- 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 Black Swan, 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 seeks to explore how cultural texts disseminated online are made and remade, challenged and championed by audiences, with the mutability inherent to all texts becoming highly visible in this environment. The entry point of this inquiry is the music video accompanying Beyoncé Knowles’s 2008 hit Single Ladies (Put a Ring on It), which quickly became an Internet phenomenon, spawning numerous homages, parodies, and reinterpretations. Additionally, this popular cultural phenomenon was the subject of a social media scandal invoking issues of racism, “authenticity,” appropriation, the democratization of technology, and “expert knowledge.” This chapter will touch on a few key moments of online engagement with this event in order to try to flesh out the tangled politics inherent in cultural consumption, participation, and online identity building.
Philippa Thomas is an academic, artist and writer. She is currently undertaking a PhD in Sociology at Goldsmiths College which explores issues of policing youth, representation and the politics of participation. She also lectures in contextual and cultural studies at London Contemporary Dance School and has written for Dance Theatre Journal among other publications. Her filmworks have been shown internationally and she has just had her first work of fiction published. Philippa Thomas is a Ph.D. candidate at Goldsmiths College and lectures at London Contemporary Dance School.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.