Comparing and Contrasting The Dance Films Honey 2003 and Step Up 2006 - Movie Review Example

Comparing and contrasting the dance films Honey (2003) and Step Up (2006) Cushway, David. “Changing the Dance Curriculum in view of the dance Step Up”, Women’s Studies Quarterly, vol.24 (3-4), pp.118-122. 1996. Print. Bottom of Form Bottom of Form Bottom of Form Bottom of Form Bottom of Form “[From trailer] some people learn to dance... Others are born to Goudeau, 2006, p. 121). “Anne Fetcher directs the 2006 film Step Up and features among others Jenna Dewan Tatum and Channing Tatum as stars. Transition is a continuum of the disadvantaged Tyler Gage issues that are religious, aesthetic, and ethical as well as the present-day Nora Clark acting as Jenna Tatum. Skinny Cater and Mac succeed after various years that people have to transcend. Their story comes out when the call he receives informs him of teenage boy who has died attempting to experiment on auto-asphyxiation. In addition to the set up in Baltimore, the memories their teenage life that was turbulent, re-emerges. “I was born from a boom box.” Tyler Gage is a few years more than his partners are. Their transition helps him realize that he needs to discard ways that were destructive, sieve their past, and then pick the best and apply them for continuality. The description of Bill Sanderson by the narrator brings in an element of spirituality. He appears godlike to Tyler Gage and Nora Clark because he is big and a woolly-headed bloke. He is the main man on the beach. It makes him the key player of the story in the whole dance. Director Gordon owns a Kombi, a lovely house next to the ocean, a red dog, and he is married to an American wife. The artistic way through which Honey Daniels (Jessica Alba) loves surfing easily erodes when he discovers that the adventure is superfluous. In their description of the people who engage in surfing, it clearly shows that the whole activity is interesting but does not value to human life. He refers to the events as beautiful, pointless, and elegant. Transition continues through the scenes and becomes clear when by reflection Honey Daniels (Jessica Alba) calls all the respect enjoyed in their day at the beach in company of Producer Jerkins and Rival Katrina acting as Laurieann Gibson as an abomination. Honey Daniels (Jessica Alba), transcends through that stage and approves the fact that the actions by Producer Jerkins that made other surfers to put to a godly status were unacceptable. Similarly, the respect he commanded together with Rival Katrina acting as Laurieann Gibson by virtue of association with Producer Jerkins was uncalled for in all ways. There was false satisfaction and the narrator calls it egotism that nears autistic narrowness. Desmond, John. “Introduction: Making the Invisible Visible: Staging Sexualities through the Honey Dance.” Madison, University of Wisconsin Press, pp.3-32. 2001. Print. Universal Pictures produced Honey in 2003. They use several characters to pass their message in various forms. “You know your lil homies that have always got your back?, (Desmond, 2001, 11)”They find a focal point through Rodney Jerkins and also other dance starts among them Mekhi Phifer, Jessica Alba, Lil’ Romeo, David Moscow, and Joy Bryant. Performances by Jadakiss, Tweet, as well as Ginuwine coordinate between ordinary and extraordinary life. He is symbolic and by using imagery that is Honey and wheezing for Honey clearly brings out the message he intends to pass. The producer explores the theme of transition through inspiration and expiration in a sacred manner throughout the dance. The meanings and relevance in addition to masculinity and mortality are present throughout the plot, stylistic devices applied, and characters in the play. The threats for religious intervention from Producer Jerkins’ wife do not stop the mischievous behaviour by Rival Katrina acting as Laurieann Gibson led by Producer Jerkins instead; they only serve to show how reckless Rival Katrina acting as Laurieann Gibson was as a teenager The caution from Gina to her husband underline how important music was in the society the dance is set while at the same time depicting Producer Jerkins as one person who perpetuated masculinity yet destroying the social norms. Men tended to take positions in the society that defied nature and unknowingly destroyed important elements that held the society together with the spiritual world. Gina who is Producer Jerkins’ wife also has her share of transition. Her life changes in many ways after the accident. She becomes bitter in her life because most of her desires in life go unfulfilled while at the same time Rival Katrina acting as Laurieann Gibson alienates her from her husband. It happens as Producer Jerkins and Rival Katrina acting as Laurieann Gibson goes for surfing. Fisher, Shay. What We Know about Boys Who Dance”, in Fisher J., Shay A. (Eds.), When Men Dance, in Honey 2. New York, Oxford University Press, pp.57-77. 2007. Print. The characters move the mind of the audience to create an image of a little village. Furthermore, Honey Daniels (Jessica Alba) the narrator has characteristics that show a person with life confined to the village, a character whose memories are stuck to nostalgic moments in their childhood. “Katrina is the shit. She just did Ginuwines new video ( Fisher, 2007, 66)”. Through their, the author makes necessary preparations to walk through the theme of transition considering that it includes music that is sacred and requires serenity. The plot serves as the best set up to convey the intended message. Music plays a great role when a person transits from one level to the other. Honey Daniels (Jessica Alba) and Rival Katrina acting as Laurieann Gibson have grown from their days as children playing in the local river to teenagers and then to adulthood when they become professionals and in the process they introduce Zachary Williams, their little brother. The manifestations are existential and sundry. Through the same, characters as mentioned above transcend gradually as they get the opportunity to make their lives better. Their responsibility of adults requires the use of passion. The transition meets conflict and maintenance equally. The structure of the society setting is in a musical way become the true obstacles where the more enlightened mannish paradigms make the environment for transition favourable. Emphasizing the value of music, certain characters in the dance disappear and are not accorded ant other opportunity to meet with their friends or family members again. They reinforce the view that human association in the dance needs the shore up of musical power. In their case, the bond between duties assigned to them because of their gender, personhood, and the dancing capacity gifted to them is lost. Connell, Messechmidt. “Hegemonic Masculinity: Rethinking the Concept of Love in the dance Honey”, vol.19 (6), pp.829-859. 2005. Print. Interactions between the pre-adolescent children and Director Gordon capture the image of Director Gordon being superior to the two as he trains them on how to really surf. The lads personify him as god. In one way, he instils their respect in Nora Clark and Tyler Gage when he takes them to the wildest and bigger waves. “These areas are also dangerous and remote Connell, 2005, 844.” Tyler thrives in their kind of relationship with. In their adulthood, Tyler Gage discovers after an evaluation of their past that what went on with Director Gordon, and he was politically irresponsible behaviour, incorrect, and almost an illegitimate relationship. Viewing through their level of transition, the narrator is however, cautious. He appears to blame the current trend on failure by the society that he calls government to establish the right elements to replace the anti-traditional masculine. He explains that these failures allowed Director Gordon to exploit the loopholes and put them in a situation similar to highly qualified army officers such as cadets in a combat. The implications of masculinity come on the fore when it becomes unclear on why Director Gordon’s past exploits not abandoned despite the fact that he resented them. The lose nature of the social fabric in the society is visible when Clark prefers to have someone who appears worth because their family is worthless. England, Boyer. “Listening to the Dancer’s Body in the Honey dance.” The Sociological Review, vol.55 (1), pp.109-125. 2007. Print. “But hip-hop cant take you the places where ballet can. (England, 2007, p. 119)”Life and death appear equal in sense that they are at the extreme ends of the continuum of transition. Honey Daniels (Jessica Alba) remembers their deaths remorsefully but learns that Rival Katrina acting as Laurieann Gibson’s life was full of greed that did not any value to life. He ended up becoming a drug trafficker with the intention to destroy other people’s lives but eventually destroyed them. The deaths of the two are good lessons to Honey Daniels (Jessica Alba) that help to change their thinking in all perspectives. The experiences of these deaths make Honey Daniels (Jessica Alba) to understand that in all perspectives, the friendship he shared with Rival Katrina acting as Laurieann Gibson and Producer Jerkins was not genuine. Certainly, the themes in Honey depict the lives within the society that was inclined towards men. However, the characters led by Honey Daniels (Jessica Alba), the narrator, transcend through many stages of life. He leads the other protagonists consciously choose their desolation and accept to live genuinely. He embraces change and lives to define what entails to be a man. The story begins gently but as it develops turns out to be a heart hammering and confrontational. It is shocking and frightening. The boy does not find surfing as having any meaningful future to him after spending most of their adolescent life in the adventure. Works CitedBottom of Form Bottom of Form Bottom of Form Bottom of Form Connell, Messechmidt. “Hegemonic Masculinity: Rethinking the Concept of Love in the dance Honey”, vol.19 (6), pp.829-859. 2005. Print. Cushway, David. “Changing the Dance Curriculum in view of the dance Step Up”, Women’s Studies Quarterly, vol.24 (3-4), pp.118-122. 1996. Print. Bottom of Form Desmond, John. “Introduction: Making the Invisible Visible: Staging Sexualities through the Honey Dance.” Madison, University of Wisconsin Press, pp.3-32. 2001. Print. England, Boyer. “Listening to the Dancer’s Body in the Honey dance.” The Sociological Review, vol.55 (1), pp.109-125. 2007. Print. Fisher, Shay. What We Know about Boys Who Dance”, in Fisher J., Shay A. (Eds.), When Men Dance, in Honey 2. New York, Oxford University Press, pp.57-77. 2007. Print. Bottom of Form Bottom of Form Bottom of Form Bottom of Form Bottom of Form Read More