In cultural studies today, there is emerging an interpretive revolution “from below” – that is, a radical reassessment of the politics of cultural forms, based on a recovery of the embodied and affective subject as the center of meaning-making. Making sense of dance performances is therefore methodologically important because of their particular ability to offer insight into these two aspects of subjectivity. As an artifact of Cold War American culture, Jerome Robbins’ choreography in the film West Side Story (1961) enforces an ideological distinction between legitimate and illegitimate forms of violence, through its portrayals of “cool” affect as a necessary disposition, and organized violence as a necessary evil. Our close analysis of the dances “Rumble” and “Cool” offers new insights into the affective “map” that provided the ideological foundation for American political theorists and policy makers in formulating their Cold War attitudes.

中文翻译：

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用刀跳舞：西边故事舞中的美国冷战意识形态

在当今的文化研究中，正在出现“从下而上”的解释性革命，即对文化形式的政治进行彻底的重新评估，其基础是将体现在情感上的主体作为意义形成的中心。因此，对舞蹈表演的意义在方法上很重要，因为它们具有洞悉主观性的两个方面的特殊能力。作为冷战美国文化的产物，杰罗姆·罗宾斯（Jerome Robbins）在电影《西边故事》（West Side Story，1961）中的编舞通过将“酷”的影响描述为必要的处置和有组织的暴力行为，在意识形态和非法暴力形式之间进行了意识形态上的区分。作为必不可少的罪恶。