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dc.contributor.authorCheeseman, Matthew
dc.date.accessioned2018-09-10T14:21:06Z
dc.date.available2018-09-10T14:21:06Z
dc.date.issued2018-05-04
dc.identifier.citationCheeseman, M. and Forrest, D. (2017) ‘The narrative nightclub: British cinema and the dance floor’ in Bentley, N. Bentley, Johnson, B. and Zieleniec, A. (Eds.) Teenage Kicks: Youth Subcultures in Fiction, Film and Other Media, Basingstoke: Palgrave Macmillan.en
dc.identifier.isbn9783319731889
dc.identifier.urihttp://hdl.handle.net/10545/622963
dc.description.abstractThis chapter brings together expertise in film and cultural studies to analyse representations of nightclub dancefloors in British films from the 1990s onwards: Human Traffic (Justin Kerrigan, 1999), Sorted (Alexander Jovy, 2000), Soul Boy (Shimmy Marcus, 2010), Everywhere and Nowhere (Menhaj Huda, 2011) and Northern Soul (Elaine Constantine, 2014). We use these films to identify persistent visual iconographies and accompanying ideological underpinnings within the British dancefloor film. To understand what these lms do not do, we also look by way of contrast to a film from France, Eden (Mia Hansen-Løve, 2014). Our approach links academic writing on dance music and nightclub cultures with analysis of filmic texts, and in doing so the chapter captures a sense of the wider discourse surrounding nightclubs and especially the dancefloors that often form their focus, on- and off-screen.
dc.description.sponsorshipN/Aen
dc.language.isoenen
dc.relation.urlhttps://www.palgrave.com/gb/book/9783319731889en
dc.subjectFilmen
dc.subjectYouth cultureen
dc.subjectSubcultureen
dc.subjectCultural studiesen
dc.titleThe narrative nightclub.en
dc.typeBook chapteren
dc.contributor.departmentUniversity of Derbyen
html.description.abstractThis chapter brings together expertise in film and cultural studies to analyse representations of nightclub dancefloors in British films from the 1990s onwards: Human Traffic (Justin Kerrigan, 1999), Sorted (Alexander Jovy, 2000), Soul Boy (Shimmy Marcus, 2010), Everywhere and Nowhere (Menhaj Huda, 2011) and Northern Soul (Elaine Constantine, 2014). We use these films to identify persistent visual iconographies and accompanying ideological underpinnings within the British dancefloor film. To understand what these lms do not do, we also look by way of contrast to a film from France, Eden (Mia Hansen-Løve, 2014). Our approach links academic writing on dance music and nightclub cultures with analysis of filmic texts, and in doing so the chapter captures a sense of the wider discourse surrounding nightclubs and especially the dancefloors that often form their focus, on- and off-screen.


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