"So you see, the story was not quite as you were told" (Registro nro. 126062)

Detalles MARC
000 -LEADER
fixed length control field 05189nab a2200193 c 4500
001 - CONTROL NUMBER
control field myd_90949
003 - CONTROL NUMBER IDENTIFIER
control field ES-MaCDM
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20241001093002.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 181003s2017 stk||||fr 00| u|eng u
040 ## - CATALOGING SOURCE
Original cataloging agency ES-MaCDM
100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Hammond, Helena
Dates associated with a name 1949-
245 0# - TITLE STATEMENT
Title "So you see, the story was not quite as you were told"
Statement of responsibility, etc Helena Hammond
Remainder of title Maleficent, Dance, Disney, and Cynicism as the Choreo-philosophical Critique of Neoliberal Precarity
260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT)
Date of publication, distribution, etc 2017
Place of publication, distribution, etc Edinburgh:
Name of publisher, distributor, etc Edinburgh University Press,
300 ## - PHYSICAL DESCRIPTION
Extent 46 p.
520 ## - SUMMARY, ETC.
Summary, etc RESUMEN: Dance bequeaths a conflicted legacy for resisting neoliberalism: the same portfolio careers; pick-up companies; and freelance working practices through which the artist-entrepreneur negotiates and survives the exigencies of the neoliberal market have themselves been co-opted by neoliberal economics as blueprints for labour practices in ways unimagined and never intended by arts practitioners. "The freelancer" to quote Lauren Berlant (76) "is one of the sovereign figures of neoliberalism". Looking beyond dance's unwitting complicity in the neoliberal contracting of the body, this paper focuses on dance as an emergent critical aesthetics that calls attention to the incorporation of the geopolitical by the post-statist neoliberal project. Its case study is Maleficent (2014), the Angelina Jolie popular cinema radical retelling, as prequel, of the back story of Sleeping Beauty's slighted fairy Carabosse. Maleficient's status as dance intertext is many-faceted: its titular character's conjunction of malevolence and magnificence and the sourcing of her predicament to an originating act of socio-economic disenfranchisement are familiar from the characterization of Carabosse in Marius Petipa's choreography for the ballet The Sleeping Beauty (1890). Unspecified in the ballet, this act is elaborated in the film: "the winged creature who rose to be protector of The Moors, a kingdom which needed neither king nor queen" to quote the film's narration, Maleficent is shorn of her wings in an act of land-grab motivated premeditated human interspecies violence. This act, betokening rape for Jolie, renders Maleficent's aerial choreographic spectacle pedestrianized; everyday and earthbound, just as Carabosse, denied vertiginous danse d'ecole vocabularies, must substitute more mundane mime in their place. This paper begins by establishing the strong bonds which bind Disney to dance; the extent to which, to quote Soviet avant-garde filmmaker Sergei Eisenstein, "the art of animation... has its forerunner in ballet... At least in Fokine's ballets for Diaghilev..."Drawing on analyses of neoliberalism, those of David Harvey in particular, this paper then moves to consider Maleficent as the articulation of a critique of neoliberalism, one which - it will be suggested - relies heavily on Cynic philosophy for its formulation. Cynic philosophy, especially in the extended consideration of the Cynic life presented by Michel Foucault's final series of Collège de France lectures will be critically important here. Arguing for Maleficent as the choreography of Feminist ethics in response to neoliberal policies that render human relations to the land ever more ethno-biologically precarious, this paper will point up the strong parallels that exist between the film and Cynic thinking. In Foucault's account, Cynicism especially prioritises the vie autre (other life). This makes Cynicism particularly effective as a vehicle for questioning neoliberal values and proposing others in their place. Maleficent's critique will be shown to be choreo-philosophical in the sense that it mobilises, and is highly reliant upon, a range of dance histories - those to do with The Sleeping Beauty especially - and dance practices, particularly those bound up, ultimately, with pantomime dance in Hellenistic ancient Greece. This article will suggest that pantomime dance as close, cognate ally of Cynic philosophy, was already imbued, in some significant sense, with philosophical intent. It is pantomime dance's philosophical intent - this paper argues - that endures and is mobilised to such effect in the roles of Carabosse and Maleficent. Attention then turns to Alain Badiou's concept of cinema as philosophy. This article will suggest both that Badiou's concept is more indebted to dance than is generally acknowledged, and that it arguably strengthens the sorts of claims that can be made for Maleficent as choreo-philosophical critique. This paper also proposes, in a similar vein, that on the basis of his reading of Cynicism as actually highly motile, the late Foucault is more phenomenological in orientation and - so it would follow - less antithetical to dance and its study, than has hitherto been suggested. PALABRAS CLAVE: The Sleeping Beauty (ballet), Maleficent; Carabosse; pantomime dance; Disney animation; Michel Foucault; Cynic Philosophy; Neoliberalism; David Harvey; land grab; enclosure; pedestrianism; gender politics; Alain Badiou; Charles Perrault; Pyotr Ilyich Tchaikovsky
773 0# - HOST ITEM ENTRY
Title Dance Research
Host Biblionumber 72889
Record control number myd_16032
Relationship information Vol. 35, núm. 1, Summer 2017, p. 3 - 48
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b 90949
942 ## - ADDED ENTRY ELEMENTS (KOHA)
Koha item type Artículos de revista
Source of classification or shelving scheme Other/Generic Classification Scheme

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