<abstract xmlns="http://www.w3.org/1999/xhtml"><p>Sally Potter’s <italic>The Tango Lesson</italic> (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by <xref ref-type="bibr" rid="j_ausfm-2019-0013_ref_003_w2aab3b7b1b1b6b1ab1ab3Aa">Erin Brannigan (2011)</xref>, the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a <italic>tableau</italic> moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.<sup>1</sup></p></abstract>

Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art and life, the corporeal and the spiritual, emotional involvement and professional detachment. The romance story of filmmaker Sally Potter and dancer Pablo Verón is also readable as an allegory of interart relations, a dialogue of the gaze and the image, a process evolving from paragone to symbiosis. Relying on the strategies of dancefilm elaborated by Erin Brannigan (2011), the paper examines the intermedial relationship between film and dance in their cine-choreographic entanglement. Across scenes overflowing with passion, the film’s haptic imagery is reinforced by the black-and-white photographic image and culminates in a tableau moment that foregrounds the manifold sensations of in-betweenness and feeling of “otherness” that the protagonists experience, caught in-between languages, cultures, and arts.1

From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s <italic>The Tango Lesson</italic>

Sapientia Hungarian University of Transylvania

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s 

Sally Potter’s The Tango Lesson (1997), an homage to the Argentine tango, situated in-between autobiography and fiction, creates multiple passages between art...

From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson

Publié en ligne: 30 oct. 2019

Pages: 23 - 44

DOI: https://doi.org/10.2478/ausfm-2019-0013

Mots clés
Sally Potter, dancefilm, intermediality, cine-choreography, in-betweenness

© 2019 Judit Pieldner, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

From Paragone to Symbiosis. Sensations of In-Betweenness in Sally Potter’s The Tango Lesson

Publié en ligne: 30 oct. 2019

Pages: 23 - 44

DOI: https://doi.org/10.2478/ausfm-2019-0013

Mots clésSally Potter, dancefilm, intermediality, cine-choreography, in-betweenness

© 2019 Judit Pieldner, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Mots clés
Sally Potter, dancefilm, intermediality, cine-choreography, in-betweenness