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259 NOTES INTRODUCTION 1. See Naima Prevots, Dancing in the Sun: Hollywood Choreographers, 1915–1937 (Ann Arbor, Mich.: UMI, 1987). An Academy Award was given for dance direction in 1935, 1936, and 1937; thereafter, for reasons that remain mysterious, the award was discontinued. 2. “Ballet’s Fundamentalist” [cover story], Time, Jan. 25, 195, 66–7: “I’d seen the movies. So many beautiful girls. Healthy girls—good food, probably. A country that had all those beautiful girls would be a good place for ballet” (71). The “Ginger Rogers” quotation is from Bernard Taper, Balanchine (New York: Times Books, 198), 151. 3. Jane Feuer, “The Self-Reflexive Musical and the Myth of Entertainment,” in Film Genre Reader, ed. Barry Keith Grant (Austin: University of Texas Press, 1986), 2. . Jane Feuer, The Hollywood Musical, 2nd ed. (Bloomington: Indiana University Press, 1993), 55. 5. Jerome Delamater, Dance in the Hollywood Musical (Ann Arbor, Mich.: UMI, 1981); Rick Altman, The American Film Musical (Bloomington: Indiana University Press, 1987). 6. John Chapman, “The Aesthetic Interpretation of Dance History,” Dance Chronicle 3 (1979–80): 25–27. 7. Joan Acocella, “No Bloody Toes Shoes,” New York Review of Books, Feb. 26, 200, 7. See also Joni M. Cherbo and Margaret J. Wyszomirski, eds., The Public Life of the Arts in America (New Brunswick, N.J.: Rutgers University Press, 2000), esp. chap. 1, “Mapping the Public Life of the Arts in America.” 8. Arnold L. Haskell, How to Enjoy Ballet (New York: Morrow, 1951), 111. 9. Rudolf Arnheim, Film as Art (Berkeley: University of California Press, 1957), esp. the sections from 1933. 10. All information in this paragraph from Anatole Chujoy, ed., Fokine: Memoirs of a Ballet Master, trans. Vitale Fokine (Boston: Little, Brown, 1961), 261–263. 11. Within the framework of the large debate, the literature takes many forms. There were columns with titles like “Cinema Chatter” and “Jollywood Jottings” in dance magazines of the 1920s and 1930s, and occasionally these addressed issues of adaptation as well—what dancer or choreography appeared best in film, with Hollywood film being the mode in question. A few early articles are more nuanced: see, e.g., Betty Carue, “The Motion Picture’s Influence on the Dance,” American Dancer, Jan. 1929, 26, 29, which relates rising standards of audience appreciation of theatrical dance to dance in the movies. When theatrical choreographers (like Fokine) arrived in Hollywood, they frequently were also asked about the relationship of dance and film: see, e.g., Ivan Narodny’s profile of Albertina Rasch, “Dancies Preferred: Albertina Rasch on Film Ballet Technique,” Dance, April 1930, 27, 6. Much of the dance-film literature comes from Britain, although it is often about American films. Ballerina Alexandra Danilova wrote “Classical Ballet in the Cinema” for Sight and Sound (autumn 1935): 107–108, in which she takes as a given film’s ability to preserve choreography and performance. Arnold Haskell, however, perhaps because film’s popularization of ballet threatened its status (and therefore his own, as a ballet critic), wrote almost always negatively about film’s effect on ballet; he was “sickened” by the possibility of ballet’s becoming fodder for a mass audience: see, e.g., “Voyage into Space,” Ballet Panorama (London : Batsford, 1938), 109–112, as well as How to Enjoy Ballet, 111–112. See also H. L. Perkoff, “The Screen and the Ballet,” Sight and Sound 7 (autumn 1938): 122–123; David Vaughan, “Dance in the Cinema,” Sequence 6 (winter 198/199): 6–13; A. H. Franks, Ballet for Film and Television (London: Pitman, 1950), and “Ballet in the Cinema and on Television,” in Approach to the Ballet (London: Pitman, 1952), 285–298; director Anthony Asquith’s “Ballet and the Film,” in Footnotes to the Ballet, ed. Caryl Brahms (London: Black, 1951), 231–252; Peter Brinson, “Ballet in Two Dimensions: The Cinema,” in Ballet: A Decade of Endeavor, ed. A. H. Franks (London: Burke, 1955), 169–18, followed by Franks’s own essay on ballet and television. Interesting American entries into the debate include Edwin Denby, “A Film of Pavlova” (Aug. 1, 193) and “Dance in the Films” (Aug. 8, 193), both for the Herald Tribune, repr. in Edwin Denby: Dance Writings, ed. Robert Cornfield and William MacKay (New York: Knopf, 1986); John Martin, “Introduction to a Catalogue of Dance Films,” Dance Index (195): 60–61; Walter Terry, “Motion Pictures and Dance,” Dance 20 (Oct. 196): 22, 36–38; Arthur Knight, “Dancing in Films,” Dance Index (197): 180...