Download Dance on Screen: Genres and Media from Hollywood to by Sherril Dodds (auth.) PDF

By Sherril Dodds (auth.)

Dance on reveal is a complete advent to the wealthy variety of monitor dance genres. It presents a contextual assessment of dance within the monitor media and analyzes a range of case reports from the preferred dance imagery of track video and Hollywood, via to experimental artwork dance. the focal point then turns to video dance, dance initially choreographed for the digicam. Video dance might be obvious as a hybrid during which the theoretical and aesthetic limitations of dance and tv are traversed and disrupted. This new paperback version features a new Preface through the writer masking key advancements because the hardback variation used to be released in 2001.

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Additional info for Dance on Screen: Genres and Media from Hollywood to Experimental Art

Example text

Another digital system that is used by a number of dance practitioners is telematic technologies which can connect images and sounds across remote sites (Hansen, 1998). An obvious example of this is the video conferencing facility that is used in the corporate sector to set up meetings between clients and representatives in distant locations. There are several ways in which this can be achieved. The most sophisticated method is through using ATM (Asynchronous Transfer Mode) which produces rapid and clear connections, followed by the slower, grainier images of ISDN (Integrated Services Digital Network) (Hansen, 1998).

Consequently, the perspective of a camera sets several limitations and potential possibilities for the choreographic design. For instance, a dancer who is close to the camera can take one step to move out of view, while a dancer several metres directly behind has to take many steps to move out of the frame. Similarly, during stage performances the dancers can usually only enter and exit from side wings, but within the camera space it is feasible for dancers to enter and exit from behind the camera so that they appear to enter from ‘camera front’.

Consequently, the perspective of a camera sets several limitations and potential possibilities for the choreographic design. For instance, a dancer who is close to the camera can take one step to move out of view, while a dancer several metres directly behind has to take many steps to move out of the frame. Similarly, during stage performances the dancers can usually only enter and exit from side wings, but within the camera space it is feasible for dancers to enter and exit from behind the camera so that they appear to enter from ‘camera front’.

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