Download Dance’s Duet with the Camera: Motion Pictures by Telory D. Arendell, Ruth Barnes PDF

By Telory D. Arendell, Ruth Barnes

Dance’s Duet with the digicam: movement Pictures is a set of essays written through numerous authors at the dating among stay dance and movie. Chapters conceal various subject matters that discover dance movie, modern dance with movie on degree, dance as a terrific medium to be captured by means of 3D photographs and videodance as family members to site-specific choreography. This booklet explores the ways that early practitioners comparable to Loïe Fuller and Maya Deren all started a talk among media that has persevered to conform and but nonetheless keeps yes unanswered questions. technique for this dialog contains dance historic methods in addition to mechanical issues. The digital camera is a associate, a disembodied section of self that appears that allows you to contemplate, to reflect, or to presage circulation. This dialog comprises problems with sexuality, race, and combined skill. our bodies and lenses percentage equivalent billing.

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Perspective in film, or an intersection of framing choices and point of view, has the potential to alienate movement such that the laws of gravity are contested and the manipulation of time either gives the audience an opportunity to watch movement in slow motion or give the image sequence a more narrative feeling. 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.

NOTES 1. Sherril Dodds, Dance on Screen: Genres and Media from Hollywood to Experimental Art (New York: Palgrave Macmillan, 2004), 35. 2. Erin Brannigan, Dancefilm: Choreography and the Moving Image (New York: Oxford University Press, 2011), viii. 3. Douglas Rosenberg, Screendance: Inscribing the Ephemeral Image (New York: Oxford University Press, 2012), 2–3. 4. Brian Seibert, The New York Times 9 January 2012, C7. PART I Site/Sight and the Body Where do dance and the moving image meet, and why?

31 For example, when the soft LOCATION, LOCATION, LOCATION: DANCE FILM AND SITE-SPECIFIC DANCE 31 flesh of a hand unfolds against the rough surface of peeling paint in the Dowling and Forbord’s Well Contested Sites, our own physicality cringes at the sense of what such a dangerous surface could enact on our own flesh; or when the young boy’s feet land heavily on the sandy dunes in boy, we can sense that satisfying give of the sand softening our impact. 33 For dance films such as boy and Well Contested Sites described above, the close-up certainly enacts this physical dehierarchizing.

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