By S. Dodds

Dance on reveal is a entire advent to the wealthy range of display dance genres. It presents a contextual evaluate of dance within the monitor media and analyzes a range of case reviews from the preferred dance imagery of track video and Hollywood, via to experimental artwork dance. the point of interest then turns to video dance, dance initially choreographed for the digital camera. Video dance may be obvious as a hybrid during which the theoretical and aesthetic obstacles of dance and tv are traversed and disrupted. This new paperback version incorporates a new Preface via the writer protecting key advancements because the hardback variation was once released in 2001.

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Extra resources for Dance on screen : genres and media from Hollywood to experimental art

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By dragging on the cursor the user can activate video sequences, text and sound. For instance, as the cursor moves around the screen various models of washing machine appear, each accompanied by a different soundtrack. Dancing figures run up staircases, roll over armchairs and digital bodies merge and overlap. A number of computer programmes are currently used by digital dance artists and perhaps the best known for the purposes of dance is Lifeforms. This programme was developed by Dr Tom Calvert at Simon Fraser University, British Columbia, and can be utilized for choreographic practices, notation, reconstruction and movement analysis (Jones, 1996).

13). This data can then be manipulated on screen and represented through a multitude of visual forms. Digital dance is still very much in its infancy, and as technology becomes increasingly sophisticated there is even more scope in the future for artistic and pedagogic developments in this field. As some of the evolutionary strands of dance on film, television and digital formats are traced in this section, the remainder of the chapter is concerned with the current context for dance on screen from critical, artistic and technical perspectives.

This attitude fails to acknowledge the role of the televisual apparatus in the construction of motion within screen dance. These sentiments, which implicitly suggest that dance can only be defined in terms of trained bodies and established techniques, are echoed elsewhere (Bayston, 1987; Penman, 1995). With reference to the Dancehouse(1992) series, Bayston(1992) states: ‘The series does raise some points for discussion – where does movement end and dance begin? ’ (p. 950). Once again, however, this dismissal of movement techniques that do not conform to existing dance vocabularies highlights the critical framework of these writers.

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