By S. Dodds
Dance on reveal is a complete creation to the wealthy range of display dance genres. It presents a contextual evaluation of dance within the monitor media and analyses a range of case reports from the preferred dance imagery of tune, video and Hollywood, via to experimental paintings dance. the point of interest then turns to video dance, dance initially choreographed for the digicam. Video dance might be noticeable as a hybrid within which the theoretical and aesthetic barriers of dance and tv are traversed and disrupted.
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Additional info for Dance on Screen: Genres and Media from Hollywood to Experimental Art (Vlot Afrikaans)
He states: I like films like Raging Bull … the boxing sequences in it are fantastically powerful movement sequences that are intensely cinematic. The power of the way in which they’re presented is not just to do with the action that’s going on, it’s the way it’s shot and edited. Another thing I really love is Kung Fu movies. They’re purely cinematic in the sense that they use the resources of what film can do to present what are in fact physically impossible actions. Hinton’s fascination with the possibilities of movement on screen does not derive from a dance tradition, but from popular action films.
A Contextual Framework 7 of narrative films use dance as an intrinsic feature of the plot, as with the critically acclaimed The Red Shoes (1948), or else employ dance as a vehicle for other concerns. An example of the latter is Nutcracker (1982), a soft pornography film set in the context of a ballet company (Allen, 1993). It is only at the end of the 1970s and throughout the 1980s that a new genre of dance film emerged. This era marks a proliferation of dance films, such as Saturday Night Fever (1977), Dirty Dancing (1987), Fame (1980), Flashdance (1983), Staying Alive (1983) and Footloose (1984), which tie in with the general health and fitness boom that flourished during this period (Buckland, 1993).
Williams is extremely concerned with the quality of the edit and the extent to which it can manipulate a work. She states: For me, the edit is what makes the film. I find cutting the most exciting thing imaginable, because you’re in a situation where, actually, you can do whatever you like with the material that you’ve got. Two people given the same material (rushes) to edit would end up with completely different films. In terms of editing, there is also a different sense of time between the stage and television context.