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A new look at Indian film dance, this book engages with the display and mobilization of the female dancing body to propose new models for theorizing film dance and music more generally. Author Usha Iyer offers a new understanding of how female dancer-actors impact narratives and the music composed for them.
Inhaltsverzeichnis
- Introduction: A Corporeal History of Hindi Film Dance
- 1. Dance Musicalization and the Choreomusicking Body
- Corporealizing Theoretical Frameworks of Film Dance and Music
- 2. Choreographing Architectures of Public Intimacy
- A Spatio-Corporeal Approach to Hindi Film Dance
- 3. Corporealizing Colonial Modernities
- Azurie and Sadhona Bose as Co-Choreographers of New Mobilities in the 1930s and 1940s
- 4. From the Cabaret Number to the Melodrama of Dance Reform
- Folded Corporeal Histories of the Dancer-Actress in the 1950s and 1960s
- 5. Stardom Ke Peeche Kya Hai (What Is behind the Stardom)?
- Saroj Khan and Madhuri Dixit as Co-Choreographers of 1990s Bollywood Femininity
- Epilogue: An Intermedial History of Hindi Film, Dance, and Music
- Index
Über den Autor / die Autorin
Usha Iyer is Assistant Professor of Film and Media Studies in the Department of Art and Art History at Stanford University.
Zusammenfassung
A new look at Indian film dance, this book engages with the display and mobilization of the female dancing body to propose new models for theorizing film dance and music more generally. Author Usha Iyer offers a new understanding of how female dancer-actors impact narratives and the music composed for them.
Zusatztext
In Iyer's astute and nuanced choreomusicological analysis, we encounter popular Hindi film dance in all its ontological and epistemological complexity. Not only does this book map the divergent and often competing ideological significations of the female dancing body in cinema, it also complicates ideas about women's agency, visibility, and erasure in modern histories of South Asian dance. Dancing Women is an interpretive tour de force. It inspires us to read film corporeally, and to radically rethink what we understand as spectatorial engagement with dance in Indian cinema.
