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.They become partners in a caberet show that tells the story of thehistory of the tango.They soon find that they both love the same woman,and the tension between them is personified in their dances.Review:Kempley, Rita.Washington Post Online.May 6, 1989.http://www.washingtonpost.com/wpsrv/style/longterm/movies/videos/tangobarnrkempley_a0c9cd.htm (accessed April 3, 2004).The Tango LessonU.K/Argentina/France/Japan/Germany, 1997Romance/drama102 minutes; Dolby; B/W, color; English, French, Spanish APPENDIX 137Adventure Films; Arts Council of England (GB); Cinema Projects; Eurimages;European Co-Production Fund (GB); Imagica; NFC (NL); NFG Baden-Württemberg (GER); OKCK Films; PIE; Pandora Filmproduktion GmbH(GER); Sales Company; Sigma Dilm Productions (NL)Executive producer: Sally PotterProducer: Christopher SheppardAssociate producers: Cat Villiers, Diane GelonFILM FACTSScreenplay: Sally PotterDirector: Sally PotterCinematography: Robby MüllerEditor: Hervé SchneidMusic director: Sally Potter (composer)Art director: Graciela OderigoChoreography: Pablo VeronMakeup: Thi-Loan Nguyen, Chantal LeothierSpecial effects: Tom Cundom, Christian TalentonStory: The film is a fictitious adaptation of the life of maverick filmmakerSally Potter.In the film the main character, whose name is coincidentallySally, takes a break from her hectic screenwriting schedule to go to Paris.While in Paris, she meets a dancer named Pablo Veron who invigorates hermind, body, heart, and soul by introducing her to tango.The film chroniclesthe intensity of their passion for one another, which could irrevocablythreaten the success of the dancing duo.Reviews:Ebert, Roger.Chicago Sun-Times, December 19, 1997.http://www.suntimes.com/ebert/ebert_reviews/1997/12/121903.html (accessed April 3,2004).Guthmann, Edward. Sally Potter s Elegant Tango: Romantic Tale s OnlyMisstep is Director as Lead. San Francisco Chronicle, December 25,1997.http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1997/12/25/DD17880.DTL (accessed April 3, 2004).McAlister, Linda Lopez.Transcript from The Women s Show, WMNF-FM88.5, Tampa, FL.February 7, 1998.http://www.mith2.umd.edu/WomensStudies/FilmReviews/tango-lesson-mcalister (accessed April3, 2004). This page intentionally left blank. Notes1.THE CONTESTED LANDSCAPE OF BALLROOM DANCE1.Carrie Stern, Shall We Dance?: The Participant as Performer/Spectatorin Ballroom Dancing (PhD diss., New York University, 1999); Mary Lyn Ball, AnAnalysis of the Current Judging Methods Used in Competitive Ballroom, Includ-ing Comparisons to Competitive Pairs Figure Skating and Ice Dancing (master sthesis, Brigham Young University, 1998).2.Daniel Long s master s thesis Qualifying for Olympic Status: The Pro-cess and Implications for Competitive Ballroom Dance (Brigham Young Univer-sity, 1999) is an invaluable source for insider information concerning the variousorganizational skirmishes involved in the road to the Olympics.Though I drawsome of the context from it, I sketch a much broader cultural picture, goingbeyond a detailed summary of the posted minutes of various meetings, which iswhat Long s thesis does.Juliet McMains s dissertation Race, Class, and Gender inthe American DanceSport Industry (University of California, 2003) comes closestto my project.Though I draw from the notion of brownface that she develops(that privileged groups appropriate rhetorically significant identifying characteris-tics from less privileged groups in order to imbue their cultural profiles with morediverse characteristics, without endangering their whiteness or their class-basedprivilege), our conclusions and methods differ significantly.She ultimately advo-cates DanceSport becoming an artistic forum and draws from her experiences asan experienced DanceSport competitor and teacher to argue for this position.Iultimately make the argument that creating multiple opportunities for fundingsome arts based; others, competition and sports based is probably the most real-istic option available, and I draw not only from autoethnographic and ethnographicmethods derived from my own experiences and field work, but also formal andthematic tools of film criticism.3.Brenda Dixon Gottschild, Waltzing in the Dark: African American Vaudevilleand Race Politics in the Swing Era (New York: St.Martin s Press, 2002).139 140 NOTES TO CHAPTER 14.Gerald Jonas, Dancing: The Pleasure, Power and Art of Movement (NewYork: Harry N.Abrams, Inc.1992).5.Julie Malnig.Dancing Till Dawn: A Century of Exhibition Dance.Reprint.(New York: New York Univeristy Press, 1995).6.Caroline Joan Picart, From Ballroom to DanceSport: Aesthetics, Athletics, andBody Culture (SUNY series on Sport, Culture, and Social Relations).(Albany: StateUniversity of New York Press, 2005).7.John Lawrence Reynolds, Ballroom Dancing: The Romance, Rhythm andStyle (San Diego: Advanced Global Distribution, 1998).8.Dorothy A.Truex, The Twenty Million Dollar Give-Away: An Expose ofCompetitive Ballroom Dancing (Philadelphia: Xlibris Corporation, 2001).9.Chaim Perelman, The Realm of Rhetoric (Notre Dame, Ind.: Universityof Notre Dame Press, 1982); Chaim Perelman and Lucie Olbrechts-Tyteca, TheNew Rhetoric: A Treatise on Argumentation (Notre Dame: University of Notre DamePress, 1969).10.Paul Stoller, Sensuous Scholarship (Philadelphia: University of Pennsylva-nia Press, 1997), xv.11.Prior work on the insider-outsider concept has been published in Liv-ing the Hyphenated Edge: Autoethnography, Hybridity and Aesthetics, in Ethno-graphically Speaking: Autoethnography, Literature, and Aesthetics, eds.Arthur P.Bochnerand Carolyn Ellis (Walnut Creek: AltaMira Press (Rowman and Littlefield), 2002),258 273.See also Inside Notes from the Outside (Lanham, MD: Lexington Books(Rowman and Littlefield), 2004).12.Maria Lugones On Borderlands/La Frontera: An Interpretative Essay, Hypatia 7 (1992): 34.13.Gloria Anzaldua, Borderlands/La Frontera.(San Francisco: Aunt Lute Books,1987).14.Lugones, 35.15.For a prior example of work published in this area, refer to: CarolineJoan (Kay) S.Picart, Dancing Through Different Worlds: Virtual Emotions and theGendered Body in Ballroom Dance, Qualitative Inquiry, 8 (2002): 348-361.16.Brenda Dixon Gottschild, Some Thoughts on Choreographing His-tory, in Meaning in Motion: New Cultural Studies in Dance, ed.Jane C.Desmond(Durham, N.C.: Duke University Press, 1997), 169.17.Elizabeth Burns, Theatricality: A Study of Convention in the Theatre and inSocial Life (New York, NY: Harper & Row, 1973).18.Erving Goffman, The Presentation of Self in Everyday Life (New York, NY:Anchor Books, 1959).19.Barbara Browning, Samba: Resistance in Motion (Bloomington, IN: In-diana University Press, 1995); Jane K.Cowan, Dance and the Body Politic inNorthern Greece (Princeton: Princeton University Press, 1990); Diane Freedman, Wife, Widow, Woman: Roles of an Anthropologist in a Transylvanian Village, in Women in the Field: Anthropological Experiences, ed [ Pobierz caÅ‚ość w formacie PDF ]
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.They become partners in a caberet show that tells the story of thehistory of the tango.They soon find that they both love the same woman,and the tension between them is personified in their dances.Review:Kempley, Rita.Washington Post Online.May 6, 1989.http://www.washingtonpost.com/wpsrv/style/longterm/movies/videos/tangobarnrkempley_a0c9cd.htm (accessed April 3, 2004).The Tango LessonU.K/Argentina/France/Japan/Germany, 1997Romance/drama102 minutes; Dolby; B/W, color; English, French, Spanish APPENDIX 137Adventure Films; Arts Council of England (GB); Cinema Projects; Eurimages;European Co-Production Fund (GB); Imagica; NFC (NL); NFG Baden-Württemberg (GER); OKCK Films; PIE; Pandora Filmproduktion GmbH(GER); Sales Company; Sigma Dilm Productions (NL)Executive producer: Sally PotterProducer: Christopher SheppardAssociate producers: Cat Villiers, Diane GelonFILM FACTSScreenplay: Sally PotterDirector: Sally PotterCinematography: Robby MüllerEditor: Hervé SchneidMusic director: Sally Potter (composer)Art director: Graciela OderigoChoreography: Pablo VeronMakeup: Thi-Loan Nguyen, Chantal LeothierSpecial effects: Tom Cundom, Christian TalentonStory: The film is a fictitious adaptation of the life of maverick filmmakerSally Potter.In the film the main character, whose name is coincidentallySally, takes a break from her hectic screenwriting schedule to go to Paris.While in Paris, she meets a dancer named Pablo Veron who invigorates hermind, body, heart, and soul by introducing her to tango.The film chroniclesthe intensity of their passion for one another, which could irrevocablythreaten the success of the dancing duo.Reviews:Ebert, Roger.Chicago Sun-Times, December 19, 1997.http://www.suntimes.com/ebert/ebert_reviews/1997/12/121903.html (accessed April 3,2004).Guthmann, Edward. Sally Potter s Elegant Tango: Romantic Tale s OnlyMisstep is Director as Lead. San Francisco Chronicle, December 25,1997.http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1997/12/25/DD17880.DTL (accessed April 3, 2004).McAlister, Linda Lopez.Transcript from The Women s Show, WMNF-FM88.5, Tampa, FL.February 7, 1998.http://www.mith2.umd.edu/WomensStudies/FilmReviews/tango-lesson-mcalister (accessed April3, 2004). This page intentionally left blank. Notes1.THE CONTESTED LANDSCAPE OF BALLROOM DANCE1.Carrie Stern, Shall We Dance?: The Participant as Performer/Spectatorin Ballroom Dancing (PhD diss., New York University, 1999); Mary Lyn Ball, AnAnalysis of the Current Judging Methods Used in Competitive Ballroom, Includ-ing Comparisons to Competitive Pairs Figure Skating and Ice Dancing (master sthesis, Brigham Young University, 1998).2.Daniel Long s master s thesis Qualifying for Olympic Status: The Pro-cess and Implications for Competitive Ballroom Dance (Brigham Young Univer-sity, 1999) is an invaluable source for insider information concerning the variousorganizational skirmishes involved in the road to the Olympics.Though I drawsome of the context from it, I sketch a much broader cultural picture, goingbeyond a detailed summary of the posted minutes of various meetings, which iswhat Long s thesis does.Juliet McMains s dissertation Race, Class, and Gender inthe American DanceSport Industry (University of California, 2003) comes closestto my project.Though I draw from the notion of brownface that she develops(that privileged groups appropriate rhetorically significant identifying characteris-tics from less privileged groups in order to imbue their cultural profiles with morediverse characteristics, without endangering their whiteness or their class-basedprivilege), our conclusions and methods differ significantly.She ultimately advo-cates DanceSport becoming an artistic forum and draws from her experiences asan experienced DanceSport competitor and teacher to argue for this position.Iultimately make the argument that creating multiple opportunities for fundingsome arts based; others, competition and sports based is probably the most real-istic option available, and I draw not only from autoethnographic and ethnographicmethods derived from my own experiences and field work, but also formal andthematic tools of film criticism.3.Brenda Dixon Gottschild, Waltzing in the Dark: African American Vaudevilleand Race Politics in the Swing Era (New York: St.Martin s Press, 2002).139 140 NOTES TO CHAPTER 14.Gerald Jonas, Dancing: The Pleasure, Power and Art of Movement (NewYork: Harry N.Abrams, Inc.1992).5.Julie Malnig.Dancing Till Dawn: A Century of Exhibition Dance.Reprint.(New York: New York Univeristy Press, 1995).6.Caroline Joan Picart, From Ballroom to DanceSport: Aesthetics, Athletics, andBody Culture (SUNY series on Sport, Culture, and Social Relations).(Albany: StateUniversity of New York Press, 2005).7.John Lawrence Reynolds, Ballroom Dancing: The Romance, Rhythm andStyle (San Diego: Advanced Global Distribution, 1998).8.Dorothy A.Truex, The Twenty Million Dollar Give-Away: An Expose ofCompetitive Ballroom Dancing (Philadelphia: Xlibris Corporation, 2001).9.Chaim Perelman, The Realm of Rhetoric (Notre Dame, Ind.: Universityof Notre Dame Press, 1982); Chaim Perelman and Lucie Olbrechts-Tyteca, TheNew Rhetoric: A Treatise on Argumentation (Notre Dame: University of Notre DamePress, 1969).10.Paul Stoller, Sensuous Scholarship (Philadelphia: University of Pennsylva-nia Press, 1997), xv.11.Prior work on the insider-outsider concept has been published in Liv-ing the Hyphenated Edge: Autoethnography, Hybridity and Aesthetics, in Ethno-graphically Speaking: Autoethnography, Literature, and Aesthetics, eds.Arthur P.Bochnerand Carolyn Ellis (Walnut Creek: AltaMira Press (Rowman and Littlefield), 2002),258 273.See also Inside Notes from the Outside (Lanham, MD: Lexington Books(Rowman and Littlefield), 2004).12.Maria Lugones On Borderlands/La Frontera: An Interpretative Essay, Hypatia 7 (1992): 34.13.Gloria Anzaldua, Borderlands/La Frontera.(San Francisco: Aunt Lute Books,1987).14.Lugones, 35.15.For a prior example of work published in this area, refer to: CarolineJoan (Kay) S.Picart, Dancing Through Different Worlds: Virtual Emotions and theGendered Body in Ballroom Dance, Qualitative Inquiry, 8 (2002): 348-361.16.Brenda Dixon Gottschild, Some Thoughts on Choreographing His-tory, in Meaning in Motion: New Cultural Studies in Dance, ed.Jane C.Desmond(Durham, N.C.: Duke University Press, 1997), 169.17.Elizabeth Burns, Theatricality: A Study of Convention in the Theatre and inSocial Life (New York, NY: Harper & Row, 1973).18.Erving Goffman, The Presentation of Self in Everyday Life (New York, NY:Anchor Books, 1959).19.Barbara Browning, Samba: Resistance in Motion (Bloomington, IN: In-diana University Press, 1995); Jane K.Cowan, Dance and the Body Politic inNorthern Greece (Princeton: Princeton University Press, 1990); Diane Freedman, Wife, Widow, Woman: Roles of an Anthropologist in a Transylvanian Village, in Women in the Field: Anthropological Experiences, ed [ Pobierz caÅ‚ość w formacie PDF ]