By Sherril Dodds (auth.)
Dance on reveal is a finished advent to the wealthy range of monitor dance genres. It presents a contextual evaluation of dance within the reveal media and analyzes a range of case reports from the preferred dance imagery of song video and Hollywood, via to experimental artwork dance. the point of interest then turns to video dance, dance initially choreographed for the digicam. Video dance may be noticeable as a hybrid during which the theoretical and aesthetic barriers of dance and tv are traversed and disrupted. This new paperback variation features a new Preface via the writer overlaying key advancements because the hardback version was once released in 2001.
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Additional resources for Dance on Screen: Genres and Media from Hollywood to Experimental Art
The interception of dance by the screen media has clearly provoked strong reactions and some dance critics express an almost technophobic sentiment. For instance, Bayston (1987) states, ‘What television dance needs, like every other dance organization, is good dancers and good choreographers, otherwise there is the danger of the medium becoming the message and the choreography smothered with A Contextual Framework 17 technology’ (p. 707). He clearly sides with the features of dance that constitute live performance, such as the dancer and choreographer, and fails to recognize the part that the director and the televisual apparatus play in the creation of screen dance.
It is clearly not possible to recall these events in ‘real time’; hence, the camera simply cuts out the time that is not intrinsic to the narrative. This convention has evolved and become established to such an extent that to see a piece of unedited filming can appear extremely alien to the eye. The implications of the editing convention in terms of a dancing body are far-reaching in that temporal organization is central to the dance aesthetic. To some extent, editing practices and possibilities can be seen as both a restriction and liberation for the dancing body.
Merrett (1990) even goes so far as to conceptualize the camera in Scelsi Suites (1990) (choreographed by Nicole Moussoux and directed by Dirk Gryspeirt) as a ‘third member of the cast’ (p. 256), an assertion that strongly endorses the belief that the technological apparatus is a vital component of dance choreographed for the screen. Similarly, Rosiny (1994) notes: The camera emerges in the latest film works as a sensitive partner in dialogue with the dancers, leads the actors into wider spaces, makes use of its intrinsic mobility – whether on a rostrum, tracked or carried by talented camera operators who themselves move in almost dancerly fashion … (p.
Dance on Screen: Genres and Media from Hollywood to Experimental Art by Sherril Dodds (auth.)