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

RODE

Daniel Tranel,Thomas J. Grabowski Jr.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.

Enliven

exceptional

Complications of Cervical Spine Surgerynherent 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.

Adrenaline

Explicate

Loïe Fuller and the Poetics of Light, Colour, and Rhythm: Some Thoughts on the Making of ,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.

euphoria

Naked Came I/Eye: Lights, Camera and the Ultimate Spectaclef 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?