Dancefilm

Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers. The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughly interdisciplinary.

The Oxford Handbook of Screendance Studies offers a full overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each chapter discusses and reframe current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed embrace politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines. The Oxford Handbook of Screendance Studies features newly-commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and video-makers, dance artists, screendance artists, academics and writers, producers, composers, as well as the wider interested public. It will become an invaluable resource for researchers and professionals in the field.

This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues.

'Dancefilm: Choreography and the Moving Image' examines the ways choreographic elements inform cinematic operations in dancefilm. It examines some of the most significant collaborations between dancers, choreographers and filmmakers presenting new models of cinematic movement that are historically informed.

Virtually everyone working in dance today uses electronic media technology. Envisioning Dance on Film and Video chronicles this 100-year history and gives readers new insight on how dance creatively exploits the art and craft of film and video. In fifty-three essays, choreographers, filmmakers, critics and collaborating artists explore all aspects of the process of rendering a three-dimensional art form in two-dimensional electronic media. Many of these essays are illustrated by ninety-three photographs and a two-hour DVD (40 video excerpts). A project of UCLA – Center for Intercultural Performance, made possible through The Pew Charitable Trusts (www.wac.ucla.edu/cip).

Through seven key case studies from Khan's oeuvre, this book demonstrates how Akram Khan's 'new interculturalism' is a challenge to the 1980s western 'intercultural theatre' project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.

Dance Production: Design and Technology, Second Edition is an introduction to the skills needed to plan, design, and execute the technical aspects of a dance production. Covering a broad range of topics, author Jeromy Hopgood takes the reader through the process of producing dance from start to finish. Part I addresses the collaborative process, business and organizational concerns for dance companies, planning the production, and the relationship between dance and performance spaces/staging methods. In Part II, each unique production area is examined, including production and stage management, sound, costume and makeup, scenery and props, lighting, and projection/video design. Each design area is divided into two chapters – the first introducing key concepts, and the second focusing on the process of creating the design. Part III brings back the popular quick reference guides from the first edition, providing an expanded and revised tool to bridge the language gap between the worlds of theatrical production and dance, and ensure productive communication across the different fields. This second edition features updated information on technology and processes, two new chapters on touring and non-traditional productions, more information on arts management within dance production, a comprehensive look at dance and video (including remote/streaming performances, as well as dance film), and additional chapter projects throughout the book. This unique book approaches the process of staging a dance production from a balanced perspective, making it an essential resource for choreographers, theatre designers, dancers, and management personnel alike, including for use in Dance and Dance Production courses.

"This book is a selection of essays by Noël Carroll at the intersection of film and TV and major divisions of philosophy including metaphysics, epistemology, ethics, politics, and aesthetics"--