Sunday, October 9, 2011

Not Just Fred and Ginger

 NOT JUST FRED AND GINGER:
CAMARADERIE, COLLUSION AND COLLISIONS BETWEEN DANCE AND FILM
LONDON, RUDOLF STEINER HOUSE, 35 PARK RD, London NW1 6XT
14 -16 OCTOBER 2011

FRIDAY, 14th October 2011
  • Gay men, swans and (mis)representations of ballet on the silver screen by Dr Giannandrea Poesio, EADH Chairman

INTERACTIVE DISCOURSES/INTERACTIVE DEBATES

  • Sick and twisted: dance as pathology in fiction films by Sanjoy Roy
  • Finding Words for Moves: Collusion and collisions between dance and film criticism by James Walters
  • Transmodern dance practices: transgressing across genre boundaries, and revisionist (dis)placement in Romeo and Juliet (Bigonzetti, 2006) by Kathrina Farrugia
  • Cinéphilia and Danse Contemporaine in the French Musical by Jenny Oyallon-Koloski
  • e-Dance: Challenging the conventions of the screen by Professor Helen Bailey, University of Bedfordshire (UK)

SATURDAY, 15th October 2011

  • Trip the Light Fantastic: Mid-Century American Musicals Reimagine Vaudeville by Cara Rodway
  • Americans in Paris: the Post-war Redeployment of the Cancan in 1950s Film Musicals by Clare Parfitt-Brown
  • A New Way of Living: Street Dancing and Urban Renewal in West Side Story by Martha Shearer
  • Deconstruction In Motion: Interrogating National, Cultural, and Gendered Identity through Flamenco Dance and Film by Frances R. Hubbard

ISSUES OF AUTHORSHIP
  • The Power of Reproducibility: Leonide Massine in the Movies by Roberta Bignardi
  • Dance in the Films of Almodóvar by Nancy G. Heller
  • Two Steps Forward, One Step Back: New Hollywood’s Close Encounters with the Musical by Alan Taylor
  • Wiseman, the Paris Opéra Ballet and the spectre of Degas by Katerina Pantelides
  • Jittering Jitterbugs in Groovie Movies: Swing Dancing and Cross-Racial Identity Constructions in Shorts of the Early 1940s by Susie Trenka
  • “My, My, Ain’t That Somethin”: The Nicholas Brothers and Definitions of Class, Race and American Identity by Karen McNally
  • Ethnic and Racial Interventions: Trina Parks – from Dunham Dancer to ‘Bond Girl’ by Lisa Fusillo
  • Keynote address: The Manic Bodies of Danny Kaye by Professor Steven Cohan, Syracuse University (USA)

SUNDAY, 16th October 2011
  • Steps and Tap-Dancing: Broadway Melody (1929), 42nd Street (1933) vs Royal Wedding (1951) and The Band Wagon (1953) by Raphaelle Costa de Beauregard
  • ’S Wonderful: Euphoria Dances in the Film Musical by Beth Genné
  • Dancing All Alone: Fred Astaire and the Theatre of the Everyday by Kathleen Riley

  • The Dancing Body on Film: Embodiments in / of Space:
  • a) Rupture & Flow: The Hip-Hop Teen Dance Film's Fractured Body and Soundscape by Faye Woods
  • b) Camera and Dancer: Proximity, Pleasure and Performance by Lucy Fife Donaldson
  • c) Dancing on Film: Embodied Encounters by Katharina Lindner

  • The ‘disturbing’ body of professional female dancers in Tamil and Bollywood movies after the Indian Independence (1947): a political and cultural campaign of ‘redemption’ or ‘repression’? by Tiziana Leucci
  • Challenging the crippling stare: dancing with difference. Changing perceptions of disability in dance film performance by Eimir McGrath
  • What film did for dance - the mutual benefits for dance and film in the silent movie era by Jane Pritchard The Moment Musical: a rediscovered masterpiece by Sergey Konaev
  • The career of Vera Karalli and the role of ballet artists in the formation of acting style in pre-revolutionary Russian cinema by Jennifer Zale
  • Between art, science and attraction: looking back at early cinema’s serpentine dances by Laurent Guido 
  • From the “expressive body” to the “dance of images”: dance analogies in 1920s film theory between corporeality and abstraction by Kristina Köhler

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