By S. Dodds
Dance on monitor is a complete advent to the wealthy variety of display dance genres. It offers a contextual review of dance within the reveal media and analyses a range of case reports from the preferred dance imagery of song, 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 may be noticeable as a hybrid within which the theoretical and aesthetic limitations of dance and tv are traversed and disrupted.
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Additional resources for Dance on Screen: Genres and Media from Hollywood to Experimental Art (Vlot Afrikaans)
Cross fades, white-outs, tracking shots, speededup time shots, and pixilated images. But dance of any established movement vocabulary was distinctly lacking. (p. 1172) This type of critique sets up a hierarchical conceptualization of dance, with the virtuosic body and codified techniques at the peak of the evaluation, and only recognizes the explicit movement content as the discernible element of dance. This attitude fails to acknowledge the role of the televisual apparatus in the construction of motion within screen dance.
In response, Cunningham and Atlas choreographed the movement and the camera in such a way that the dancers regularly came in close proximity to the camera. Another difficulty that Cunningham recognized was the triangular camera space, which is exceedingly narrow at the front and then tapers outwards. Therefore in Fractions (1978, directed by Charles Atlas) Cunningham groups the dancers in a wedge-like formation with one dancer close to the camera and lines of two and three dancers behind (Maletic, 1987–88).
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.