Abstract
No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
For the first seminar of the AHRC Screendance Network at the University of Brighton (September 2009), Claudia Kappenberg invited Professor Ian Christie to give a presentation based on his Slade Lectures at Cambridge University in 2006, in which he surveyed the history of cinema under the title: The Cinema has not yet been invented.1Appropriated as “Screendance has not yet been invented,” Professor Christie’s phrase has constituted a useful starting point for the Screendance Network, facilitating a critical review of the development of screendance in the context of twentieth century film and a reflection on the possibilities inherent in the art form.2In his Slade Lectures, Ian Christie examined debates across the twentieth century, which considered film variously as a mechanical advance, as popular entertainment or as a form of art
The different points of view create a healthy diversity of discourses and references, and allow for the development of a variety of platforms and audiences
The original series of Slade Lectures consisted of eight lectures; the transcribed material below summarizes the key points and issues that were presented in the lecture to the Screendance Network
Summary
For the first seminar of the AHRC Screendance Network at the University of Brighton (September 2009), Claudia Kappenberg invited Professor Ian Christie to give a presentation based on his Slade Lectures at Cambridge University in 2006, in which he surveyed the history of cinema under the title: The Cinema has not yet been invented.1Appropriated as “Screendance has not yet been invented,” Professor Christie’s phrase has constituted a useful starting point for the Screendance Network, facilitating a critical review of the development of screendance in the context of twentieth century film and a reflection on the possibilities inherent in the art form.2In his Slade Lectures, Ian Christie examined debates across the twentieth century, which considered film variously as a mechanical advance, as popular entertainment or as a form of art. Different bodies of work such as popular narrative cinema and experimental film practices continue to hold conflicting views as to the potential and use of the medium.
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