By Judy Mitoma, ELIZABETH ZIMMER, Dale Ann Stieber
Virtually each person operating in dance this day makes use of digital media expertise. Envisioning Dance on movie and Video chronicles this 100-year background and offers readers new perception on how dance creatively exploits the artwork and craft of movie and video. In fifty-three essays, choreographers, filmmakers, critics and participating artists discover all elements of the method of rendering a third-dimensional artwork shape in two-dimensional digital media. lots of those essays are illustrated by ninety-three images and a two-hour DVD (40 video excerpts).
A undertaking of UCLA – heart for Intercultural functionality, made attainable in the course of the Pew Charitable Trusts (www.wac.ucla.edu/cip).
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Sample text
With totally unobtrusive camera work and editing. the choreographic design and the dynamics of the performance are always preserved. 1998 Matthew Diamond’s Oscar-nominated documentary Dancemaker follows Paul Taylor and his dance company from rehearsal to a tour through India and a New York season threatened by a strike (see chapter 35, 36). 33 xxix 00i-xxxii, 1-52 Envisioning 9/9/02 2:18 PM Page xxx The first UCLA National Dance/Media Fellowship Program is launched by the UCLA Center for Intercultural Performance.
But it was the camera that had to dance. With input from choreographers, filmmakers soon began experimenting with the “one-eyed monster,” moving in closer to the dancers, using a variety of shots and angles. The camera panned and the lens focused into close-ups of the dancers’ faces, giving them a fleshly impact. The camera went overhead, circled the dancers, and even went under their tap-dancing feet. A sense of motion and immediacy was included in commercial film dance. The very nature of dance on film has long been a topic for discussion.
Adjustments of choreography for camera were planned and rehearsed prior to the costly full facility studio time with the dancers in costume and makeup. • Special diet-minded catering was provided all week for the dancers. • Taping sequences were planned with the ballet master, who knew the particular needs of each dancer. • All music was prerecorded to facilitate editing separate takes of the same dance sequence. This was the first big American-company ballet program on PBS, and its impact was important on two fronts.