You are not currently logged in.
Access your personal account or get JSTOR access through your library or other institution:
If You Use a Screen ReaderThis content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Feeling and the Filmed Body: Judy Garland and the Kinesics of Suffering
Adrienne L. McLean
Vol. 55, No. 3 (Spring 2002), pp. 2-15
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/10.1525/fq.2002.55.3.2
Page Count: 14
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
This article employs effort-shape analysis, a system for studying movement used in dance therapy and notation, to explore Judy Garland's star image in light of its frequent association with suffering and neurosis. It presents a detailed analysis of Garland's physiognomy and the energy and shape of her movements and gestures through space and time. In doing so, it suggests that Garland's neurotic star image can be traced in no small part to the paradoxical relationship of her body to the demands made upon it by the conventions of both Hollywood stardom and the generic film musical and, concomitantly, to the insecurities and anxieties generated kinetically and somatically by "failure" to meet those demands.
Film Quarterly © 2002 University of California Press