Titlebook: Dance’s Duet with the Camera; Motion Pictures Telory D. Arendell,Ruth Barnes Book 2016 The Editor(s) (if applicable) and The Author(s) 2016

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Maya Deren: Leaping Across Frames and Framing Leapshot in her films had a clear choreographic impulse that redefined the camera’s relation to moving bodies on film. She declared herself an Imagist, divorcing her work from more symbolic precedents. Space and time are disordered in her films to disturb the very basis of meaning. This juxtaposition of

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Moving In(To) 3De filmmakers Marlene Millar and Philip Szporer used stereoscopic 3D techniques and 7.1 Surround Sound as well as archival photographs and sound from the NFB archives to tell the story, adapted from Pite’s internationally lauded stage production. . commemorates the fading legacies of World War I, whi

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Daniel Tranel,Thomas J. Grabowski Jr. and camera. A short history of screendance using writings by Sherril Dodds, Erin Brannigan and Douglas Rosenberg establishes the framework for the collection. A brief discussion of the performance piece . (2012) by Nichole Canuso and Lars Jan locates it in the genre of multimodal dance. Five major

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Graves’-disease

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The Radiologic Evaluation of Renal Massesral character’s psychosis. However, since the body is not simply an issue in phenomenology and epistemology, but also a theoretical location for debates about power and ideology, feminist psychoanalytic tools investigate the film’s construction of femininity, stereotypes of gender and lesbianism, an

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