By S. Dodds
Dance on display is a finished creation to the wealthy range 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 focal point then turns to video dance, dance initially choreographed for the digicam. Video dance should be visible as a hybrid during which the theoretical and aesthetic barriers of dance and tv are traversed and disrupted. This new paperback version features a new Preface by means of the writer masking key advancements because the hardcover version was once released in 2001.
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Extra resources for Dance on Screen: Genres and Media from Hollywood to Experimental Art
The fact that ‘narrative’ and ‘character’ are regular features of the television medium, with its potential for close-ups, reaction shots, point of view shots,13 and multiple locations, is perhaps the reason why the two critics see dance-theatre as being more suited to the medium. In contrast to the almost technophobic sentiments expressed by some critics, certain writers do acknowledge the extent to which the filmic/televisual apparatus is intrinsic to screen dance, in particular that which is originally conceived for the screen.
Implicit within these comments is an adverse reaction to the role of technology in dance. It is perhaps indicative of the critical frameworks employed by these two writers and of the periodicals with which they are associated which underpin Bayston and Penman’s attitudes towards the televisual mediation of dance. In the above examples, the two writers were acting as the ‘television critics’ of The Dancing Times, a monthly periodical that focuses almost exclusively on ballet. Hence it could be argued that Bayston and Penman approach screen dance from a classicist hierarchy in which the virtuosic, live dancing body is placed at the pinnacle of any evaluation.
1121) Again, it is striking that Penman fails to mention the use of black and white and the unedited close-up camera work that are intrinsic to the design and quality of the piece. It is clear from these descriptive analyses that both Parry (1994) and Penman (1996) are conceptualizing screen dance within a theatre dance framework. The focus of their writing is geared towards dance content and emergent themes, without any indication of the role that the televisual apparatus plays in the movement and thematic construction.