“An individual’s interaction with others and the universe around them can enrich or restrict their experience of belonging. ” The intrinsic nature of world strives for a sense of belonging ; this sense of belonging is fulfilled when 1 has reached a physical or emotional affinity with an entity. One’s sense of belonging emerges from positive and negative experiences and impressions of individuality. relationships. apprehension and credence. Furthermore. positive connexions allow one to experience security. credence and input intending into their lives. In contrast. negative connexions are the contrary ; one may experience anomic. depressed and experience a demand to make or deteriorate a personal or cultural designation. Positive and negative interactions. leaving an indispensable function in act uponing one’s sense of personal. familial and societal belonging is efficaciously explored in Baz Luhrmann’s romantic comedy movie Strictly Ballroom ( 1992 ) and the anthology Sisters. An authorization figure. caput of an administration. outlooks of conformance by followings negatively affects the followers’ or one’s sense of personal belonging.
Luhrmann’s Strictly Ballroom efficaciously undertakes the geographic expedition of this thought through the portraiture of the immature ‘non-conformist’ Scott Hastings battle to win the Pan Pacifics competition by the chase of his ain personal dance ; a rebellious action ensured to interrupt the natural order of the Australian Dance federation or dance hall dance universe. operated by the perversive Barry Fife. As Scott throws his polka dot jersey in a corner of the studio uncovering a simple shirt underneath. this is a coincident suggestion of his ‘breaking away’ from his old dance hall partnership with Liz and trust on ‘flashy clothes’ to self-express himself in dance hall dance ; further proposing that his sense of belonging towards traditional dance hall dance has been shifted into experiencing a sense of belonging towards his ain personal dance. An understanding on a partnership ensues when both Scott and Fran. a miss with a Spanish background. portion similar desires to dance non-federation stairss at the Pan Pacifics. However. Barry attempts to lead on Scott into dancing the traditional federation stairss at the Pan Pacific’s.
He asserts: “We are trusting you will win the trophy that he could non. He wouldn’t desire me to make this. but I’m beggary you. dance with Liz. ” The natural lighting on Scott and his long-sleeved. loose cotton white shirt efficaciously capturing his young person and grace and exemplifying a sense of freedom contrasts to Barry. as a dim light surrounds him and he is have oning a formal black suit that intimations towards self limitation. Lurhmann has intentioned this to bode what manner of dance will predominate in the Pan Pacifics and to show the freedom that follows with taking non to conform. and. to foreground the instability of power. encouraging audience empathy for Scott. After Scott does non see through the misrepresentation and familial belonging drives him into holding to dance federation stairss alternatively of prosecuting his ain personal manner in the Pan Pacific’s he is necessarily affected in a manner. as his sense of personal belonging received through his personal non-federation dance is limited.
An person who has undertaken a physical transmutation into a more appealing image by another person can positively act upon their sense of societal and physical belonging. This impression is efficaciously explored in Lurhmann’s Strictly Ballroom ( 1992 ) through the portraiture of Fran’s patterned advance from a mild unattractive adult female into the ideal representation of a female dance hall terpsichorean. Luhrmann’s changeless usage of high power shooting when shooting her on her parts by herself and the symbolic significance of her spectacless of submission in comparing to the norm. reflect on her small power. Fran’s unattractiveness as a consequence of her neglected like province makes her a representation of world in the ‘unrealistic’ and ‘fake’ universe of traditional dance hall dancing reliant on brassy costume and heavy makeup. and is what successfully separates her from it.
Therefore. as a consequence of her visual aspect. her sense of belonging is limited. However. force per unit areas and outlooks placed on her to conform to the political orientations of dance hall dancing adult females incite her passage from an unattractive adult female into a more appealing adult female. where she becomes no longer a representation of world. Liz compliments Fran’s more appealing visual aspect: “You look lovely Fran. You have been utilizing that Buff whiff I gave you haven’t you? ’’ Second individual device and rhetorical inquiry is used to uncover to the respondent that her physical transmutation was a consequence of populating up to the dance hall dance force per unit areas and outlooks of conformance. and non an act from personal determination.
Within this scene. medium shooting is at the same time used to underscore Fran’s now exceling beauty than her seniors and the shooting positioning Fran of equal tallness to Liz. Les and Doug suggests that since now she is at a higher attractive degree the balance of power is equal despite age. rank and gender. As they converse. the positive looks on Fran’s. Les. Liz and Doug’s face and Fran’s unfastened and confident stance illustrates that this physical transmutation into a more appealing image has enriched Fran’s societal and physical belonging. ( These two paragraphs and decision done all in Biology )
The restriction’s placed on an single due to the ineluctable interactions with others and parts of the universe limits their sense of personal belonging and can be dealt with flight and interaction with the wider universe. The nonfiction infusion from Sisters. an Anthology. undergoes the geographic expedition of this thought through the contemplation of a narrator’s relationship with her two sisters. Mary and Phoebe and her best friend. Beth. The storyteller articulates that the inevitable differing positions of her akin sisters lead to an incomprehension which farther leads to a province in their relationship where “too much can non be spoken” as “too much bents on whose version prevails” . Hence. this imperfect relationship is contrasted with her relationship with Beth where “there is non a splinter of difference between us” and “where I can non conceive of the life I lived earlier. a universe without the most perfect of sisters” to pull out the imperfectness and forced nature in footings of the bonds of sistership.
She has an expatriate to enrich her sense of personal belonging that is limited at place and finds it with interaction with the landscape and experiences with the universe. “I had a life brimming over with scintillating narratives which I sent to them on the dorsum of post cards of shinny seaports and bright reefs. They had mizzle and guinea hogs to bury. and Canis familiariss to drag out of the river. ” The positive intension of “shinny” . “sparkling” and “bright” high spots a key and unforgettable minute of the storytellers life to the respondent whilst these words contrary to decease. bespeak her feelings of young person and verve. and therefore belonging. which is farther contrary to the negative intension of ‘drag’ ; that relates to a limitation of pick and images of decease.
Besides. the great enormousness. lighter coloring material and greater tallness of H2O of the ‘reef’s’ and ‘harbours’ juxtaposed with the restrictive nature. obtuseness of the ‘river’ high spots her feelings of freedom and reiterates her verve and hence once more. greater sense of belonging. Overall. this reflects the narrator’s greater sense of belonging in interaction with the wider universe. allowed from her expatriate. instead than the restricted infinite of sistership or ineluctable interactions with others. The construct of household. visual aspect and outlooks of conformance by the governments and the universe around them negatively and positively affects an individual’s sense of personal belonging.
