The narrative nightclub.

This chapter brings together expertise in film and cultural studies to analyse representations of nightclub dancefloors in British films from the 1990s onwards: Human Traffic (Justin Kerrigan, 1999), Sorted (Alexander Jovy, 2000), Soul Boy (Shimmy Marcus, 2010), Everywhere and Nowhere (Menhaj Huda, 2011) and Northern Soul (Elaine Constantine, 2014). We use these films to identify persistent visual iconographies and accompanying ideological underpinnings within the British dancefloor film. To understand what these lms do not do, we also look by way of contrast to a film from France, Eden (Mia Hansen-Løve, 2014). Our approach links academic writing on dance music and nightclub cultures with analysis of filmic texts, and in doing so the chapter captures a sense of the wider discourse surrounding nightclubs and especially the dancefloors that often form their focus, on- and off-screen.

This chapter brings together expertise in film and cultural studies to analyse representations of nightclub dancefloors in British films from the 1990s onwards: Human Traffic (Justin Kerrigan, 1999), Sorted (Alexander Jovy, 2000), Soul Boy (Shimmy Marcus, 2010), Everywhere and Nowhere (Menhaj Huda, 2011) and Northern Soul (Elaine Constantine, 2014). We use these films to identify persistent visual iconographies and accompanying ideological underpinnings within the British dancefloor film. To understand what these lms do not do, we also look by way of contrast to a film from France, Eden (Mia Hansen-Løve, 2014). Our approach links academic writing on dance music and nightclub cultures with analysis of filmic texts, and in doing so the chapter captures a sense of the wider discourse surrounding nightclubs and especially the dancefloors that often form their focus, on- and off-screen.