- 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
In Pride and Prejudice, author Jane Austen shows us nineteenth-century British class hierarchy. On one level, this hierarchy is established through wealth and means, but on another, it is through differences between characters created by breeding and manners. In the book, conversations and habits are signs of these differences, and therefore, signs of worth. In Bride and Prejudice: A Bollywood Musical, using the basic narrative of the novel, director Gurinder Chadha gives us a colorful picture of global-political economics. Differences between countries like India, Britain, and the United States are established through signs of wealth and consumerism, but also through dance and body movements. A Bollywood staple of song-and-dance is deployed here as a marker of difference between India and others, and between an old India with stifling economic practices and a new one that welcomes its tourists, investors, and bridegrooms with open arms and legs. While on the one hand, Chadha seems to consciously point out the problems of global economic inequality and imperialism, in other ways, she seems complicit in the plot to attract India's others to get a little taste of India, by using female bodies to construct a modern, seductive picture of the country.
Amita Nijhawan is Lecturer in Dance Studies at the University of Surrey.
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