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out into three intimately related questions: firstly, how can we expand who we consider parts of our political communities? 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 the

in Dance and politics
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 (2010) 128 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 political community to take more decisive action in the wake of the crash, as well as an absence of sufficient public pressure for such action. In contrast with the original 1987 screenplay, the new story sought to shift the focus from the trading floors of Wall Street to the Federal Reserve

in The cinema of Oliver Stone