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Although deleuze focuses on film, as with the work of brannigan, these ideas can be extended to television through its capacity to frame and edit two-dimensional images. It appears that the violence and oppression associated with krumping fuels the spectacle and drama of reality television, rather than the less inflammatory notions of morality and worship. Is published by the ohio state university libraries. Yet in spite of this moment of doubt, gilikson continues with the suggestion that he would need to see henry’s capacity to achieve this in the next choreography round. This choreographic exchange provides an analytical framework to expose the pedagogic, aesthetic, and performative values that underpin reality television dance shows, and may be applied to other dance genres within the reality television format or within screendance generally. As the film follows the krumpers, ideas concerning sexuality, violence, and religion are rooted into these dancing bodies.

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Sexy face close ups mouths. Thus located within a similar narrative of refinement, gilikson fails to see how henry’s raw, violent, and vernacular body might be disciplined to the civilizing standards of competition ballroom and the broadway stage. In typical krumping style, he displays syncopated isolations, powerful arm gestures, and spectacular facial contortions, including one visually-arresting moment in which he mimes eating his hat and vomiting it back into his hand. Director of marketing at buffer, the social media management platform to help small businesses grow. Translated by tomlinson, hugh and habberjam, barbara.

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Injured identities: pain, politics and documentary. Makes the krumping body meaningful through televisual devices, such as didactic voiceovers, circumscribed locations, “talking head” conventions, and the parasocial intimacy of the close-up. Basingstoke: palgrave macmillan, 2005.

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