cover of book
 

Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema
by Adrienne L. McLean
Rutgers University Press, 2008
Cloth: 978-0-8135-4279-9 | Paper: 978-0-8135-4280-5 | eISBN: 978-0-8135-4467-0
Library of Congress Classification GV1779.M35 2008
Dewey Decimal Classification 792.8

ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC
ABOUT THIS BOOK
Choice Outstanding Academic Title of 2008

From mid-twentieth-century films such as Grand Hotel, Waterloo Bridge, and The Red Shoes to recent box-office hits including Billy Elliot, Save the 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. McLean explores 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.

 

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