My evaluation for 'Grease'.

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Louise Windust

                My evaluation for Grease

My film that I choose was Grease because it contains music, dancing and humor. It is a cross between comedy and teen movies. It is a tribute to the Broadway show of the 1950’s. It was directed by Randal Klieser and was released on July 7th 1978. The music and dance scenes are what attracted me to Grease. My favorite characters are John Travolta and Jeff Conaway who play Danny and Kenickie. I like these two because they are your typical high school popular boys who are always looking out for each other, looking good and they are always trying to get the beautiful girls but at the same time acting cool like it doesn’t bother them. I had high expectations of Grease and I lived up to each and every single one of them. I learnt about this film through television and newspapers.

We used three simple words from everyday media. Firstly narrative is from the Latin word narra, meaning the way a story is told. Many theories have been applied to the creation of stories. Tzvetan Torodovs 5stages of narrative. He said that all plots had 5 major components. These 5 components are equilibrium, disruption, complications, climax and resolutions (also called new equilibrium. The story begins with a situation of normality although not necessarily a positive one. An event changes the story, which involves the struggle of the characters to restore the equilibrium or reach their goal. The story reaches a point where the equilibrium or goal hangs in the balance. Normally the equilibrium is restored or a new equilibrium is established. Grease used this theory because the equilibrium is Rydell high the normal high school, the disruption is when Sandy comes and knows Danny, the complications is that Danny cannot be with Sandy because she is too pure for him and he is the most popular guy in school, the resolution is that Sandy turns into a bad girl and the climax is when Sandy and Danny end up together.

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Secondly genre is the French word meaning type. Genres may be approached by way of various critical avenues. In the Aristotelian strain we recognize genres as kinds within a system of classification. These categories beg further definition, so there is a history of, on the one hand, the refinement of divisions and subdivisions, and on the other a Platonic search for the ‘essential’ qualities of tragedy, comedy, epic poetry, and so forth. By the recognition of genres we begin to find our way in the universe of verbal artifacts with their feigned discourses, and to train our expectations upon the ...

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