The fact that the audience is unable to take the tragedy' being described in the documentary seriously shows how Lurhman satirises the pretensions and obsessions of the characters involved in the world of ballroom dancing. A further ridicule of Shirley and Barry in particular is revealed by their overblown reactions of the tragedy'. Other elements of the opening scenes also invite ridicule. On page 10 of the screenplay, it specifies that Barry is wearing his best nylon suit'. The costumes worn by Barry, Les and Shirley's heavy makeup and oversized earrings all add to the sense that they are caricatures.
Throughout strictly ballroom', Baz Lurhman uses non-realistic, exaggerated techniques to shape and manipulate our understanding and interpretation. The red velvet curtains; the mock-documentary; the use of the blue Danube'; the contrast between the glamorous ballroom world and the lives of those involved in it and the use of caricatures. Another significant technique is the use of cinematography. Various camera angles are used throughout the opening scenes. The documentary' shots are simple, one-camera shots taken at eye-level, meanwhile, the pace and excitement when shooting the ballroom scenes in scene 8 for example, used 24 separate shots, hardly anymore than one second long, which shows us the dancer's feet, and the audience reaction.
One important camera work in scene 26 is the scene in Barry Fife's office during the documentary'. Barry is lit from behind with his face hidden in shadow to enhance the idea that he is a sinister character. When Barry says, "win- . the camera slams into a close-up of his mouth. This gives an effect of Barry's absolute power in the world of ballroom, and the importance of winning to him.
Another aspect of cinematography is the film's mis-en-scenes, the setting, attractive costume, colourful lighting and movements of other actors all adds to Lurhman's method of positioning the audience view.
