Figure 7. Temporary communitas is threatened in this visual arrangement, but it is subsequently shattered by social intervention and the restoration of structuring.

82

Figure 8. Using the most emotive of language, Shelly’s performance is inexpressive, as a “mannequin”, in its avoidance of explicit expressive signs.

101

Figure 9. Jude’s (Martin Donovan) swing on the gate is connotative of a musical performance tradition, although it lacks the obvious performative signs.

114

Figure 10. The dance again quotes from a preexisting musical performance tradition and from a repertoire of masculine gestures.

131

Figure 11. The dance’s final tableau actualises images from elsewhere in the film, reflecting narrative imagery feeding into the dance sequence.

132

Figure 12. Elina’s (Elina Löwensohn) central position in the dance grants her a dominant position that others struggle to follow.

138

Figure 13. The appearances of Bill (Robert Burke) and Dennis (Bill Sage) conform to the roles that they intend to project; it is a coherence that they will struggle to maintain.

155