Download Art in Motion: Current Research in Screendance / Art En by Franck Boulegue, Marisa C. Hayes PDF

By Franck Boulegue, Marisa C. Hayes

Artwork in movement is an engrossing choice of essays that examines quite a few points of educational and creative learn within the box of screendance. initially awarded throughout the foreign Screendance convention on the pageant foreign de Video Danse de Bourgogne, those texts reflect on the choreography of relocating pictures from various angles, together with somatic digital camera paintings, aesthetic and gestural research, and ancient study that delves into cinema's earliest depictions of dance, in addition to views from modern screendance artists. The geographic variety of the participants, a lot of whom are translated into English for the 1st time during this quantity, displays the transforming into variety of screendance students and artists worldwide, offering priceless insights from France, the uk, Mexico, Brazil, Hungary, and the USA. artwork in movement adopts a huge definition of screendance that explores flow on reveal and with the digital camera in lots of kinds, inside of either the normal dance movie and past, whereas bringing up parallels among different creative routine and practices that increase vital questions about the position of screendance in relocating photograph and choreographic cultures.

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Extra resources for Art in Motion: Current Research in Screendance / Art En Mouvement

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Le point de vue de la caméra qui filme la scène d’en face depuis une autre falaise intensifie ce sentiment de danger et laisse les spectateurs étourdis en bouleversant leurs points de référence, surtout que la séquence alterne à un rythme très vif plans d’ensemble, plans moyens et plans rapprochés. Contrairement à la plupart des films grand public, les ciné-danses de De Mey engagent et affectent leurs spectateurs physiquement, induisant des états de corps et des sensations kinesthésiques spécifiques voire insolites.

In both cases it is a female body whose action is disruptive and whose body resists the mediation through the filmic apparatus. Given the proliferations of screens in the everyday and the ever tighter interaction between screen space and real space these works should not just be considered as part of a 1970s discourse but maintain their significance in the 21st century and for contemporary discourses on Screendance. These sorts of cinematic experiments have not yet been considered within the field, but could be revisited as part of an investigation into the mediated body and the relation between cinematic bodies and everyday bodies.

Cela s’explique notamment par le fait que le réalisateur mobilise pleinement la capacité des images et des sons à évoquer les autres sens et notamment celui du toucher. 4 Les ciné-danses de De Mey génèrent ainsi de nombreux effets synesthésiques. En effet, comme je viens de l’établir, bien que la cinédanse soit une forme d’art audio-visuelle, elle peut produire une myriade de sensations dont on fait habituellement l’expérience à travers d’autres sens comme celui du toucher, de l’odorat et du goût, ainsi que d’autres types de sensations plus diffuses et moins nettement assignables à un organe en particulier, telles que les sensations d’équilibre, de poids, de fatigue, de température, d’échelle, de distance, de textures, etc.

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