Vivian Sobchack’s claim that film scholarship tends to ignore the viewer’s body is interesting, as these articles acknowledge the embodied viewer to varying degrees. Reason and Reynolds’s article is not explicitly film scholarship, though it focuses on the experiences of watching dance and is useful in its specific discussion variied spectator reactions. Guido’s article is more of an historical account of dance in cinema, however, it focuses on a few key points in relation to embodied responses, suggesting, for example that performance encourages muscular mimicry thus positioning spectators under a rhythmic spell and that cinema is a tool for decoding the science and aesthetics of dance. Landay’s article references Sobchack throughout, a clear