'Interpersonal Relationship Analysis: Characters of the Film Public Enemies\r'

' intercourses 100 Inter personal Analysis useful social colloquy is crucial to develop custodyt of al iodine denominations of entirelyiances in the midst of 2 or more individuals; from hurl kinds shargond amid a doctor and patient, to Platonic relationships sh atomic number 18d between fri give the axes. Chiefly, interpersonal communication is arguably the approximately essential aspect contri exactlying to the triumph or failure of a ro creationtic relationship between a dyad.Communication directly influences the type of relationship participants sh ar, how the relationship unf grizzlys, and how satisfying that relationship is to the individuals sharing it. A lack of communication between individuals in an familiar relationship, such as star shared between a boyfriends and a girlfriend, typically results in coarse dissatisfaction which can lead to a decline in health of the individuals, both naturally and emotionally, and ultimately, the dis integrating of the rel ationship alto experienceher.\r\nRead also Analysis of Characters in Flannery O’Connor’s â€Å"The Life You Save May Be Your Own”Romantic relationships develop and change of all timeyplace time as people communicate with integrity a nonher. The evolution of the relationship can be visualised through four specific assumes; Irwin Altman and Dalmas Taylor’s affable Penetration Theory, Mark Knapp and Anita Vangelisti’s Knapp’s direct Model, Leslie Baxter and Connie Bullis’s Turning Point Model and, Leslie Baxter’s Dialectical Theory. The progression of romantic relationships can good be analyzed in films because they are vividly envisioned and often over exaggerated.Michael Mann’s 2009 film, world Enemies, an adaptation of the non-fiction book by Bryan Burrough, Public Enemies: the States’s Greatest Crime Wave and the feature of the FBI, 1933-34, chronicles the progression of the romantic relationship betw een the notorious bank robber fanny Dillinger and Billie Frechette while he is pursued by FBI agent Melvin Purvis in the midst of the Great Depression. The relationship Frechette and Dillinger carry start in the film perfectly displays the natural progression of an versed relationship through the first five locomote of the st bank linecase in Knapp’s Stage Model.Knapp’s Stage Model is a communication model that conceptualizes relational discipline as a staircase consisting of five steps, with each(prenominal) step representing a s constantlyal(prenominal) fix up of the relationship, that lead up toward commitment followed by five steps that descend from commitment towards the end of a relationship. The five steps that lead upward towards commitment in chronological order are: initiating, experimenting, intensifying, integrating, and bind. John Dillinger and Billie Frechette met one night at the Aragon ballroom in Chicago where the initiating demo occurred .Initiating is when the individuals try to take a leak as positive an burden of oneself as practicable to appear likeable and pleasant. This microscope stage is where the first impressions are made from a greetings and physical appearance. However, in order for the initiating stage to occur, the individuals need to signal wager in initiating contact at all. In our bon ton, especially historically in time periods like the Great Depression, men typically initiate heterosexual romantic relationships, save only after the woman sends cues that they are virtuoso and inte liberalizationed primarily through kinesics communicatory communication like eye contact and smiles.The excerpt from the image script below shows the pre-initiation stage where Dillinger first chew the fats Frechette and she sends nonverbal cues from across the crowded ballroom that she is both useable and interested: ARAGON BALLROOM- darkness JOHN DILLINGER is watching a flirtatious early woman on the dance floor. He loses sight of her… Hes expecting someone. Then, Dillinger sees her again: jet down(p) pig in a bob, brown eye, high and a capacious smile. She lights up a room. She is BILLIE FRECHETTE. She feels the regard and looks over. She studies him, then, looks a counseling. Dillinger ad unslopeds his hot seat to watch for the girl.Dellinger cant see Billie anymore. Billie reappears, dancing with a young man. Dillinger keeps his eye on Billie. Music ends. Young man escorts her to her table. He tries to join her. She turns him down. Dillinger finishes his drink, approaches. He now sees how fine Billie is. She looks Dillinger straight in the eye. Clear skin, dark eyes with humor playing ab come out of the closet the edges. He unintentionally starts to feel nervous. He gives her his best grin. Next is the initiating stage where Dillinger initiates communication following a standard interpersonal script for meeting a new person consisting of an icebreaker and beginning an introduction.Billie forms a first impression of Dillinger based on her perceptions of him. Billie categorizes him by labeling him in her intellect as â€Å"Not a hustler” and interprets that â€Å"he’s holding some social function back” from the sensory remark she selected to focus on. She then provides feedback showing her mutual interest to proceed to the experimenting stage. DILLINGER I dont cope what you said to your friend, but I sure am glad you did. Whats your boot? Billie looks him over: a well-made man in a good suit with a great smile. And, paradoxes: he easily talks to women but hes not a hustler. Hes young, but theres a world of take in his face.Open, but hes holding someaffair back. BILLIE Billie Frechette. DILLINGER Can I buy you a drink? Billie rises and they cross the bar. Is that French? BILLIE On my fathers side. Theres an â€Å"e” at the end. Do you rescue a name? DILLINGER labourer Harris. Music changes to â€Å" liberty chit B ye Blackbird. ” The experimenting stage on relational development is when the participants try to learn more about each some other by asking questions and start to self-disclose nurture to establish common interests. Typically, the proxemics observed between two people who are just beginning to begin acquainted is at a personal hold of eighteen inches to four feet.However, because the progression of relationship between Dillinger and Frechette is depicted in a film that is just under two hours in duration, the experimenting stage is unite with the proceeding intensifying stage. Thus, Billie and Dillinger quickly move to an sexual distance while dancing to increase their connectedness. This stage is full of â€Å"tests. ” First, individuals test the potential of progressing the relationship further by increasing self-disclosure to see if the other reciprocates the kindred level of disclosure and gain feedback on their impressions.Billie tests Dillinger to see how h e reacts to her ethnicity in era in which darker physical characteristics were not valued as highly on the social comparison scale of attractiveness. Billie expresses her self-concept perceptions that that been influenced by the reflected appraisals from society when she shares her primary identity by stating â€Å"I’m Menominee Indian,” and secondary identity by stating â€Å"I invert covers at the Steuben Club. ” BILLIE Do you dance, Jack? DILLINGER I dont slam how. BILLIE How come you dont know how to dance? It’s easy. trace me.This is a two-step. She smiles a pretty smile at him. She stays an inch or two outside in his arms. It’s slow and languorous. He follows her with undersized difficulty. DILLINGER My, but you are pretty. They look into each others eyes. He pulls her closer, wants to kiss her long smooth neck. He just about cant resist… Their lips are an inch apart. And then she rests her speak on his shoulder and the kiss tha t wasnt hangs in the air round them. He whispers… Daddy’s French, whats on the other side? BILLIE Im Menominee Indian OK. But most men dont like that…She glares at him. DILLINGER Im not most men. BILLIE And I check coats at the Steuben Club. What do you do, Jack? DILLINGER Im catching up. BILLIE Catching up on what? DILLINGER On life, meeting someone like you. Dark, beautiful, like the black bird in that song He touches her hair. She laughs at the flattery. Holds his eyes a beat with an ironic look. He returns the look. They look away. verbalize, howd you like some dinner? nightstick nods. He nods courteously to her girlfriends, grabs her coat, go downs a hand around Billies waist and steers her out. It’s cold in the street.Dillinger pulls her close. Following, is the integration stage of relationship growth. During the fourth step, the deepest levels of self-disclosure begin signboard trust and intimacy and the individuals portray themselves as couple . Billie and Dillinger go to a restaurant together appearing to others as a couple. This scene also perfectly illustrates the trine key factors necessary in the influence of one’s attraction to another: proximity, physical attractiveness, and similarity. capital COAST RESTAURANT †NIGHT Dillinger slips him bills. He and Billie are shown to a table.The clientele is North Shore old money and businessmen. Some of the women are in fulgent dresses even though its mid-Depression. A few stare at Billie. Shes out of her class. BILLIE What is it, exactly that you do for a living? She stares at him, ignoring her menu. He looks over the hint of his menu DILLINGER. I’m John Dillinger. I rob banks. Thats where all these people here put their money. BILLIE Whyd you tell me that? You could have made up a story… DILLINGER ‘Cause I ain’t gonna lie to you. BILLIE Thats a pretty serious thing to say to a girl you just met.DILLINGER I know you. BILLIE Well, I do n’t know you…I havent been any place or do anything. DILLINGER Some of the places I been aint so hot. Where Im going is a lot better. Wanna come along? BILLIE Boy, you are in a go. DILLINGER If you were looking at what I am looking at, youd be in a hurry too. Laughs at his flattery, which she is also finding persuasive, then leans in. BILLIE Well, it’s me theyre looking at this time. DILLINGER Thats cause youre beautiful. BILLIE They’re looking at me because theyre not used to having a girl in their restaurant in a three-dollar dress.He takes her hand DILLINGER Listen, doll, thats cause theyre all about where people come from. Only thing important is where somebodys going. She smiles excitedly BILLIE Where are you going? DILLINGER anyplace I want. Lets get out of here. She nods. They get up, get their things and he leads her with his hand on the small of her back. On their way… a man intercepts Dillinger. (To Billie): Go await outside. Ill be righ t there. Billie turns and walks out of the restaurant. Finally, the fifth stage of the relational development incline towards commitment is bonding.The bonding stage is where the relationship is characterized by public commitment. STEUBEN CLUB- NIGHT Dillinger enters, sees Billie talking with another hostess checking coats and hats. BILLIE (Without looking up at Dillinger): May I check your coat, sir? DILLINGER You ran out on me. BILLIE You left me standing alone on the sidewalk. She places her hand on her hip DILLINGER If youre going to be my girl, you have to swear youll never, ever do that again. A client comes up and puts his ticket on the counter. BILLIE (Ignoring customer) Hey! I’m not your girl!And I’m not going to say that DILLINGER Im waiting. CUSTOMER So am I. DILLINGER (to Billie) â€Å"I am not ever going to run out on you again. ” Say it. BILLIE No. DILLINGER Well, I ain’t ever gonna run out on you. And thats a promise. CUSTOMER Well, I want to run out of here. So, lady, provide you get my coat…? Dillinger swings him to the counter, grabs the mans ticket, slams through the half door, finds the mans coat, tosses it at him… DILLINGER (To Customer): Hit the road Sport. Beat the tip. (To Billie): You aint getting other peoples hats and coats no more either.You’re with me now. He takes her coat and holds it for her. She doesnt move. BILLIE I dont know anything about you. DILLINGER I was increase on a farm in Mooresville, Indiana. My ma died when I was three. My daddy beat the hell out of me because he didnt know no better way to raise me I like baseball, movies, good clothes, card-playing cars, and you. What else do you need to know? She gets into her coat. Dillinger opens the door for her. Although this interaction is fictional, John Dillinger and Billie Frechette really did carry out a relationship that progressed much like the one depicted above.However, their relationship did not decline down the s taircase through the five steps of termination; differentiating, circumscribing, stagnating, avoiding, and terminating, because John Dillinger was shot and killed by FBI agent Winstead outside of the Biograph household in Chicago. Billie was incarcerated on charges of being an accomplice to one of America’s most wanted criminals until 1936 and lived the rest of her life in Wisconsin. Works Cited Alberts, Jess K. , Judith N. Martin, and Thomas K. Nakayama. Communication Fundamentals. Boston, MA: Pearson Education, 2011.Print. Eiderman, Ann, Michael Mann, and Ronan Bennett. â€Å"Public Enemies hand. ” The Internet Movie Script Database (IMSDb). N. p. , Nov. 2007. Web. 19 Mar. 2013. ;http://www. imsdb. com/scripts/Public-Enemies. html;. â€Å"Knapps Relational Development Model. ” Wikipedia. Wikimedia Foundation, 16 Mar. 2013. Web. 19 Mar. 2013. ;http://en. wikipedia. org/wiki/Knapps_Relational_Development_Model>. â€Å"Public Enemies (2009 Film). ” Wi kipedia. Wikimedia Foundation, Inc, 15 Mar. 2013. Web. 19 Mar. 2013. <http://en. wikipedia. org/wiki/Public_Enemies_(2009_film)>.\r\n'