The following thesis aims to explore the evolution of the American dance movies as a cinematic subgenre, distinguishing them from musicals, which combine dancing and singing in the narrative, screendance in which choreography is created specifically for the camera, and dance films, which occasionally reference works that primarily feature ballet or contemporary narratives. By employing Rick Altman’s semantic/syntactic approach, this essay observes the recurring visual motifs, character tropes, and narrative structures in American dance movies. These patterns are further examined through a historical and sociocultural lens to trace how dance movies also tackle themes of identity, rebellion, aspirations, and expression. By structuring it across four decades (1980s - 2010s), this thesis focuses on nine representative case studies — Breakin’ (1984), Dirty Dancing (1987), Tap (1989), Swing Kids (1993), Dance with Me (1998), Centre Stage (2000), Black Swan (2010), Magic Mike (2012) — to analyze the subgenre’s continuity and mixing with romance, melodrama, sports films, and political undertones. In addition, it is argued that while the semantic elements (dance spaces, costumes, youth culture attraction) remain relatively stable, the syntactic patterns differentiate, occasionally responding to the socio-political issues arising through the decades. Consequently, dance movies reflect a wider cultural dialogue on race, gender, class and artistic authenticity. This thesis hopes to contribute to the growing discourse on genre cinema and performance studies by offering a comprehensive and informative model of how dance movies exhibit a distinct, dynamic and culturally significant subgenre.
ΦΩΤΕΙΝΗ ΤΣΑΚΙΡΗ (Wed,) studied this question.