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

下級

978-1-349-95551-0The Editor(s) (if applicable) and The Author(s) 2016

Breach

Introduction: Dance and Film as Siblings,llection. A brief discussion of the performance piece . (2012) by Nichole Canuso and Lars Jan locates it in the genre of multimodal dance. Five major sections of the collection cover site connections, the role of movement, the dialog with theory, the relationship with film, and the emergence of 3D.

搏斗

Theoretical Duets well as Wim Wenders’s film . (2011). These narratives about process, application—and, in a very real sense, making theory visible—provide an opening and a lens for us to view and understand the working and workings of creating a mixed media performance piece.

尊嚴(yán)

Wrestling the Beast… and Not Getting Too Much Blood on Your Skirt: Integration of Live Performance anherent when integrating the two mediums. The challenge of choreographing multiple mediums draws on dance and film theory, including the media theories of Marshall McLuhan. The elements divide into three categories: focus, timing, and content.

mechanical

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gospel

Atlas of Crabs of the Persian Gulff as a display of narcissism, exhibitionism, or soft porn. The choices made in video self-portraiture re-claim the gaze as the creator’s own and guard him against accusations that he is merely making a spectacle of himself. Or is the point to make a spectacle of the body? Indeed, what IS spectacle and its relationship to the artist/creator’s body?

linguistics

Xi’an Zhang,Yun-tao Lu,Songtao Qig. Kassel explains various techniques used in dance film to give moving bodies a different look: duplications, change of size, mirroring or reproduction, fragmentation, and visualization of energy patterns all make these film versions of the dancing body ones that cannot exist without editing the motion.

licence

Basic Research in Craniopharyngiomaincongruent images multiplies meaning in a dreamscape fashion. Deren’s camerawork caresses the bodies and landscapes it touches on, allowing her camera lens to serve as a mechanism for the unconscious. Her films were truly cinedances or choreocinematic endeavors in which the dance and the camera collaborated as equal partners.

thwart

Michelle F. Dawson,Alexis Salernoiscusses the uneasy relationship of film, movement, and dance; then contrasts prevailing film techniques with Astaire’s innovations. Solo dances from three films (., 1935; ., 1948; and ., 1957) are discussed in detail to identify key elements of Astaire’s artistry as it evolved.