Dance's duet with the camera motion pictures
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 imag...
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[2016]
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| 245 | 1 | 0 | |a Dance's duet with the camera |b motion pictures |c Telory D. Arendell, Ruth Barnes, editors |
| 264 | 1 | |a London |b Palgrave Macmillan |c [2016] | |
| 264 | 4 | |c © 2016 | |
| 300 | |a xvii, 263 Seiten |c 22 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 505 | 8 | |a Includes bibliographical references and index | |
| 505 | 8 | |a Chapter 1. Introduction; Telory D. Arendell -- Part I. Site/Sight and the Body -- Chapter 2. Location, Location, Location; Melanie Kloetzel -- Chapter 3. The Feminist Body Reimagined in Two Dimensions; Cara Hagan -- Chapter 4. Hollywood Cinematic Excess; Frances Hubbard -- Part II. Movement Beyond the I/Eye -- Chapter 5. Löie Fuller and the Poetics of Light, Colour, and Rhythm; Izabella Pruska-Oldenhof -- Chapter 6. Naked Came I/Eye; Peter Sparling -- Part III. Querying Praxis -- Chapter 7. Theoretical Duet; Telory D. Arendell and Ruth Barnes -- Chapter 8. Wrestling the Beast... and Not Getting Too Much Blood on Your Skirt; Heather Coker -- Chapter 9. Turning Around the Gaze in the Age of Technological Proliferation; Ruth Barnes -- Part IV. Bodies, Spaces, Camera -- Chapter 10. Videodance; Angela Kassel -- Chapter 11. Maya Deren; Telory D. Arendell -- Chapter 12. Valentine for Dance Historians; Carol-Lynne Moore -- Part V. New Technologies -- Chapter 13. Moving In(To) 3D; Philip Szporer and Marlene Millar -- Chapter 14. Conclusion; Ruth Barnes | |
| 520 | |a 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 Löie 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 | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | Telory D Arendell • Ruth Barnes
Editors
Dance’s Duet with
the Camera
Motion Pictures
palgrave
macmillan
Contents
1 Introduction: Dance and Film as Siblings 1
Telory D Arendell
Screendance: A Short History 2
Dunce on Screen: Genres and Media 3
Dancefilm: Choreography and the Moving Image 5
Rosenberg’s Screendance: Inscribing the Ephemeral Image 7
TAKES as Multimodal Dance 8
Dance and Film in Conversation 10
Site/Sight and the Body 10
Movement Beyond the I/Eye 11
Querying Praxis 12
Bodies, Spaces, Camera 13
New Technologies: Dance as 3D’s Ultimate Agent 15
Part I Site/Sight and the Body 17
2 Location, Location, Location: Dance Film and Site-Specific
Dance 19
Melanie Kloetzel
Origin Stories and Parallel Aims 20
A New Context for the Dancing Body 22
Altering Perspectives on the Body (in Place) T7
Democratizing Genres 32
ix
Conclusion
References
3 The Feminist Body Reimagined in Two Dimensions:
An Exploration of the Intersections Between Dance Film
and Contemporary Feminism 49
Cara Hagan
Where Do We Stand? 49
Putting Culture into Context 50
Kitchen Table: Engaging in Contradictions Makes Statements 52
Movies by Movers 55
Confessions of a Lacking Pursuit: Vulnerability and Defiance 58
Yellow River: Challenging the Constructs of Imposed Identity 60
MORE: Contesting a Culture of Hyper-Productivity 62
Well Contested Sites: Radical Creativity and Activism 63
In Conclusion: An Invitation for Further Dialogue 65
4 Hollywood Cinematic Excess: Black Swan’s Direct
and Contradictory Address to the Body/Mind 69
Frances Hubbard
A Phenomenological Cinematic Psychosis 70
Overwhelming Proximity 72
Vertiginous Intertextuality and the Prefiguration of Doom 75
An Intense Auditory/Bodily Experience 77
An ‘Infernal Vision of Patriarchy’: Gratifying (or Subverting)
the Male Gaze? 81
A Complex Negotiation Between Misogyny and Feminism 84
Reinvigorating and Exploiting Lesbian Cliches? 86
Conclusion: A Feminist Phenomenological Assault 88
Part II Movement Beyond the I/Eye 95
5 Loi e Fuller and the Poetics of Light, Colour, and Rhythm: Some
Thoughts on the Making of fugitive l(i)ght 97
Izabella Pruska-Oldenhof
Biographical Notes on Fuller 99
Serpentine Dance 101
Fugitive l(i)ght 103
Loie Fuller’s Mysterious Image 106
Stephane Mallarme 108
The Dancer as Poet 109
Julia Kristeva’s Opposing Drives: Revising Specular Modalities 113
6 Naked Came I/Eye: Lights, Camera and the Ultimate
Spectacle 119
Peter Sparling
DEVANTaW DERRIERE 120
Screendance as Spectacle 120
Video Postcards 122
Double Life 124
Part HI Querying Praxis 127
7 Theoretical Duet 129
Telory D Arendell and Ruth Barnes
8 Wrestling the Beast and Not Getting Too Much Blood
on Your Skirt: Integration of Live Performance and Video
Projection 141
Heather Coker
Live Performance and Projected Performance 142
The Effect of the Screen 145
Tracking the Beast 147
What Does ‘Live’Mean? 148
Focus, Timing and Content 149
Focus 149
Scenic Design 150
Timing 150
Content 152
Intentions to Overcome the Beast 155
Feedback on Audience Perceptions 155
9 Turning Around the Gaze in the Age of Technological
Proliferation; or, Things Are Seldom What They Seem 159
Ruth Barnes
Which Mixed Media: And Why? 160
Shifting Outlooks 161
The Observer and Ambiguity 162
Other Possible Perspectives 164
Illusion and Reality: Interpreting and Creating Meaning 165
Reception Near and Far 166
Earlier Works: And the Spectator’s Gaze 166
The Performer’s Gaze 167
Camera Work 168
Representation and Relationship in Dance 170
Simultaneous Contradictions: Tricking the Gaze 171
More Questions 171
Part IV Bodies, Spaces, Camera 173
10 Videodance: How Film Enriches the Dance 175
Angela Kassel
Space, Time, Body 176
Editing 177
Space and Environment 178
Perspective 179
Framing 181
Dance Seen from Below 182
Split Screen 184
Time 186
Body 187
Layering 188
Duplication 189
Duplicating the Body 189
Fragmentation 191
Role of Coincidence 192
Animated Figures 193
Conclusion 193
11 Maya Deren: Leaping Across Frames and Framing Leaps 199
Telory D Arendell
Dream Logic: Surrealists Versus Imagists 200
Meaning and Analysis 201
Framing the Body 202
Contextual Melding 202
White Chess Piece 203
Multiple Selves 204
Meshes and Multiples 205
A Turn Against Psychoanalysis 207
Physical Memory and Relational Gravity 208
Conclusion 209
12 Valentine for Dance Historians: Astaire on Film 211
Carol-Lynne Moore
Film, Movement, and Dance: An Uneasy Relationship 212
Either the Camera Will Dance, or I Will 213
Roberta (1935) 215
Easter Parade (1948) 217
Silk Stockings (1957) 219
Conclusion 220
Part V New Technologies: Dance as 3D’s Ultimate Agent 223
Moving In(To) 3D 225
Philip Szporer and Marlene Millar
Breaking a Cycle ofEphemerality 226
Pioneering Spirit 227
Stereoscopic Image 229
Movement as Basic Substance of Cinema 230
Consequences of 3D Technology 231
Eisenstein and Wenders 232
Medium of Imagination 233
Dance as Organic Fit 234
xiv CONTENTS
14 Conclusion: Where the Gaze Lands 239
Ruth Barnes
A Journey in Mind and Body: Video into and Out of the Glass 240
A Five-Minute Mixed Media History Lesson 241
So Much to Watch 242
Mixing Moves 243
Site and Sight 244
Promenade Performance 244
Three Dimensions 245
People, Dancing 247
An Interdisciplinary Duet 250
Bibliography 253
Index 259
|
| any_adam_object | 1 |
| author2 | Arendell, Telory D. Barnes, Ruth |
| author2_role | edt edt |
| author2_variant | t d a td tda r b rb |
| author_GND | (DE-588)1114670782 |
| author_facet | Arendell, Telory D. Barnes, Ruth |
| building | Verbundindex |
| bvnumber | BV043745871 |
| classification_rvk | AP 10000 AP 82500 HD 402 |
| contents | Includes bibliographical references and index Chapter 1. Introduction; Telory D. Arendell -- Part I. Site/Sight and the Body -- Chapter 2. Location, Location, Location; Melanie Kloetzel -- Chapter 3. The Feminist Body Reimagined in Two Dimensions; Cara Hagan -- Chapter 4. Hollywood Cinematic Excess; Frances Hubbard -- Part II. Movement Beyond the I/Eye -- Chapter 5. Löie Fuller and the Poetics of Light, Colour, and Rhythm; Izabella Pruska-Oldenhof -- Chapter 6. Naked Came I/Eye; Peter Sparling -- Part III. Querying Praxis -- Chapter 7. Theoretical Duet; Telory D. Arendell and Ruth Barnes -- Chapter 8. Wrestling the Beast... and Not Getting Too Much Blood on Your Skirt; Heather Coker -- Chapter 9. Turning Around the Gaze in the Age of Technological Proliferation; Ruth Barnes -- Part IV. Bodies, Spaces, Camera -- Chapter 10. Videodance; Angela Kassel -- Chapter 11. Maya Deren; Telory D. Arendell -- Chapter 12. Valentine for Dance Historians; Carol-Lynne Moore -- Part V. New Technologies -- Chapter 13. Moving In(To) 3D; Philip Szporer and Marlene Millar -- Chapter 14. Conclusion; Ruth Barnes |
| ctrlnum | (OCoLC)959638388 (DE-599)BVBBV043745871 |
| dewey-full | 792.8 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 792 - Stage presentations |
| dewey-raw | 792.8 |
| dewey-search | 792.8 |
| dewey-sort | 3792.8 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines Anglistik / Amerikanistik |
| format | Book |
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| genre_facet | Aufsatzsammlung |
| id | DE-604.BV043745871 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:33:58Z |
| institution | BVB |
| isbn | 9781349955510 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029157513 |
| oclc_num | 959638388 |
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| physical | xvii, 263 Seiten 22 cm |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Palgrave Macmillan |
| record_format | marc |
| spelling | Dance's duet with the camera motion pictures Telory D. Arendell, Ruth Barnes, editors London Palgrave Macmillan [2016] © 2016 xvii, 263 Seiten 22 cm txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Chapter 1. Introduction; Telory D. Arendell -- Part I. Site/Sight and the Body -- Chapter 2. Location, Location, Location; Melanie Kloetzel -- Chapter 3. The Feminist Body Reimagined in Two Dimensions; Cara Hagan -- Chapter 4. Hollywood Cinematic Excess; Frances Hubbard -- Part II. Movement Beyond the I/Eye -- Chapter 5. Löie Fuller and the Poetics of Light, Colour, and Rhythm; Izabella Pruska-Oldenhof -- Chapter 6. Naked Came I/Eye; Peter Sparling -- Part III. Querying Praxis -- Chapter 7. Theoretical Duet; Telory D. Arendell and Ruth Barnes -- Chapter 8. Wrestling the Beast... and Not Getting Too Much Blood on Your Skirt; Heather Coker -- Chapter 9. Turning Around the Gaze in the Age of Technological Proliferation; Ruth Barnes -- Part IV. Bodies, Spaces, Camera -- Chapter 10. Videodance; Angela Kassel -- Chapter 11. Maya Deren; Telory D. Arendell -- Chapter 12. Valentine for Dance Historians; Carol-Lynne Moore -- Part V. New Technologies -- Chapter 13. Moving In(To) 3D; Philip Szporer and Marlene Millar -- Chapter 14. Conclusion; Ruth Barnes 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 Löie 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 Dance in motion pictures, television, etc Tanz (DE-588)4059028-8 gnd rswk-swf Fernsehen (DE-588)4016825-6 gnd rswk-swf Video (DE-588)4078895-7 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Tanzfilm (DE-588)4373948-9 gnd rswk-swf Medientheorie (DE-588)7610872-7 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Tanz (DE-588)4059028-8 s Film (DE-588)4017102-4 s Fernsehen (DE-588)4016825-6 s Video (DE-588)4078895-7 s Medientheorie (DE-588)7610872-7 s DE-604 Tanzfilm (DE-588)4373948-9 s Arendell, Telory D. (DE-588)1114670782 edt Barnes, Ruth edt HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029157513&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Dance's duet with the camera motion pictures Includes bibliographical references and index Chapter 1. Introduction; Telory D. Arendell -- Part I. Site/Sight and the Body -- Chapter 2. Location, Location, Location; Melanie Kloetzel -- Chapter 3. The Feminist Body Reimagined in Two Dimensions; Cara Hagan -- Chapter 4. Hollywood Cinematic Excess; Frances Hubbard -- Part II. Movement Beyond the I/Eye -- Chapter 5. Löie Fuller and the Poetics of Light, Colour, and Rhythm; Izabella Pruska-Oldenhof -- Chapter 6. Naked Came I/Eye; Peter Sparling -- Part III. Querying Praxis -- Chapter 7. Theoretical Duet; Telory D. Arendell and Ruth Barnes -- Chapter 8. Wrestling the Beast... and Not Getting Too Much Blood on Your Skirt; Heather Coker -- Chapter 9. Turning Around the Gaze in the Age of Technological Proliferation; Ruth Barnes -- Part IV. Bodies, Spaces, Camera -- Chapter 10. Videodance; Angela Kassel -- Chapter 11. Maya Deren; Telory D. Arendell -- Chapter 12. Valentine for Dance Historians; Carol-Lynne Moore -- Part V. New Technologies -- Chapter 13. Moving In(To) 3D; Philip Szporer and Marlene Millar -- Chapter 14. Conclusion; Ruth Barnes Dance in motion pictures, television, etc Tanz (DE-588)4059028-8 gnd Fernsehen (DE-588)4016825-6 gnd Video (DE-588)4078895-7 gnd Film (DE-588)4017102-4 gnd Tanzfilm (DE-588)4373948-9 gnd Medientheorie (DE-588)7610872-7 gnd |
| subject_GND | (DE-588)4059028-8 (DE-588)4016825-6 (DE-588)4078895-7 (DE-588)4017102-4 (DE-588)4373948-9 (DE-588)7610872-7 (DE-588)4143413-4 |
| title | Dance's duet with the camera motion pictures |
| title_auth | Dance's duet with the camera motion pictures |
| title_exact_search | Dance's duet with the camera motion pictures |
| title_full | Dance's duet with the camera motion pictures Telory D. Arendell, Ruth Barnes, editors |
| title_fullStr | Dance's duet with the camera motion pictures Telory D. Arendell, Ruth Barnes, editors |
| title_full_unstemmed | Dance's duet with the camera motion pictures Telory D. Arendell, Ruth Barnes, editors |
| title_short | Dance's duet with the camera |
| title_sort | dance s duet with the camera motion pictures |
| title_sub | motion pictures |
| topic | Dance in motion pictures, television, etc Tanz (DE-588)4059028-8 gnd Fernsehen (DE-588)4016825-6 gnd Video (DE-588)4078895-7 gnd Film (DE-588)4017102-4 gnd Tanzfilm (DE-588)4373948-9 gnd Medientheorie (DE-588)7610872-7 gnd |
| topic_facet | Dance in motion pictures, television, etc Tanz Fernsehen Video Film Tanzfilm Medientheorie Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029157513&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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