"Dancing through the minefield": Passion, pedagogy, politics, and production in The Tango Lesson

Cinema Journal

Volumn 43, Issue 3, 2004, Pages 42-58

  Fischer, Lucy ^a  

^a UNIVERSITY OF PITTSBURGH   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949812241     PISSN: 00097101     EISSN: None     Source Type: Journal    
DOI: 10.1353/cj.2004.0016     Document Type: Review

References (33)

1. E. Ann Kaplan. Women and Film: Both Sides of the Camera (New York: Methuen, 1983), 138; 138-39; 153-54
2. Here, I am assuming that a "pedagogical" film that frames itself as a "lesson" (not only about the tango but about women and cinema) is also a theoretical text
3. Annette Kolodny, "Dancing through the Minefield: Some Observations on the Theory, Practice, and Politics of a Feminist Criticism," Feminist Studies 6, no. 1 (spring 1980): 1-25
4. Sally Potter, quoted in Scott McDonald, "Interview with Sally Potter," Camera Obscura 35 (May 1995): 218
5. Sandra M. Gilbert and Susan Gubar, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven: Yale University Press, 1979), 15, 7
6. Laura Mulvey, "Visual Pleasure and Narrative Cinema," in Gerald Mast, Marshall Cohen, and Leo Brandy, eds., Film Theory and Criticism: Introductory Readings, 4th ed. (New York: Oxford University Press, 1992), 748
7. Carole S. Vance, Pleasure and Danger: Exploring Female Sexuality (Boston: Routledge and Kegan Paul, 1984), 1, 3
8. Lynne Segal, Straight Sex: Rethinking the Politics of Pleasure (Berkeley: University of California Press, 1994), xii
9. and Lauren Rabinovitz, For the Love of Pleasure: Women, Movies, and Culture in Turn-of-the-Century Chicago (London: Rutgers University Press, 1998), 178
10. Mulvey, "Visual Pleasure," 748
11. Laura Mulvey, "Afterthoughts on 'Visual Pleasure and Narrative Cinema' Inspired by King Vidor's Duel in the Sun (1946)," in Mulvey, ed., Visual and Other Pleasures (Bloomington: Indiana University Press, 1989), 29-38
12. Jackie Stacey, Star Gazing: Hollywood Cinema and Female Spectatorship (London: Routledge, 1994), 127
13. Tania Modleski, Loving with a Vengeance: Mass-Produced Fantasies for Women (Hamden, Conn.: Archon Books, 1982)
14. Pam Cook, "Duplicity in Mildred Pierce," in E. Ann Kaplan, ed., Women in Film Noir (London: BFI, 1978), 68-82
15. and Lucy Fischer, Cinematernity: Film, Motherhood, Genre (Princeton: Princeton University Press, 1996), 73-91
16. Gilbert and Gubar, The Madwoman in the Attic, 16-17
17. Claire Monk, "The Tango Lesson," Sight and Sound 7, no. 12 (December 1997): 54
18. Julie Taylor, Paper Tangos (Durham, N.C.: Duke University Press, 1998), 99
19. See Lucy Fischer, Shot/Countershot: Film Tradition and Women's Cinema (Princeton: Princeton University Press, 1989), 154-71
20. and Fischer, "'The Eye for Magic': Maya and Méliès, " in Bill Nichols, ed., Maya Deren and the American Avant-Garde (Berkeley: University of California Press, 2001), 185-204
21. See Fischer, Shot/Countershot, 148-54
22. Sally Peters, "From Eroticism to Transcendence: Ballroom Dance and the Female Body," in Laurence Goldstein, ed., The Female Body: Figures, Style, Speculations (Ann Arbor: University of Michigan Press, 1991), 147, 157
23. Potter quoted in McDonald, "Interview," 195
24. Marta E. Savigliano, Tango and the Political Economy of Passion (Boulder, Colo.: Westview Press, 1995), 37
25. Taylor, Paper Tangos, 2
26. Savigliano, Tango and the Political Economy of Passion, 12
27. Peter Brooks, The Melodramatic Imagination: Balzac, Henry James, and the Mode of Excess (New Haven: Yale University Press, 1976). 27, 32
28. Savigliano, Tango and the Political Economy of Passion, 109, 57, 71
29. Savigliano, Tango and the Political, 61, iv-xv
30. Donald S. Castro, The Argentine Tango as Social History, 1880-1955 (Lewiston, Me.: Edwin Mellen Press, 1991), 179
31. Potter, quoted in McDonald, "Interview," 218
32. Roland Barthes, Image-Music-Text, trans. Stephen Heath (New York: Hill and Wang, 1977), 146
33. Janet Maslin, "With Sizzling Tangos, Who Needs a Plot?" New York Times, February 12, 1999, E1, E29