Abstract
Fred Astaire, arguably one of the finest dancers of the twentieth century, moved from Broadway to Hollywood at the height of his career. Declaring that ‘Either the camera will dance, or I will,’ Astaire altered the way dance was filmed. Changes he instituted ensured that the continuity of movement was sustained and gave the film audience a privileged view of the dance that far surpassed that of the audience in a conventional theatre. This essay discusses the uneasy relationship of film, movement, and dance; then contrasts prevailing film techniques with Astaire’s innovations. Solo dances from three films (Roberta, 1935; Easter Parade, 1948; and Silk Stockings, 1957) are discussed in detail to identify key elements of Astaire’s artistry as it evolved.
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Moore, CL. (2016). Valentine for Dance Historians: Astaire on Film. In: Arendell, T., Barnes, R. (eds) Dance’s Duet with the Camera. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-59610-9_12
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DOI: https://doi.org/10.1057/978-1-137-59610-9_12
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Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-137-59609-3
Online ISBN: 978-1-137-59610-9
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