Dance’s relation to commercial advertising has, until now, remained a subheading, a sidebar, a footnote within the discourse on screendance, evading the scope of book-length scholarly endeavor. In Consuming Dance: Choreography and Advertising, Colleen Dunagan corrects this omission in dance studies by making the case for a discourse on dance-in-advertising. Collecting and analyzing print, television, and internet advertisements that feature dancing, Dunagan interrogates the politics and poetics of dance’s incorporation, quite literally, into commercial advertising. Such advertisements, Dunagan argues, are charged with an affective potential that, on the one hand, produces a sensibility of pleasurable excess and, on the other hand, subsumes the dancing body into a matrix of cultural and economic hegemony. The argumentative trajectory of the book vacillates between these two points, giving each its due consideration and acknowledging the contradictions inherent in dance-in-advertising. In this respect, the project manifests the ongoing tension between consumerist logic and choreographic subversion, capitalist strategies and dancerly tactics. It seems as if Dunagan is asking, “Where’s the line between dance’s resistance against and incorporation into neoliberal capitalism and its corollary hegemonic structures?” The book’s companion website, which catalogs by chapter the fifty-eight videos that Dunagan analyzes throughout the text, further enhances the experience of engaging with Consuming Dance and its source material. By offering the live links to the commercials— which include advertisements for Gap, Coca-Cola, Dr. Pepper, and Apple iPods— Oxford University Press grants readers the ability to watch and analyze alongside Dunagan. This transmedia coupling of book and website not only enables a more comprehensive purchase of Dunagan’s arguments, but also offers accessible teaching tools that, when placed in conversation with the text, provides fodder for classroom dialogue around the commercial imaging of the dancing body. Alongside such pedagogical offerings, the site also reveals the seeds of Dunagan’s methodological labor, as it includes a full sixty-three-page document of Dunagan’s recorded examples of dance-inadvertising (840, to be exact). The inclusion of this document demonstrates an open-source approach that lays the groundwork for future researchers to continuing developing Dunagan’s emerging archive of dance-inadvertising materials. While the companion website enables a more direct engagement with the sources, the choreographic analysis that is woven through the chapters is completely sufficient as a way of knowing the source material. Each of the five body chapters includes a close reading of several examples—anywhere from six to thirteen commercials—that illustrates its respective argument. Thus, the reader can rely on Dunagan’s study of the commercials with or without reference to the companion site. To be sure, the sources analyzed are all constitutive, US-based corporations and Dunagan’s analysis of them appears to primarily concern US historical and cultural specificities—though this scope is not explicitly discussed. To complicate this omission, many of the brands discussed indeed frequently engage in international campaigns. Considering this point, there is an emerging opportunity for dance studies scholarship to grapple with how US cultural imperialism relates to dance-in-advertising. Despite this omission, the text covers an impressively expansive discursive territory and attends to a range of social, political, cultural, and economic issues. Dunagan draws together theories on affect, liveness, appropriation, social identity, and subjectivity. Structurally, Dunagan

中文翻译：

---

消费舞蹈：Colleen T. Dunagan 的编舞和广告。2018. 纽约：牛津大学出版社。264 页，48 画面剧照。29.95 美元的纸。国际标准书号：9780190491376。

直到现在，舞蹈与商业广告的关系仍然是银幕舞话语中的一个副标题、一个侧边栏和一个脚注，避开了书本长度的学术努力的范围。在《消费舞蹈：编舞与广告》一书中，科琳·杜纳根 (Colleen Dunagan) 通过为广告中的舞蹈提供论述来纠正舞蹈研究中的这一疏漏。收集和分析以舞蹈为特色的印刷品、电视和互联网广告，杜纳根从字面上质疑了舞蹈融入商业广告的政治和诗意。杜纳根认为，这样的广告充满了情感潜力，一方面会产生一种过度愉悦的感觉，另一方面，将跳舞的身体纳入文化和经济霸权的矩阵中。这本书的论证轨迹在这两点之间摇摆不定，对每一点都给予了应有的考虑，并承认了广告中的舞蹈固有的矛盾。在这方面，该项目体现了消费主义逻辑与编舞颠覆、资本主义战略和舞者策略之间持续存在的紧张关系。似乎 Dunagan 在问，“舞蹈抵抗和融入新自由主义资本主义及其必然的霸权结构之间的界限在哪里？” 这本书的配套网站按章节对 Dunagan 分析的 58 个视频进行了分类，进一步增强了参与《消费舞蹈》及其源材料的体验。通过提供商业广告的实时链接——其中包括 Gap、可口可乐、胡椒博士、和 Apple iPods——牛津大学出版社让读者能够与 Dunagan 一起观看和分析。书籍和网站的这种跨媒体耦合不仅可以更全面地购买 Dunagan 的论点，而且还提供了可访问的教学工具，当与文本对话时，可以为围绕舞蹈身体的商业形象进行课堂对话提供素材。除了这些教学产品外，该网站还揭示了 Dunagan 方法论劳动的种子，因为它包含了一份长达 63 页的 Dunagan 记录的舞蹈广告示例（准确地说是 840 页）的文档。包含本文档展示了一种开源方法，为未来的研究人员继续开发 Dunagan 新兴的舞蹈广告材料档案奠定了基础。虽然配套网站可以更直接地与来源接触，但通过章节编织的编排分析完全足以作为了解来源材料的一种方式。正文的五个章节中的每一章都包括对几个例子的仔细阅读——从六到十三个商业广告——来说明其各自的论点。因此，读者可以在参考或不参考配套网站的情况下，依靠 Dunagan 对商业广告的研究。可以肯定的是，分析的来源都是构成性的美国公司，Dunagan 对它们的分析似乎主要关注美国的历史和文化特征——尽管没有明确讨论这个范围。使这一遗漏复杂化的是，许多被讨论的品牌确实经常参与国际活动。考虑到这一点，舞蹈研究奖学金有一个新兴的机会来解决美国文化帝国主义与广告中的舞蹈的关系。尽管有此遗漏，但该文本涵盖了令人印象深刻的广阔话语领域，并涉及一系列社会、政治、文化和经济问题。杜纳根汇集了关于情感、活力、挪用、社会认同和主观性的理论。在结构上，杜纳根