By S. Dodds
Dance on monitor is a complete advent to the wealthy variety of monitor dance genres. It offers a contextual review of dance within the reveal media and analyzes a range of case reviews from the preferred dance imagery of tune video and Hollywood, via to experimental artwork dance. the point of interest then turns to video dance, dance initially choreographed for the digital camera. Video dance may be visible as a hybrid during which the theoretical and aesthetic limitations of dance and tv are traversed and disrupted. This new paperback variation incorporates a new Preface through the writer protecting key advancements because the hardback version was once released in 2001.
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Extra resources for Dance on screen : genres and media from Hollywood to experimental art
In 1936 the BBC television service was officially launched and for the next three years ballet continued to be shown. Marie Rambert’s Mercury Ballet was the first company to appear on the new service and, in addition to other choreographers, Anthony Tudor created eight new ballets specifically for television (Penman, 1993). Between 1936 and 1939 40 existing ballets were also screened, which gives some indication of the proliferation of dance on television in these early years. It is also of note that the BBC did not focus exclusively on ballet, but occasionally broadcast other dance forms such as Margaret Morris’s ‘free-form’ dancing, Uday Shankar’s Indian Dance Company, and the Spanish dancer, Argentinita (Rowson Davis, 1982–83).
Yet aside from a technical explanation of ‘digital’, the question remains as to what constitutes ‘digital dance’. Rubidge (1999) argues: I would suggest that digital dance must involve the conspicuous use of choreographic concepts as an organising principle, rather than as a means of realising a more general artistic vision. In this way, a ‘choreographic sensibility’ can dominate a work which bears more resemblance to an installation than a dance work, or a work which does not even feature images or representations of the human or anthropomorphic body … (pp.
He notes: I wanted to apply the same techniques to the way I filmed [them] as I would do for a drama or anything else. So I was quite concerned to do close-ups, and two-shots, and wide shots and cut it together like I’d cut anything … That was a very deliberate decision. I didn’t have a specific dance mentality when I was making [them]. 26 Dance on Screen One of the most striking components of screen dance is the relationship between the body and the camera. There are clearly many variables in terms of where and how a director may position a camera in relation to the body and it is evident that the camera is an essential element of the choreography.