Introduction: Flamenco's exotic currency -- 1. Desiring narratives: Flamenco in history and film -- Conflicting histories -- Origin points -- romantic excursions -- La edad de oro/ the golden age -- Transformation abroad and tourism at home -- Purity and preservation -- The ideology of flamenco histories -- The desiring subject -- A choreographic in(ter)vention -- Film narrative as a discourse of desire -- 2. Purism, tourism and lost innocence -- Flamenco bodies essence or effect? -- International exposure -- Model exotics -- Model lost -- The taint of tourism -- 3. Imagining andalusia -- Divine inspiration: origins reconsidered -- Passionate nature: the academic appeal of universal humanity -- Sober clinicism: demystifying the other -- (Re) discovering the women in cante -- 4. Fatal filmic flamencas -- The spectre of carmen -- That obscure object of desire (1977) -- Marked: the character of La Novia in Blood Wedding (1981) -- Carmen revisiten (1983) -- Lvoe, the magician (1986) -- 5. Realism reinvented -- The documentary and nacionalflamenquismo -- Serivllanas (1992) and Flamenco (1995) -- Opening credits (sevillanas) -- Opening credits (flamenco) -- The performances (sevillanas) -- The performances (Flamenco) -- Servillanas Flamencas, Servillanas gitanas -- Endings: servillanas -- Endings: flamenco -- Flamenco women (1997) -- 6. Reinterpreting the exotic -- Calculated unruliness -- Strategic presence -- Practiced spontaneity -- The dancing lesson (Anaheim, California, 1995) -- The problem of improvisation/fibing up the ghost -- Rising from the ashes: Spain's position in the new world order -- 7. "Somos anti-Guapas"-against beuty in contemporary Flamenco -- Belen Maya -- Pastora Galvan -- Rocio Molina.
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