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
My intention when first deciding to film dance was to investigate how the camera relates to human movement, and so, perhaps, to discover something in general about the nature of film itself
I had been provoked by what I believe to be a fundamental misconception about film: “How can you marvel at the human body in motion if the rhythm and movement are created by the editor, not the dancer?”1 Anne Bilson, who asked this question, is a film critic writing about the way dance has been filmed. She would seem to be saying that dance is something that film can obscure: that there is something actual, and that film serves as a means to record that actuality
As a filmmaker I have worked with the following elements in pursuit of pulse: Bodily movements and processes; Change of angle of view of that movement; Selection by means of framing; Focus pulling and camera movement; Sequence of revelation of a body or bodies; The In t er nati onal J our nal of Scr eendance
Summary
My intention when first deciding to film dance was to investigate how the camera relates to human movement, and so, perhaps, to discover something in general about the nature of film itself. She would seem to be saying that dance is something that film can obscure: that there is something actual, and that film serves as a means to record that actuality. As a filmmaker I have worked with the following elements in pursuit of pulse: Bodily movements and processes; Change of angle of view of that movement; Selection by means of framing; Focus pulling and camera movement; Sequence of revelation of a body or bodies; The In t er nati onal J our nal of Scr eendance
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