Abstract

Abstract:

Anna Rose Holmer's 2015 feature film debut, The Fits, advances the stakes of black performance, particularly in relation to the critical interrogation of the loss of gesture in the history of cinema. Thinking about migration in close association with the gestural, the continued migration of gesture is endemic to black social dance forms, and this fundamentally migratory quality is central to the film's political and aesthetic imagination.

pdf

Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 14-30
Launched on MUSE
2018-02-22
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.