Abstract
The article explores figurations of movement in Siobhan Davies’ and David Hinton’s found footage film All This Can Happen (2012), which refers to the work of prose The Walk (Der Spaziergang, 1917) by Robert Walser. It focuses on walking as act from a perspective of movement analysis in performance and dance studies. The essay unfolds questions about the filmic rhythm and montage in relation to the bodily movement of walking and its discursive contexts. It analyzes figurations like rhythm and pace, balance and imbalance, (dis-)orientation, relations to space and to others (choreography, social dimensions). This article argues that Davis’s and Hinton’s mise en scène generates a specific mode of physically engaged, aesthetic experience for the viewer by blending in visual composition with sensations of bodily movement.
Highlights
Choreographer Siobhan Davies’ and writer David Hinton’s fifty-minute film, All This Can Happen (2012) is a referential found footage film.[1]
The article explores figurations of movement in Siobhan Davies’ and David Hinton’s found footage film All This Can Happen (2012), which refers to the work of prose The Walk (Der Spaziergang, 1917) by Robert Walser
It focuses on walking as act from a perspective of movement analysis in performance and dance studies
Summary
Choreographer Siobhan Davies’ and writer David Hinton’s fifty-minute film, All This Can Happen (2012) is a referential found footage film.[1]. The article explores figurations of movement in Siobhan Davies’ and David Hinton’s found footage film All This Can Happen (2012), which refers to the work of prose The Walk (Der Spaziergang, 1917) by Robert Walser.
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