Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema
| Author | : | |
| Rating | : | 4.92 (947 Votes) |
| Asin | : | 0813542804 |
| Format Type | : | paperback |
| Number of Pages | : | 320 Pages |
| Publish Date | : | 2016-08-15 |
| Language | : | English |
DESCRIPTION:
Why don't Madmen dance? tamiii Relatively free of jargon, and sometimes refreshingly chatty, McLean, a dancer, knows a lot about ballet and film. So, as one might expect, she does quite a bit to clean up the messy garden which is the meaning of ballet in American culture. In the process, one learns how film shaped American ballet and how ballet changed its representation in film: no more debates of low vs. high culture, swing vs. ballet--and, no longer do women die because they choose dancing, now an acceptable career, perhaps c. Scholarly book on ballet as the subject of film Recommended for film buffs. A thorough discussion of the idea of the "ballerina" in modern film, but not a detailed analysis of filmed balletic choreography.
This is a unique and original project.. Aside from cataloguing, describing, and closely reading the plethora of films that comprise the group with which she is concerned, McLean surfaces interesting theoretical issues concerning the genre
McLean explores the curious pairing of classical and contemporary, art and entertainment, high culture and popular culture to reveal the ambivalent place that this art form occupies in American life.Drawing on examples that range from musicals to tragic melodramas, she shows how commercial films have produced an image of ballet and its artists that is associated both with joy, fulfillment, fame, and power and with sexual and mental perversity, melancholy, and death. In Dying Swans and Madmen, Adrienne L. From mid-twentieth-century films such as Grand Hotel, Waterloo Bridge, and The Red Shoes to recent box-office hits including Billy Elliot, Save the Last Dance, and The Company, ballet has found its way, time and again, onto the silver screen and into the hearts of many otherwise unlikely audiences. Although ballet is still received by many with a lack of interest or outright suspicion, McLean