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Zusatztext A significant contribution to the field. Brannigan has provided us with an historical context, terminology and other tools for discussing dancefilm. She has assembled a particular cast of theorists, historians, choreographers, filmmakers and dancefilm artists. She has provided a platform upon which further development of screendance can spring. Can we now step forward, respond to and acknowledge her offering, and continue the conversation? Informationen zum Autor Erin Brannigan works in dance and film as a journalist, academic and curator. She was the founding Director of ReelDance International Dance on Screen Festival and has curated dance screen programs and exhibitions for Sydney Festival 2008, Melbourne International Arts Festival 2003 and international dance screen festivals. Erin writes on dance for the Australian arts newspaper, RealTime and lectures in the School of English, Media and Performing Arts at the University of New South Wales. Klappentext Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers. The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughly interdisciplinary. Zusammenfassung Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It examines some of the most significant collaborations between dancers, choreographers, and filmmakers and presents new models of cinematic movement that are historically informed and interdisciplinary in nature. Inhaltsverzeichnis Preface About the Companion Website Introduction 1.: Modern Movement, Dance, and the Birth of Cinema 2.: The Close-up: Micro-choreographies 3.: Gesture-Dance 4.: Maya Deren: Strategies for Dancefilm 5.: Anarchic Moves, Experimental Cinema 6.: The Musical: Moving Into Dance 7.: Dancefilm as Gestural Exchange Filmmography Bibliography ...
