out into three intimately related questions: firstly, how
can we expand who we consider parts of our politicalcommunities?
Secondly, what do we consider a political enunciation? And thirdly, who
do we consider a speaking subject? Accordingly, I ask four related questions: is dance seen as a legitimate avenue to express politics? When does
politics occur in dance? Why does politics occur in dance? What conception of political dance does this interchange yield? Those questions will
reappear throughout the book in various guises as they provided me with
By 2010, Stone’s shading of the characters in draft scripts underlined how blurred the lines between right and wrong had become.
Despite the ‘Occupy Wall Street’ protests, this approach accurately
reflected the evident reticence on the part of the business and politicalcommunity to take more decisive action in the wake of the
crash, as well as an absence of sufficient public pressure for such
In contrast with the original 1987 screenplay, the new story
sought to shift the focus from the trading floors of Wall Street to the