Abstract
This essay was developed with support from ke∂ja Writing Movement (www.writingmovement.com). It describes, from a dance practitioner’s point of view, different paradigms within which the dance filmmaker may operate. These paradigms form a progression of the integration of dance and film as well as the established structure of filmmaking, and address how screendance has changed the discourses surrounding film. Three paradigms are discussed and contextualized, based on an analysis of works from the standard repertoire and by the author herself:1. The filmmaking dancer/choreographer: encountering a new medium in search of permanence, new aesthetics, and documentation, mediating the conservative infrastructures of film and television;2. Choreographing with and for the camera: using acquired filmmaking skills, investigating new modes of expression based on nonlinear treatment of movement, viewpoints, and sequences;3. Choreographing non-bodies through film: creating dance from abstract motion, expanding the scope of both dance and film.
| Original language | Undefined |
|---|---|
| Pages (from-to) | 130-146 |
| Journal | The International Journal of Screendance |
| Volume | 4 |
| Issue number | 4 |
| Publication status | Published - 4 Dec 2014 |
Keywords
- dance film
- screendance
- video dance
- dance for camera
- peripheral vision
- stagecraft
- proprioception
- kinesthesis
- vection
- cognition
- neurophysiology
- Sweden
- dance on film