| 书目名称 | Dance’s Duet with the Camera | | 副标题 | Motion Pictures | | 编辑 | Telory D. Arendell,Ruth Barnes | | 视频video | http://file.papertrans.cn/261/260371/260371.mp4 | | 图书封面 |  | | 描述 | .Dance’s Duet with the Camera: Motion Pictures. is a collection of essays written by various authors on the relationship between live dance and film. Chapters cover a range of topics that explore dance film, contemporary dance with film on stage, dance as an ideal medium to be captured by 3D images and videodance as kin to site-specific choreography. This book explores the ways in which early practitioners such as Loïe Fuller and Maya Deren began a conversation between media that has continued to evolve and yet still retains certain unanswered questions. Methodology for this conversation includes dance historical approaches as well as mechanical considerations. The camera is a partner, a disembodied portion of self that looks in order to reflect on, to mirror, or to presage movement. This conversation includes issues of sexuality, race, and mixed ability. Bodies and lenses share equal billing.. . . | | 出版日期 | Book 2016 | | 关键词 | performance; camera; film; screen; movement; media; contemporary; technology; identity; videodance; site-speci | | 版次 | 1 | | doi | https://doi.org/10.1057/978-1-137-59610-9 | | isbn_softcover | 978-1-349-95551-0 | | isbn_ebook | 978-1-137-59610-9 | | copyright | The Editor(s) (if applicable) and The Author(s) 2016 |
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Front Matter |
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Abstract
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,Introduction: Dance and Film as Siblings, |
Telory D. Arendell |
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Abstract
From early practitioners such as Loïe Fuller and Maya Deren to the most recent advances in technology, this volume approaches the interaction of dance 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 sections of the collection cover site connections, the role of movement, the dialog with theory, the relationship with film, and the emergence of 3D.
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Location, Location, Location: Dance Film and Site-Specific Dance |
Melanie Kloetzel |
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Dance film and site-specific dance are two dance genres that are seemingly at odds. Dance film communicates through a two-dimensional display; site-specific dance pursues tangible, real world connections to three-dimensional sites. Dance film brings audiences up close to both dancing bodies and places without the audience having to move a muscle; site-specific dance expects audiences to physically integrate with the totality of a place. Yet, these ‘divergent’ genres have much more in common than may at first be apparent. Examining the history of these genres as well as looking at each genre’s techniques, processes, and current productions, this essay argues that a feature that helped define both forms—a turning away from the proscenium arch and a turning towards alternative contexts—continues to connect them.
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The Feminist Body Reimagined in Two Dimensions: An Exploration of the Intersections Between Dance Fi |
Cara Hagan |
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Abstract
An exploration of the intersections of dance film and contemporary feminism. Both film and dance have long histories of issues concerning the presentation, treatment and resulting perception of women’s bodies in addition to a historical lack of women in leadership roles. However dance film, a medium that finds its context in the accessible realm of digital media, presents a platform to practice and demonstrate feminist principles in ways that independent dance and film do not. An imperfect form, however, dance film does not serve all artists equally. This essay raises questions about the visual politics of dance film through experiential and quantitative explorations of the author’s experiences as a dancer, dance filmmaker, educator and film festival curator.
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Hollywood Cinematic Excess: ,’s Direct and Contradictory Address to the Body/Mind |
Frances Hubbard |
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A phenomenological exploration and analysis of the film . considers how cinematography and sound combine to literally ‘touch’ the viewer with the central 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, and its complex negotiation between misogyny and feminism. Whilst neither of these approaches or insights can offer any ‘truths’ or definitive meanings, they do work together in investigating the complexities of representation and (embodied) identification within a Hollywood dance film revealing the deeply embedded contradictions that make it impossible to fully yield the progressive potential that can be read into it.
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Loïe Fuller and the Poetics of Light, Colour, and Rhythm: Some Thoughts on the Making of , |
Izabella Pruska-Oldenhof |
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A companion piece to the author’s short film . (2005) based on found footage of serpentine dancers near the end of the nineteenth century. The chance discovery of Loïe Fuller inspires the making of this film. An analysis of Fuller’s performances draws on texts by Stephané Mallarmé and Julia Kristeva, with a particular focus on the instability of the subject position, what Kristeva later calls . or ‘subject in process/on trial’ and, of course, in the aesthetic process of the author’s film. Particular focus is accorded to the interplay of the visible and the invisible, and the presence and the absence of author/subject, which are explored in connection to the destabilizing aesthetic techniques of Fuller and Mallarmé.
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Naked Came I/Eye: Lights, Camera and the Ultimate Spectacle |
Peter Sparling |
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The naked body, though the most commonly shared ‘fact’ of existence, is also the most scripted, inscribed, censored, and/or ‘performed’ spectacle. The camera and editing allow for greater objectification, and/or a fusion of corporeal and idealized aesthetic orientations with twentieth-century theories of opticality and traditions of Modern Dance. The naked dancing body aligns itself more with Modernity and a poetics of dance rather than coming off 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?
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Theoretical Duet |
Telory D. Arendell,Ruth Barnes |
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When dance and moving projected images intersect, what do those intersections create—and why? In conversation two practitioners making dances combined with moving images discuss their own work in mixed media production, drawing on writings by Philip Sandifer, Walter Benjamin, and Douglas Rosenberg as 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.
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Wrestling the Beast… and Not Getting Too Much Blood on Your Skirt: Integration of Live Performance a |
Heather Coker |
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As a choreographer, how do you begin to think about using, let alone balancing, the two unequal mediums of video projection and live performance? ., a piece integrating live dance with video, provides a case study. The conventional idea that video overpowers live performance underpins the struggle inherent 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.
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Turning Around the Gaze in the Age of Technological Proliferation; or, Things Are Seldom What They S |
Ruth Barnes |
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Mixed media performance’s interdisciplinary collaborations offer exciting artistic possibilities. Layering can complicate the spectator’s experience and interpretations of the work. Using projections can also bring the audience closer to the work, in an emotional as well as a physical sense. In its simplest application, mixed media is capable of showing choreography from multiple perspectives, sometimes representing historical memory, or creating a temporal or spatial skew. Due to their very size, projected images often dominate a stage space. They can be used to create an environment where live performers can appear out of the projections or disappear into them. Discussion of the gaze and the notion of absence and presence brings a variety of theorists into play, including Walter Benjamin, Douglas Rosenberg, and John Berger.
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Videodance: How Film Enriches the Dance |
Angela Kassel |
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This essay pinpoints the ways in which film has amplified dance, covering the categories of space, time, body, perspective and montage. 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.
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Maya Deren: Leaping Across Frames and Framing Leaps |
Telory D. Arendell |
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Maya Deren was one of a handful of female filmmakers in the modern era who transformed cinematography through the lens of dance. Motion from shot to shot 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 incongruent 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.
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Valentine for Dance Historians: Astaire on Film |
Carol-Lynne Moore |
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Fred Astaire, arguably one of the finest dancers of the twentieth century, moved from Broadway to Hollywood at the height of his career. Declaring that ‘Either the camera will dance, or I will,’ Astaire altered the way dance was filmed. Changes he instituted ensured that the continuity of movement was sustained and gave the film audience a privileged view of the dance that far surpassed that of the audience in a conventional theatre. This essay discusses 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.
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Moving In(To) 3D |
Philip Szporer,Marlene Millar |
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The making of the experimental dance film, ., produced at the National Film Board of Canada (NFB). The directors, choreographer Crystal Pite, and dance 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, while also creating a moving homage to Pite’s mentors and contemporaries, whose lives and short careers are pitted against the fleeting nature of the dance art form. Combining the raw physicality of athletic power with Theodore Ushev’s hauntingly distinct artwork, the film resonates with the universal themes of conflict, loss, and rescue.
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Conclusion: Where the Gaze Lands |
Ruth Barnes |
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The statement conveyed by much dance video, screendance and mixed media work is always greater than the sum of its parts. And the parts push each other beyond dance technique and video technology to create a work that is both dance and video (or, video and dance). The collaboration between dance and the camera is like a tango: the two mediums, like the dancers, are mutually supportive and full of surprises, incorporating twists and reconfigurations of the material, but always maintaining a concern for how the two fit together, and a sensitivity about the actual bodies of the individuals dancing. In this way, dance and video intertwine to produce a work—and a genre—that does not and cannot exist in any other form.
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