- The Oxford Handbook of Dance and the Popular Screen
- List of Contributors
- About the Companion Website
- Introduction: Dance on Screen
- An Australian in Paris: Techno-Choreographic Bohemianism in Moulin Rouge!
- A Different Kind of Ballet: Rereading Dorothy Arzner’s Dance, Girl, Dance
- Communities of Practice: Active and Affective Viewing of Early Social Dance on the Popular Screen
- Disciplining <i>Black Swan</i>, Animalizing Ambition
- Gene Kelly: The Original, Updated
- Appreciation, Appropriation, Assimilation: Stormy Weather and the Hollywood History of Black Dance
- Hip-Hop in Hollywood: Encounter, Community, Resistance
- Dirty Dancing: Dance, Class, and Race in the Pursuit of Womanhood
- Displace and be Queen: Gender and Interculturalism in Dirty Dancing: Havana Nights (2004)
- “It’s Sort of ‘Members Only’”: Transgression and Body Politics in Save the Last Dance
- “The White Girl in the Middle”: The Performativity of Race, Class, and Gender in Step Up 2: the Streets
- Affect-ive moves: Space, Violence, and the Body in Rize’s Krump Dancing
- A Taste of Honey: Choreographing Mulatta in the Hollywood Dance Film
- “He’s Doing His Superman Thing Again”: Moving Bodies in the Matrix
- Girl Power, Real Politics: Dis/Respectability, Post-Raciality, and the Politics of Inclusion
- Denaturalizing Coco’s “Sexy” Hips: Contradictions and Reversals of the Dancing Body of a Chinese American superstar in Mandarin Pop
- Single Ladies, Plural: Racism, Scandal, and “Authenticity” Within the Multiplication and Circulation of Online Dance Discourses
- The Dance Factor: Hip-Hop, Spectacle, and Reality Television
- Defining Dance, Creating Commodity: The Rhetoric of So you Think You Can Dance
- Hatchets and Hairbrushes: Dance, Gender, and Improvisational Ingenuity in Cold War Western Musicals
- Some Dance Scenes From Cuban Cinema, 1959–2012
- “Shine Your Light on the World”: The Utopian Bodies of Dave Chappelle’s Block Party
- Of Snake Dances, Overseas Brides, and Miss World Pageants: Frolicking Through Gurinder Chadha’s Bride and Prejudice
- Monstrous Belonging: Performing “Thriller” After 9/11
- Dancing “Between the Break Beats”: Contemporary Indigenous Thought and Cultural Expression through Hip-Hop
- Dancing with Myself: Dance Central, Choreography, and Embodiment
- Values in Motion: Reflections on Popular Screen Dance
Abstract and Keywords
Reviewers of Baz Luhrmann’s Moulin Rouge! (2001) often claimed to be bombarded, overloaded, or pathologically infected by the film’s rapid-fire imagery and eclectic cultural references. This chapter explores these visceral experiences of spectatorship, focusing on the film’s dance sequences. It argues that in these sequences, choreography and digital technology (including computer-generated imagery and editing) combine to allow spectators to physically experience on-screen bodies that are historically and culturally complex, distant, and “other.” Alison Landsberg’s notion of “prosthetic memory” (2004) suggests that films can physically connect spectators with pasts and memories they have not directly experienced. This chapter argues that Moulin Rouge! achieves this physical connection by tapping into, and updating, a bohemian tradition of cross-cultural and transhistorical self-performance.
Clare Parfitt-Brown is a Senior Lecturer in Dance at the University of Chichester. Her research focuses on the cultural histories of popular dance practices, particularly the cancan. She is a founding member of PoP Moves, an international working group to develop research into popular performance. Clare has co-authored the books Planning Your PhD and Completing Your PhD, and published in Research in Dance Education and the International Journal of Performance Arts and Digital Media. Clare Parfitt-Brown is a Senior Lecturer in Dance at the University of Chichester.
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