Abstract
This article explores some ways in which screendance might invite a greater or deeper degree of kinesthetic empathy than is traditionally possible with live performance. In particular, the use of the close-up and the creation of editing rhythms are two strategies that extend screendance viewers' kinesthetic empathy into a more intimate relationship with the dance(rs). Furthermore, this article analyzes Katrina McPherson's screendance The Truth as a case study in which this intimate viewing relationship is characterized by a kind of voyeurism shared with the act of viewing surveillance. I draw on some surveillance theory and artist Jill Magid's piece Evidence Locker in order to explore the surveillance aspects of The Truth.
Highlights
This article explores some ways in which screendance might invite a greater or deeper degree of kinesthetic empathy than is traditionally possible with live performance
In this writing I argue that the use of surveillance-style footage in Katrina McPherson’s screendance The Truth reveals how a certain voyeurism characterizes viewing patterns of screendance more generally
The camera in screendance makes possible for viewers a space of intimacy in which, like with surveillance and surveillance-style footage, it conveys intimate information about the dance(rs) through images that appeal to the viewers’ imaginations
Summary
This article explores some ways in which screendance might invite a greater or deeper degree of kinesthetic empathy than is traditionally possible with live performance.
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