MARC Record from marc_openlibraries_phillipsacademy

LEADER: 03026cam a2200373 a 4500
001 2653591
003 NOBLE
005 20080815014121.0
008 070614s2008 njua bq 001 0 eng
010 $a2007024986
020 $a9780813542799 (hardcover : alk. paper)
020 $a0813542790 (hardcover : alk. paper)
020 $a9780813542805 (pbk. : alk. paper)
020 $a0813542804 (pbk. : alk. paper)
035 $a(OCoLC)152580650
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050 00 $aGV1779$b.M35 2008
082 00 $a792.8$222
100 1 $aMcLean, Adrienne L.
245 10 $aDying swans and madmen :$bballet, the body, and narrative cinema /$cAdrienne L. McLean.
260 $aNew Brunswick, N.J. :$bRutgers University Press,$cc2008.
300 $axi, 304 p. :$bill. ;$c24 cm.
504 $aIncludes bibliographical references (p. 259-290), filmography (p. 291-296), and index.
505 0 $aIntroduction : ballet in tin cans -- A channel for progress : theatrical dance, popular culture, and (the) American Ballet -- Gender, genre, and the ballet film through 1947 : part 1, the life of a ballerina is indeed tough -- Gender, genre, and the ballet film through 1947 : part 2, the man was mad--but a genius! -- If you can disregard the plot : the red shoes in an American context -- The second act will be quite different : cinema, culture, and ballet in the 1950s -- Turning points : -- Ballet and its bodies in the "post-studio" era.
520 $aFrom mid-twentieth-century films such as Grand Hotel, Waterloo Bridge,and The Red Shoes to recent box-office hits including Billy Elliot, Savethe Last Dance, and The Company, ballet has found its way, time and again, onto the silver screen and into the hearts of many otherwise unlikely audiences. In Dying Swans and Madmen, Adrienne L. McLeanexplores the curious pairing of classical and contemporary, art and entertainment, high culture and popular culture to reveal the ambivalent place that this art form occupies in American life. Drawing on examples that range from musicals to tragic melodramas, she shows how commercial films have produced an image of ballet and its artists that is associated both with joy, fulfillment, fame, and power and with sexual and mental perversity, melancholy, and death. Although ballet is still received by many with a lack of interest or outright suspicion, McLean argues that these attitudes as well as ballet's popularity and its acceptability as a way of life and a profession have often depended on what audiences first learned about it from the movies.
650 0 $aBallet in motion pictures, television, etc.$0(NOBLE)2400
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990 $anobbc 08-15-2008
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