Barriers to Diversity in Film – A Research Review – Aug 07

analyses 150 films and concludes that sexual/romantic conflict are an
important part of interpersonal interaction. The presence of conflict
defines it as normal, valuable and expected. The conflict is normally
initiated by relatively powerless and ‘immoral’ women, but outcomes
are often contingent on choices made by good, powerful men. These
men are portrayed as choosing their relationships. In both men- and
women-centred three person conflicts, the man is in control in the
former and the latter triangulations, if he remains morally upright
(Hedley 2002).
In Billy Elliott (1998), one author argues that ballet is portrayed as
essentially feminine, not a normal ‘male’ activity (Sinfield 2006).
However, it can also be argued that the main message of the film was
to challenge the stereotype that ballet dancing is an activity solely for
women. Sinfield argues that in Kes (1969) the activity of training a
hawk (feminine and masculine?) is presented as compatible with
sensitivity and independence, whereas in Billy Elliott, dancing is
overwhelmingly coded as feminine. Unlike Kes where no one wants to
leave Barnsley and there is a promise of social change, Billy Elliott
represents wider disputes within a fantasy of personal escape.
Realistically, not many boys get to be teachers, let alone stars of stage
and screen (Sinfield 2006). On the other hand, the film does deal with
an alternative to Billy’s father’s no-nonsense masculinity as
represented by Billy, his dance teacher and the wider school’s support
for ballet and dance for men. It also supports the expression of
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