- 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
This chapter traces dance in Cuban cinema from the onset of the Revolution to contemporary films. In so doing, the author attempts to set up a Cuban structure of feeling and how a corporeal form of Cubanidad manifests through various filmic representations, whether narrative or documentary film. Might dance be an inherent aspect of Cubanidad? How does the Cuban filmic apparatus incorporate dance and all of its complexities into a narrative about Cuban fortitude? The films discussed include: Un día en el solar, Los del baile, Memorias del subdesarrollo, Son o no son, and Habana solo.
Victor Fowler is a noted Cuban teacher and essayist. He is a frequent collaborator in the most relevant Cuban cultural publications and his critical works as well as his poems have been distributed in Venezuela, Colombia, Nicaragua, England, France, Italy, Belgium, and the U.S.
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