Titlebook: Dance’s Duet with the Camera; Motion Pictures Telory D. Arendell,Ruth Barnes Book 2016 The Editor(s) (if applicable) and The Author(s) 2016

SLAG

Posterior Approach to Cervical Spine with moving images discuss their own work in mixed media production, drawing on writings by Philip Sandifer, Walter Benjamin, and Douglas Rosenberg as well as Wim Wenders’s film . (2011). These narratives about process, application—and, in a very real sense, making theory visible—provide an opening

commensurate

保守

進(jìn)步

Xi’an Zhang,Yun-tao Lu,Songtao Qi film, or an intersection of framing choices and point of view, has the potential to alienate movement such that the laws of gravity are contested and the manipulation of time either gives the audience an opportunity to watch movement in slow motion or give the image sequence a more narrative feelin

CORE

Basic Research in Craniopharyngiomahot in her films had a clear choreographic impulse that redefined the camera’s relation to moving bodies on film. She declared herself an Imagist, divorcing her work from more symbolic precedents. Space and time are disordered in her films to disturb the very basis of meaning. This juxtaposition of

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Michelle F. Dawson,Alexis Salernot ‘Either the camera will dance, or I will,’ Astaire altered the way dance was filmed. Changes he instituted ensured that the continuity of movement was sustained and gave the film audience a privileged view of the dance that far surpassed that of the audience in a conventional theatre. This essay d

hangdog

Morgan Schellenberg,Kenji Inabae filmmakers Marlene Millar and Philip Szporer used stereoscopic 3D techniques and 7.1 Surround Sound as well as archival photographs and sound from the NFB archives to tell the story, adapted from Pite’s internationally lauded stage production. . commemorates the fading legacies of World War I, whi

BOOM

Shihab Sugeir,Alice Gallo de Moraesr beyond dance technique and video technology to create a work that is both dance and video (or, video and dance). The collaboration between dance and the camera is like a tango: the two mediums, like the dancers, are mutually supportive and full of surprises, incorporating twists and reconfiguratio

Commodious

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https://doi.org/10.1057/978-1-137-59610-9performance; camera; film; screen; movement; media; contemporary; technology; identity; videodance; site-speci