By Franck Boulegue, Marisa C. Hayes

Artwork in movement is an engrossing number of essays that examines a variety of aspects of educational and inventive examine within the box of screendance. initially provided in the course of the overseas Screendance convention on the pageant foreign de Video Danse de Bourgogne, those texts contemplate the choreography of relocating photos from numerous angles, together with somatic digicam paintings, aesthetic and gestural research, and old examine that delves into cinema's earliest depictions of dance, in addition to views from modern screendance artists. The geographic range of the individuals, lots of whom are translated into English for the 1st time during this quantity, displays the transforming into variety of screendance students and artists world wide, delivering invaluable insights from France, the uk, Mexico, Brazil, Hungary, and the USA. artwork in movement adopts a vast definition of screendance that explores circulation on monitor and with the digital camera in lots of types, inside either the normal dance movie and past, whereas mentioning parallels among different creative events and practices that increase vital questions about the position of screendance in relocating picture and choreographic cultures.

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Additional info for Art in Motion: Current Research in Screendance / Art En Mouvement

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Ont tendance à être annexés au développement d’une histoire au détriment des effets artistiques, physiques et sensoriels qu’ils pourraient produire. A l’inverse, les ciné-danses développent d’autres formes – physiques, sensorielles, kinesthésiques – de dramaturgie et d’empathie qui génèrent des expériences originales, plus incarnées, pour les spectateurs. Sensations tactiles et expériences synesthésiques Les ciné-danses de De Mey suggèrent également une multitude de sensations tactiles, notamment à travers les riches interactions entre les danseurs et les divers environnements dans lesquels ils se meuvent.

Les événements incluaient des performances sans celluloïd dans le projecteur, des corps en direct jouant le rôle du film et des corps en direct interagissant avec l’image projetée. Curieusement, ces projets ont affirmé tout à la fois une pratique « expanded » (étendue) et une spécificité filmique. La réalisatrice Annabel Nicholson, par exemple, a développé une pratique qui pourrait être décrite dans ces termes, tout à la fois comme spécifique au film et comme performance ou sculpture. Son œuvre Reel Time (1973) est décrite comme : Claudia Kappenberg 37 une projection performance, dans laquelle une énorme boucle de film passait à travers un projecteur et une machine à coudre (opérée par Nicholson).

Les deux positions comportent des risques et des avantages vis-à-vis du développement de la vidéo-danse en tant que forme d’art autonome et en tant que force culturelle. Cet article s’intéresse à la politique de ce débat et examine des discussions comparables relatives aux pratiques du film expérimental dans les années 60 et 70 afin d’explorer les différents aspects de la question. Afin de démêler les complexités du débat, cet article passera en revue certains projets de film expérimentaux de cette période et considèrera leurs approches afin d’identifier des préoccupations communes entre les pratiques de « l’expanded film » et celles de la vidéodanse.

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