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jazz dance

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Published: 01 September 2021
Figure 2. Debbie Reynolds performs an approximation of a Hawaiian hula dance as O'Connor and Kelly (from left to right) look on, part of the eruption of a multiracial genealogy of jazz dance in the “Good Morning” number. Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US, 1952) More
Journal Article
Camera Obscura (2021) 36 (2 (107)): 1–31.
Published: 01 September 2021
...Figure 2. Debbie Reynolds performs an approximation of a Hawaiian hula dance as O'Connor and Kelly (from left to right) look on, part of the eruption of a multiracial genealogy of jazz dance in the “Good Morning” number. Singin’ in the Rain (dir. Gene Kelly and Stanley Donen, US, 1952) ...
FIGURES | View All (5)
Journal Article
Camera Obscura (1990) 8 (2 (23)): 8–41.
Published: 01 May 1990
... at chain stores, black consumers could refuse to patronize white-owned establishments that failed to hire blacks or overcharged 11 black customers. Purchasing blues and jazz recordings by black artists helped blacks develop and promote a culturally reaffirming African- American sound. Rather...
Journal Article
Camera Obscura (2002) 17 (1 (49)): 31–71.
Published: 01 May 2002
... a more perfect synchronization. The characters’ bodies are by turns monumentalized and fragmented by the camera until they finally become the distorted shadows that dance across the screen in the film’s most visually stunning and self-reflexive moments. Once again, black bodies meld into the apparatus...
Journal Article
Camera Obscura (2007) 22 (2 (65)): 73–101.
Published: 01 September 2007
... in the US racist imaginary. See Black Marxism: The Making of the Black Radical Tradition (Chapel Hill: University of North Carolina Press, 2000). 13. See Rose, Jazz Cleopatra, 109; Anthea Kraut, “Between Primitivism and Diaspora: The Dance Performances of Josephine Baker...
Journal Article
Camera Obscura (1980) 2 (3 (6)): 112–119.
Published: 01 December 1980
...Janet Bergstrom 7he Dancing Soul of the Walking People The Dancing Soul Ofthe Walking People (Paula Gladstone) Janet Bergstrorn This is both an abstract film, out of the minimal, hard-edge tradition, and figurative, a kind of documentary on Coney Island. It would...
Journal Article
Camera Obscura (2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
... female performer and, in some cases, a pop music sound track; these films include COSMIC RAY (1961), VIVIAN (1964), EASTER MORNING RAGA (1966), and THE WHITE ROSE (1967). This essay examines a work by Conner that combines all of these elements, 1966's BREAKAWAY, an experimental dance film he made...
Journal Article
Camera Obscura (2008) 23 (3 (69)): 35–79.
Published: 01 December 2008
... diction is in fact a collage of South American beat and jazz, hints of Martha Graham (already a borrowing of neo-Greco classicism as well as of African and Asian choreographic rhetoric), Caribbean and Latin Ameri- can dancing, as well as the Charleston and the cakewalk, the latter two being...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 175–183.
Published: 01 September 2021
... the importance of jazz for Pollock's innovations in painting. It is jazz's method of improvisation that influenced Pollock's abstract expressionism—as it was Pollock's “genius” to be able to realize “an essentially alien aesthetic methodology” into a new mode of painting. 11 The problem that precipitated...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... to be directed to the side of the dance floor as the band strikes up an allegro arrangement of the jazz classic “Summertime,” enlivened by the pounding drumbeat of timbales. To this accompaniment a lone performer, the afore- mentioned Margo, makes her way onto the floor and proceeds to mesmerize...
Journal Article
Camera Obscura (2016) 31 (2 (92)): 1–25.
Published: 01 September 2016
... to modernity. Whereas Kracauer finds that the chorus lines of “sexless bodies in bathing suits” epitomize the mass ornament,38 Dinerstein notes the abil- ity of big-­band jazz of the 1920s and 1930s, and the dancing that went with it, to “swing the machine,” an innovative response...
Journal Article
Camera Obscura (1991) 9 (1-2 (25-26)): 224–249.
Published: 01 September 1991
... is most constitutive of the film musical-music. One index of this resistance is the emphasis which the critics cited above place on dance as against singing. Giles, for example, proposes an analogy between conversion hysteria and musical comedies, whereby ‘(the body seems...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 1–39.
Published: 01 December 2009
... the taboo act of interracial sex was transferred, in The Little Colonel, to the more manageable desire to watch Shirley and Bojangles dance. For it was through dance that American audiences’ desire to see black and white bodies touching on screen was first satisfied. It is hardly a figment...
Journal Article
Camera Obscura (2008) 23 (1 (67)): 11–45.
Published: 01 May 2008
...  •  Camera Obscura politicization. Café Society represented a dramaturgical exchange between two different cabaret-performance traditions, offering a “remarkable synthesis of the radical political cabarets of Berlin and Paris with the African American jazz clubs and revues of Har- lem.”39...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 27–59.
Published: 01 December 2015
..., Jinsong Kim’s book Seoul-eh­ dance hall-ul­ huhara (Permit Dance Halls in Seoul) introduced such “micro-­ history” to contemporary discourses about Korean colonial moder- nity. As its subtitle, The Formation of Korean Modernity, suggests, the book traces unknown cultural histories of Seoul...
Journal Article
Camera Obscura (2012) 27 (3 (81)): 69–98.
Published: 01 December 2012
... Garland, tells the story of two girls’ efforts to save the languishing town orchestra. The failure of the Durbin/Garland duet at the end of the lm should be obvious to anyone watching without the bene t of hindsight. “Americana,” a jazz- opera melody accompanied by Garland’s character’s poolroom...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 129–159.
Published: 01 December 2015
... Is Crazy, dir. Yash Chopra, India, 1997) and Devdas. Dil to pagal hai’s vigorous dance-­ off, set to instrumental music, pits two professional dancers against each other — the Westernized, jazz/modern-­dancing, brazen Nisha (Karisma Kapoor) and the kathak-­trained, demure Pooja (Dixit). Nisha’s...
Journal Article
Camera Obscura (1988) 6 (2 (17)): 155–168.
Published: 01 May 1988
... when Miss Yvonne and Tito are dancing at a playhouse party, Pee- wee sidles up to the couple and asks to be allowed to cut in. Miss Yvonne graciously nods her approval, only to find that Pee-wee turns to Tito and starts dancing with him. No more than two or three seconds pass before Pee-wee...
Journal Article
Camera Obscura (2013) 28 (3 (84)): 125–157.
Published: 01 December 2013
... highlight Vallois’s indebtedness to traditional and twentieth-­century dance à la Hollywood, jazz, and classical ballet. It is the second mode of choreography on which I concentrate because it tears at the skin and bodily locus that Hocquenghem rightly marks as an overdeterminedly repressed site...
Journal Article
Camera Obscura (2007) 22 (1 (64)): 113–135.
Published: 01 May 2007
...Lynn Turner Camera Obscura 2007 Lynn Turner is a lecturer in visual culture at Goldsmiths College at the University of London. She is currently completing a monograph titled “Translations: Sex, Dancing, and the Queer Feminine” and editing a collection called “Choreographesis: Dance...