The Oxford Handbook of Screendance Studies

The Oxford Handbook of Screendance Studies offers a full overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each chapter discusses and reframe current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed embrace politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines. The Oxford Handbook of Screendance Studies features newly-commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and video-makers, dance artists, screendance artists, academics and writers, producers, composers, as well as the wider interested public. It will become an invaluable resource for researchers and professionals in the field.

Auteur

Douglas Rosenberg is Professor of Art at the University of Wisconsin - Madison and an award winning filmmaker whose work for the screen has been exhibited internationally for over 25 years. He is a theorist, writer and advocate for screendance who has organized numerous symposia and conferences on the subject. He has directed and curated the International Festival of Screendance at the American Dance festival for 20 years.

Contenu

Preface Douglas Rosenberg Introduction Douglas Rosenberg HISTORIES Chapter 1: Dance with Camera: A Curator's POV Jenelle Porter Chapter 2: Loïe Fuller's Serpentines and Poetics of Self-abnegation in the Era of Electrotechnics Izabella Pruska-Oldenhof Chapter 3: Selective Histories: moving image from the late nineteenth century to the early twenty-first Chirstinn Whyte Chapter 4: Moto-bio-cine-event: Construction of Expressive Movement in Soviet Avant-garde Film Ana Olenina Chapter 5: Brazilian Videodance: A Possible Mapping Leonel Brum Translated by Cristiane Bouger Chapter 6: Sensory Screens, Digitized Desires: Dancing Rasa from Bombay Cinema to Reality TV Pallabi Chakravorty Chapter 7: Exposed to Time: Cross-Histories of Human Motion Visualization from Chrono- to Dynamophotography Nicolás Salazar-Sutil and Sebastián Melo Chapter 8: In the Blink of an Eye: Norman McLaren Between Dance and Animation Alanna Thain Chapter 9: An Interdisciplinary Reading of the Film Entr'Acte Claudia Kappenberg Chapter 10: Light, Shadow, Screendance: Catherine Galasso's Bring on the Lumière! Selby Wynn Schwartz Chapter 11: The Best Dance Is the Way People Die in Movies (or Gestures Toward a New Definition of "Screendance") Roger Copeland THEORIES Chapter 12: Kinesthetic Empathy: Conditions for Viewing Karen Wood Chapter 13: Virtualizing Dance Kim Vincs Chapter 14: Sound as Choreographic Object: A Perceptual Approach to the Integration of Sound in Screendance Jürgen Simpson Chapter 15: Screendance as Enactment in Maya Deren's At Land: Enactive, Embodied, and Neurocinematic Considerations Pia Tikka and Mauri Kaipainen Chapter 16: Corporeal Creations in Experimental Screendance: Resisting Socio-political Constructions of the Body Sophie Walon Chapter 17: Dancing in the City: Screens, Landscape, and Civic Phenomenology in the Screendance of Terrance Houle Jessica Jacobson-Konefall Chapter 18: Privileging Embodied Experience in Feminist Screendance? Frances Hubbard Chapter 19: Extending the Discourse of Screendance: Dance and New Media Andrea Davidson Chapter 20: Gadgets, Bodies, and Screens: Dance in Advertisements for New Technologies Melissa Blanco Borelli Chapter 21: Empire, Vision, and the Dancing Touch: Gendered Moving Arts on Postcolonial Indian Screens Esha Niyogi De Chapter 22: Behind the Screens: Race, Space, and Place in Saturday Night Fever Sima Belmar Chapter 23: Longing for Depth: The Frame of Screened Stages in the Screendance Spectacles of Busby Berkeley Rachel Joseph Chapter 24: Towards an Aesthetical Approach to Screendance Susana Temperley Translated by Silvina Szperling PRACTICES Chapter 25: Yvonne Rainer's Lives of Performers: an "undisciplined" encounter with the avant-garde Erin Brannigan Chapter 26: From Oakland Turfs to Harlem's Shake: Hood Dance on YouTube and Viral Antiblackness Naomi Elizabeth Bragin Chapter 27: The Virtual Body is Real! Phenomenological and Post-phenomenological Perspectives in Mediadance Mirella Misi and Ludmila Pimental Chapter 28: Interface: Jonah Bokaer & the Screen Inside Michael Jay McClure Chapter 29: Where is the Choreography? Who is the Choreographer? Alternate Approaches to Choreography through Editing Priscilla Guy Chapter 30: Real for Reel: Extending Corporeal Frontiers Through Screendance Editing Marisa Hayes Chapter 31: Scriptwriting Dance: The First Point of Integration for a Dance Screen Work Tracie Mitchell Chapter 32: Transcending Dimensions: Physical and Virtual Dancing Bodies Sita Popat Chapter 33: Can Rihanna Have Her Cake And Eat It Too?: A Schizophrenic Search for Resistance Within the Screened Spectacles of a Winin' Fatale Adanna Jones Chapter 34: A Rhizomatic Revolution?: Popular Dancing, YouTubing, and Exchange in Screendance Naomi Jackson Chapter 35: Resurrecting the Future: Body, Image, and Technology in the Work of Loïe Fuller Ann Cooper Albright Chapter 36: Bill Robinson and Shirley Temple Tap Past Jim Crow Ann Murphy Index