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Books > Arts & Architecture > Performing arts > Dance
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Screendance - Inscribing the Ephemeral Image (Hardcover, New)
Loot Price: R2,770
Discovery Miles 27 700
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Screendance - Inscribing the Ephemeral Image (Hardcover, New)
Expected to ship within 10 - 15 working days
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The relationship between the practice of dance and the technologies
of representation have excited artists since the advent of film.
Dancers, choreographers, and directors are increasingly drawn to
screendance, the practice of capturing dance as a moving image
mediated by a camera. While the interest in screendance has grown
in importance and influence amongst artists, it has until now flown
under the academic radar. Emmy-nominated director and auteur
Douglas Rosenberg's groundbreaking book considers screendance as
both a visual art form as well as an extension of modern and
post-modern dance without drawing artificial boundaries between the
two. Both a history and a critical framework, Screendance:
Inscribing the Ephemeral Image is a new and important look at the
subject. As he reconstructs the history and influences of
screendance, Rosenberg presents a theoretical guide to navigating
the boundaries of an inherently collaborative art form. Drawing on
psycho-analytic, literary, materialist, queer, and feminist modes
of analysis, Rosenberg explores the relationships between camera
and subject, director and dancer, and the ephemeral nature of dance
and the fixed nature of film. This interdisciplinary approach
allows for a broader discussion of issues of hybridity and
mediatized representation as they apply to dance on film. Rosenberg
also discusses the audiences and venues of screendance and the
tensions between commercial and fine-art cultures that the form has
confronted in recent years. The surge of screendance festivals and
courses at universities around the world has exposed the friction
that exists between art, which is generally curated, and dance,
which is generally programmed. Rosenberg explores the cultural
implications of both methods of reaching audiences, and ultimately
calls for a radical new way of thinking of both dance and film that
engages with critical issues rather than simple advocacy.
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