class, Motormouth Maybelle however seems to be on similar levels of society as Edna as she wears gold and red compared to Edna's red and gold. This therefore presents Motormouth's priority over other characters by being a DJ but because of their age and discrimination (racial and weight) both are shown wearing similar clothing. 

$202 548 575 worldwide gross (IMDB source)

How has the appeal of the dance film changed over time?

When looking at dance films we have to define them in contrast to musicals, look at the distribution and results and look at the recurring themes and characteristics in the protagonists.

Dance films in contrast to musicals is like defining horror to thriller genre films in which there is a fine line between them and yet major differences. They both involve dancing and diagetic sound whether it be sung (musicals) or on the radio or cd player which is still heard by the characters (dance). However, i find the two genres present their messages/themes/ideas through different ways.
The musical, when looking at films such as HAIRSPRAY (2007) and Walking on Sunshine (2014), Hairspray in particular looks at the themes of racism and obesity through a collective message reflected through all the characters e.g. Racism in Seaweed and Motormouth Maybelle and obesity through Tracey and her mum Edna not to mention the power of stars through Velma, Link and Amber's characters sectioning off each theme and issue to a group of characters.
Whereas in films such as Dirty Dancing (1987) the themes and issues are portrayed through an individual character instead. Whereby Baby is made the main focus point from the start and uses dance to protect and help a staff member crossing class boundaries which opens her up to sexuality and romance as shown through scenes such as 'Hungry Eyes' and 'Stay' but still keeping the main focus point on Baby and her relationship with Johnny compared to Hairspray where the spectator is side tracked to Edna and Wilbur and Velma's characters also.
However, it could be argued that Dirty Dancing does fit the musical description as like Tracey, Baby/Francis rebels against society's expectations of them in order to make a change (Welcome to the 60's and 'That was real brave Baby, you don't seem scared of anything'-Johnny) and both use their love of dance to do this. Additionally both have come to West End/Broadway which immediately springs 'musical' to mind but in my personal opinion does Baby and Johnny lip syncing to 'Love is Strange' really count as diagetic singing like in musicals such as Hairspray? I don't think so. So to me the way that the music is presented is what really defines it because without it both Hairspray and Dirty Dancing have similar narratives and characterisation that both make up a dance film.

The power of the star is also important when it comes to the distribution of these films. especially since Dirty Dancing and Black Swan (2011) were both distributed at independent films the directors had to open up the audience interest especially with themes and images that would cause 'moral panic' to the spectators the dependence on the star is clear.
Firstly, however i want to look at the power of the star heavy Hairspray. Hairspray, much like rumored Dirty Dancing is a remake of the original 1988 film which i personally found slow and just lacked interest. However, the re release version with celebrities such as John Travolta (in drag) and Michelle Pfeiffer as well as teen favourites Amanda Bynes and Zac Efron it created immense audience interest causing a star studded cast.

In films like Dirty Dancing however, the stars really lifted the appeal with the male 'pin up' Patrick Swayze and Jennifer Grey, who as EMPIRE DVD review describes Jennifer as a 'less than jaw-droppingly beautiful' heroine. Which is interesting that the female lead is not necessarily attractive because it gives women an identity (as Richard Dyer quotes in Stars 1998 from Heroes,villains and fools p.97 'there are particularly few women hero types resulting in...modern woman's 'loss of Identity' P98' ). Not only this but amongst its star appeal, Dirty Dancing uses gender reversal in order to create audience appeal. By gender reversal I mean that in the term 'pin up the emphasis is on the women'(Richard Dyer Stars) whereas Dirty Dancing uses the emphasis on Johnny's character in order to appeal to a more female audience with a strong female lead that would had been rare to see as dance films such as Footloose around the same time used Kevin Bacon to appeal to females but by using the female co-star as a typical 'pin up' but strong character, the emphasis is more on her beauty than her character herself. Therefore is the appeal through the stars? Well Dirty Dancing being distributed as a Independent film would mean the star appeal wasn't necessarily needed for that audience, however, in the success of Dirty Dancing, Swayze became more famous with the chick flick and now West End musical GHOST and additionally making a guest appearance in Havana Nights(Dirty Dancing sequel) making the film result in his fame than the film using his fame to create and sell the film appeal (Grey and Swayze before Dirty Dancing both appeared in the original Red Dawn). Therefore in films such as Dirty Dancing, the star appeal isnt so much needed as a Hollywood blockbuster.

One major blockbuster star who has been used to reach audiences contrasting to Dirty Dancing's star appeal theory. Natalie Portman, having made many appearances in Star Wars, V for Vendetta and Mr Magorium's Wonder Emporium not to mention being the strong willed damsel in distress in the Marvel franchise THOR, Natalie Portman is no new found star to the big screen therefore opening up audiences to her appearance in Black Swan. Additionally, along side her co star Mila Kunis; Family Guy, Forgetting Sarah Marshall and The Cleveland show both girls are no strangers to the screen(even though Black Swan was Mila's first real big break after being a voice actor in my personal opinion.) In this film, additionally contrasting with Dirty Dancing, Black Swan agrees with the theory that females are the more recognizable pin-up than males. This is supported by the lesbian sex scene that not only opens up male appeal despite being a ballet based film but also stays true to the triller genre by the use of visual effects; 'the two actress's faces are digitally swapped for  a split- second' according to director Darren Aronofsky in EMPIRE'S Black Swan special which also describes the cast as 'visually stunning' supporting that the stars and female look appeal is vital when trying to sell an independent modern 'moral panic' film creating controversial opinions in our modern day society much like the difficulty Dirty Dancing would've had endured in the 80's.

So how important are stars in dance films? Well i think it depends on narrative. If like Hairspray, well known musical mainly before the film 'remake' the star dependency is allowed to lack a little whereas in independent films the use of star is dependent on the director's aims from the narrative and how well known the narrative is, for example the stories are original in my studied films-Black Swan and Dirty Dancing unlike Hairspray.

Define a Dance Film

When defining a genre one must look at the type of film it is-is it a contemporary or mainstream?
Then we start to look at audiences. What age is it aimed at? Is it a 'youth film'?
According to Roy Stafford however, defining genre is impossible as 'genres are not fixed or static-they change over time' This change is exactly what i want to look at and how our perspective of dance films have changed and coincided with other sub genres e.g. the difference between the 'moral panic' of Dirty Dancing's exposure film to Silver Linings Playbook. Both were distributed as Indie romances aimed at an older female audience but the theme of dance it heavily weighted on Dirty Dancing through the majority of the film compared to the last hour or so of Silver Linings Playbook. So is it dependant on theme?
If so, the classic musical Hairspray has the whole cast dancing and singing with a protagonist obsessed with dancing but that isn't counted as a dance film in comparison to the Step Up franchise. And so the struggle to define a dance film continues.
The audience for these films varies depending on the individal movies but as a whole the 'dance film genre' is aimed at the youth audience, teaching them an escape from reality and rebelling against social conventions for the greater good but is always misunderstood reflecting teenage attitudes and conventions in order to reach the target audience.
The reason the audience varies however, is with classic films such as Footloose and Dirty Dancing (although Footloose had a remake in 2012 and Dirty Dancing rumors of Kenny Ortega directing a remake) because it's original audience was 80's born therefore hits an older audience today.
Additionally films such as Mamma Mia and the new current release hit the more older audiences due to the music content of the 80's and generally having an older target feel through themes of marriage, motherhood and affairs that appeal to all female audiences alike through the genre of a comedy.
Personally I find these listed films (Mamma Mia,Walking On Sunshine) more in the musical genre because of the singing characters content. But then, what can be argued about Baby and Johnny lip syncing to Love Is Strange. Does that count as singing therefore the verge of a musical? What defines a musical from another genre such as musicals or in Black Swan's case, thriller genre?
Again like Mamma Mia, Dirty Dancing and Hairspray the films look at themes such as family/motherhood/mother-daughter relationships, implied sexuality and relationships. As does Black Swan. So can we define genre through themes? Are all these dance films? Is the audience purely female? The answer is no, the explicit imagery in Black Swan and the thriller genre opens up audiences to the male audience using the likes of Natalie Portman and Mila Kunis with the famous 'lesbian scene' that turns out to be Nina's hallucination arising the question of how far is too far in the dance film genre and is it really necessary?  
So the question is WHO is the audience for dance films? Typically, it is teenage girls where the idea of rebellion and the rebel would appeal; however as the films look at mother/daughter relationships it additionally aims at the older female adult audience.