By S. Dodds
Dance on monitor is a complete advent to the wealthy range of monitor dance genres. It presents a contextual assessment of dance within the monitor media and analyzes a variety of case experiences from the preferred dance imagery of song video and Hollywood, via to experimental artwork dance. the focal point then turns to video dance, dance initially choreographed for the digital camera. Video dance will be noticeable as a hybrid during which the theoretical and aesthetic obstacles of dance and tv are traversed and disrupted. This new paperback variation encompasses a new Preface via the writer masking key advancements because the hardcover version was once released in 2001.
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Additional resources for Dance on Screen: Genres and Media from Hollywood to Experimental Art
Implicit within these comments is an adverse reaction to the role of technology in dance. It is perhaps indicative of the critical frameworks employed by these two writers and of the periodicals with which they are associated which underpin Bayston and Penman’s attitudes towards the televisual mediation of dance. In the above examples, the two writers were acting as the ‘television critics’ of The Dancing Times, a monthly periodical that focuses almost exclusively on ballet. Hence it could be argued that Bayston and Penman approach screen dance from a classicist hierarchy in which the virtuosic, live dancing body is placed at the pinnacle of any evaluation.
There is also the possibility of camera movement even if a dancing body is static, an impression of travel can be constructed as the camera moves around the body. In much the same way that the televisual apparatus is able to construct spatial relationships that could not be recreated on stage between a dancing body and a spectator, it is also able to manipulate temporal factors. The screen body can move at certain tempi that the live body could not replicate and this technique can be achieved either during filming or in post-production.
A number of differences also exist between the television ‘screen space’ and the space that the viewer perceives on stage. One of the A Contextual Framework 31 foremost distinctions is the literal shift from a three-dimensional stage to a two-dimensional screen. Although, to some extent, the Western eye has been trained to perceive three-dimensionality within twodimensional images (Monaco, 1981), televised dance has a certain ‘flatness’ that is uncharacteristic of stage dance (Newman, 1985; Maletic, 1987–88).