Abstract
No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 1 (2010), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
In this paper I explore scenes from two dance worlds on screen and explore how cinematic and narrative strategies are used that, I would propose, ask us to question the conventions of both cinema and dance, as well as to look again at the“reality”of the world around us
Saura’s is on the surface a mainstream dancedrama, full of virtuoso camera work and technical polish, which explores Bizet’s Carmen using familiar dance narrative tropes: youth over experience, and a female heroine being absorbed into a male vision, punished for her sexuality and sacrificed
There are the films of the late 1970s like All That Jazz, The Turning Point,or Argento’s classic horror Suspiria, which suggest a different kind of dance world: one of self-sacrifice, discipline, loneliness, manipulation of women by male mentors, and drama or/and death as a kind of punishment/destiny for becoming part of this world
Summary
In this paper I explore scenes from two dance worlds on screen and explore how cinematic and narrative strategies are used that, I would propose, ask us to question the conventions of both cinema and dance, as well as to look again at the“reality”of the world around us. Through exploring the image of the dancer looking in a mirror, either in rehearsal or in the dressing room, this paper will suggest that these works highlight engagements with the real world as being a product of both Baudrillard’s notion of the imaginary and aspects of what he refers to as the process of symbolic exchange.
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