Dancefilm : Choreography and the Moving Image
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.
- Paperback | 240 pages
- 160 x 232 x 17mm | 326g
- 10 Mar 2011
- Oxford University Press Inc
- New York, United States
- 37 halftones
Table of contents
converses with the avant garde. * David Hinton, Film-maker * This book makes a convincing case for recognizing that work choreographed by and with the camera is an artform with its own distinct properties. Drawing on philosophy, dance studies, and film theory, Brannigan offers acute insights into the nature of dancefilm. * Ramsay Burt, Professor of Dance History, De Montfort University * Images move; dancers make images: the complexities of this choreographic interweave are here explored in a range of illuminating ways. Erin Brannigan's book is an innovative contribution of equal importance to Cinema Studies and Dance Research. * Jane Goodall, Adjunct Professor, Writing and Society Research Group, The University of Western Sydney * Tackling a large-scale agenda from a meticulously researched and unapologetically dance-centred perspective, Dancefilm is a much-needed resource for the serious scholar. * RealTime * 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? * Dancefilm Journal *
About Erin Brannigan
at the University of New South Wales.