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 1 (2010), Parallel Press. It is made available here with the kind permission of Parallel Press.

Highlights

  • Time was in the world of screendance when we all knew where we were: in order to be professional, the dancers danced; the choreographers made up steps for them; and the producers and directors made the decisions

  • The In t ernati onal J ournal of Screendance appraisal can be read as a corrective: a refusal to carry the categorization as a mark of artistic deficiency, with exemption from commercial concerns equated with enhanced levels of long-term developmental potential

  • Deren noted derivation from the Latin “‘amator’ or ‘lover,’ as ‘one who does something for the love of the thing rather than economic reasons or necessity’” (17) and in an identification with this motivating spirit, Brakhage noted that over the course of his career, he attracted a variety of labels to describe his own role, including “professional,” “artist” and “amateur,” observing that “of those three terms, the last one—amateur—is the one I am truly most honored by” (Brakhage 142)

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Summary

Introduction

Time was in the world of screendance when we all knew where we were: in order to be professional, the dancers danced; the choreographers made up steps for them; and the producers and directors made the decisions.

Results
Conclusion
Full Text
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