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How do filmmakers guide viewers through the frame using the movement of bodies on screen? What do they seek to communicate with their cinematic choreography, and how were those choices shaped by industrial conditions? This book is about the powerful relationship between human movement and cinema. It demonstrates how filmmakers have used moving bodies and dance as key storytelling elements and how media industries' changing investment in this aspect of film style impacts filmmakers' choices in portraying movement on screen.
Jenny Oyallon-Koloski is an assistant professor of media and cinema studies at the University of Illinois Urbana-Champaign and a Certified Movement Analyst through the Laban/Bartenieff Institute of Movement Studies.
Dedication
Acknowledgements
Introduction
Part I
Musical foundations
Chapter 1
Formal conventions and musical practices: Singin' in the Rain (1952)
Chapter 2
Seeing movement in cinema: An introduction to Laban Movement Analysis
Chapter 3
Agency, control, and space: West Side Story (1961)
Part II
Musical eclecticism
Chapter 4
Minimalism and excess: Les Demoiselles de Rochefort (1967)
Chapter 5
Musical unease: Trois places pour le 26 (1988)
Chapter 6
Endless conversations: Reflexive musical clusters
Part III
Musical realism
Chapter 7
Diegetic flutters: Views from the bridge
Chapter 8
Imperfect bodies: Jeanne et le garçon formidable (1998)
Chapter 9
Rhythmic realism: La La Land (2016)
Appendix 1: Laban Movement Analysis "cheat sheet"
Appendix 2: Analytical data
References
