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Full Description
Over the last 40 years, while the musical film has faded from its historical high-point to a more isolated and quirky phenomenon, the dance film has displayed refulgent growth and surprising resilience. A phenomena of modern movie-making, the dance film has spawned profitable global enterprises (Billy Elliot), has fashioned youthful angst as sociological voice (Saturday Night Fever, Footloose and Dirty Dancing) and acted as a marker of post-modern ironic camp (Strictly Ballroom). This modern genre has influenced cinema as a whole in the ways bodies are made dimensional, in the way rhythm and energy are communicated, and in the filmic capacity to create narrative worlds without words. Emerging as a distinct (sub)genre in the 1970s, dance film has been crafting its own meta-narrative and aesthetic paradigms that, nonetheless, display extraordinary variety. Ranging from the experimental, 'you are there' sonic explorations of Robert Altman's The Company and the brutal energy of David La Chappelle's Rize to the lighter 'backstage musical' form displayed in Centre Stage and Save the Last Dance, this genre has garnered both commercial and artistic success.Meanwhile, Bollywood has become a juggernaut, creating transportable memory for diasporic Indian communities across the world.
This is an entire industry based on the 'dance number', where films are pitched around the choreography, where the actors are not expected to sing, but they must dance. This series of essays investigates the relationship between movement and sound as it is revealed, manipulated and crafted in the dance film genre. It considers the role of all aspects of sound in the dance film, including the dancer generated sounds inherent in Tap, Flamenco, Irish Dance and Krumping. Drawing on significant post-War dance films from around world, Movies, Moves and Music comprehensively surveys this mainstream genre, where image and sound meet in a crucial symbiosis.
Contents
1. The Sonic World of Dance Films Mark Evans and Mary Fogarty 2. From Choreocinema To Experimental Screendance: A Personal Archaeology Greg Faller, Towson University, USA 3. From Beat Street to Step Up 3D: The Sound of Street Dance Films Mary Fogarty 4. Space, Authenticity and Utopia in the Hip-Hop Teen Dance Film Faye Woods, University of Reading, UK 5. The School and 'The Streets': Race, Class, Sound, and Space in Step Up and Step Up 2Brian Su-Jen Chung, University of Hawaii at Manoa, and Afia Ofori-Mensa, Oberlin College, USA 6. The essence and momentum of Honey: An Interplay of Sound and Movement Diane Hughes, Macquarie University, Australia 7. Gone in a Flash(dance): The Estrangement of Diegetic Performance in the 1980s Teen Dance Film Kelly Kessler, DePaul University, USA8. 'Anything But Ballet': Individuality, Genre-Bending, and Sexual Expression in Center StageGillian Turnbull, Independent Scholar 9. Zoot Suit Mayhem: Swing Dance and the Politics of Revisionist History in Steven Spielberg's 1941Philip Hayward, University of Technology, Sydney, and Jon Fitzgerald, Southern Cross University, Australia 10. Across the Universe and Nostalgia: Re-presenting the Beatles Through Moving Images and Dancing Bodies Colleen Dunagan, California State University, Long Beach, and Roxane Fenton, Independent Scholar 11. Looking for the Past in Pastiche: Intertextuality in Bollywood Song-and-Dance Sequences Usha Iyer, University of the West Indies, St Augustine 12. The Call to RizeMegan Anne Todd, Independent Scholar 13. Resounding Neurological Ecologies: Choreographing the Body's Lost Interactions with the World Sarah-Mace Dennis, Independent Scholar
