Dance’s Duet with the Camera


Book Description

Dance’s Duet with the Camera: Motion Pictures is a collection of essays written by various authors on the relationship between live dance and film. Chapters cover a range of topics that explore dance film, contemporary dance with film on stage, dance as an ideal medium to be captured by 3D images and videodance as kin to site-specific choreography. This book explores the ways in which early practitioners such as Loïe Fuller and Maya Deren began a conversation between media that has continued to evolve and yet still retains certain unanswered questions. Methodology for this conversation includes dance historical approaches as well as mechanical considerations. The camera is a partner, a disembodied portion of self that looks in order to reflect on, to mirror, or to presage movement. This conversation includes issues of sexuality, race, and mixed ability. Bodies and lenses share equal billing.




Consuming Dance


Book Description

Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.




Making Video Dance


Book Description

Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance. This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina’s own screen dance practice, with reference to specific works that she has directed and which are available to view online New and revised practical exercises New illustrations specially drawn for this edition




The Bloomsbury Companion to Dance Studies


Book Description

The Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry: Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance, Dance History, Dance and Philosophy, and Digital Dance. Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized its teaching and research. Therefore each author speaks to the labels, methods, issues and histories of each given category, while also exemplifying this scholarship in action. The dances under investigation range from experimental conceptual concert dance through to underground street dance practices, and the geographic reach encompasses dance-making from Europe, North and South America, the Caribbean and Asia. The book ends with a chapter that looks ahead to new directions in dance scholarship, in addition to an annotated bibliography and list of key concepts. The volume is an essential guide for students and scholars interested in the creative and critical approaches that dance studies can offer.




Dance on Screen


Book Description

Dance on Screen is a comprehensive introduction to the rich diversity of screen dance genres. It provides a contextual overview of dance in the screen media and analyzes a selection of case studies from the popular dance imagery of music video and Hollywood, through to experimental art dance. The focus then turns to video dance, dance originally choreographed for the camera. Video dance can be seen as a hybrid in which the theoretical and aesthetic boundaries of dance and television are traversed and disrupted. This new paperback edition includes a new Preface by the author covering key developments since the hardback edition was published in 2001.




Wireless World


Book Description







Big Deal


Book Description

Bob Fosse (1927-1987) is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era--a group that included Jerome Robbins, Gower Champion, Michael Kidd, and Harold Prince--to equal his Broadway success in films. Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza with a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final efforts, the film Star 80 and the musical Big Deal, written and directed by Fosse, were rejected by audiences and critics. A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of mentors George Abbott and Jerome Robbins on his work. It examines how each of the important women in his adult life--all dancers--impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.




Gower Champion


Book Description

Gower Champion's career spanned the years during which American musical theatre was transformed from a crude popular entertainment into a sophisticated art form. As the director and choreographer of Hello, Dolly!, 42nd Street, and other Broadway musicals, he was central to that transformation. He came of age during the zenith of American musical theatre production and made his mark on both sides of the curtain. As a dancer, he gained notoriety through his work with Jeanne Tyler and Marjorie Belcher, and his experience as a performer gave him a solid foundation for his later success as an organizer of memorable productions. As a choreographer and director, he became known for spectacular numbers that blended dance, staging, and elaborate scenography. More than anyone else, he seemed to realize that the achievement of a musical depended on those spots where music, dance, lighting, costumes, and staging created a sustained narrative and emotional flow through sound and motion rather than words. This book provides the first extensive treatment of Champion's life and legendary career. The book falls neatly into two main sections. The first discusses Champion's career as a performer, with chapters on his early Broadway appearances and his work for MGM Special attention is given to how his experiences as a dancer prepared him for the later half of his career. The second examines his work as a choreographer and director and is organized around the musicals with which he was involved. Each chapter consists of a history of one or more of those productions, from original concept to opening night and sometimes beyond, as Champion, ever the perfectionist, sought to improve on what everyone else thought was already perfect. The volume is fully documented, with basic historical research conducted at several special collections. In addition, the book is based on a careful analysis of Champion's scripts, which include numerous revisions and thus illuminate how he crafted his productions. Finally, the study depends on interviews conducted with various individuals who knew and worked with Champion throughout his impressive career.




LO: TECH: POP: CULT


Book Description

This edited collection assembles international perspectives from artists, academics, and curators in the field to bring the insights of screendance theory and practice back into conversations with critical methods, at the intersections of popular culture, low-tech media practices, dance, and movement studies, and the minoritarian perspectives of feminism, queer theory, critical race studies and more. This book represents new vectors in screendance studies, featuring contributions by both artists and theoreticians, some of the most established voices in the field as well as the next generation of emerging scholars, artists, and curators. It builds on the foundational cartographies of screendance studies that attempted to sketch out what was particular to this practice. Sampling and reworking established forms of inquiry, artistic practice and spectatorial habits, and suspending and reorienting gestures into minoritarian forms, these conversations consider the affordances of screendance for reimaging the relations of bodies, technologies, and media today. This collection will be of great interest to students and scholars in dance studies, performance studies, cinema and media studies, feminist studies, and cultural studies.