By Franck Boulegue, Marisa C. Hayes
Artwork in movement is an engrossing selection of essays that examines numerous elements of educational and creative study within the box of screendance. initially offered throughout the overseas Screendance convention on the pageant overseas de Video Danse de Bourgogne, those texts think of the choreography of relocating photographs from quite a few angles, together with somatic digital camera paintings, aesthetic and gestural research, and old learn that delves into cinema's earliest depictions of dance, in addition to views from modern screendance artists. The geographic range of the members, a lot of whom are translated into English for the 1st time during this quantity, displays the growing to be variety of screendance students and artists worldwide, supplying precious insights from France, the uk, Mexico, Brazil, Hungary, and the U.S.. artwork in movement adopts a vast definition of screendance that explores circulate on display and with the digicam in lots of varieties, inside of either the conventional dance movie and past, whereas bringing up parallels among different inventive events and practices that elevate vital questions about the position of screendance in relocating photograph and choreographic cultures.
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Extra info for Art in Motion: Current Research in Screendance / Art En Mouvement
Filmmakers experimented with anything that allowed them to ‘liberate’ filmmaking from the constraints of cinema. However, this experimentation provoked concerns on the part of other filmmakers and theorists who were keen to conserve what was ‘essentially’ film. They wanted to preserve filmmaking as a separate practice to maintain the status of film as an art form. Jonathan Walley writes: A belief in and commitment to the specificity of film had been key to the assertion of cinema’s autonomy within the pantheon of the arts, and, as important, to experimental cinema’s articulation of its identity as an artistic tradition.
De même, la troisième séquence de Fase se concentre sur le plaisir de nature tactile que prend De Keersmaeker à inscrire la marque de ses mouvements sur le sol sableux. Sophie Walon 17 Les mouvements, les images, les sons et les espaces revêtent donc des qualités tactiles dans les ciné-danses de De Mey. Cela s’explique notamment par le fait que le réalisateur mobilise pleinement la capacité des images et des sons à évoquer les autres sens et notamment celui du toucher. 4 Les ciné-danses de De Mey génèrent ainsi de nombreux effets synesthésiques.
Ces éléments trouvent des échos dans les techniques filmiques qu’utilise De Mey : les travellings circulaires dans la salle de classe où les femmes sont assises sur des chaises comme des écolières et les longs plans-séquence pris dans les couloirs semblent aussi incarner une instance de surveillance et de contrôle, renforçant ainsi l’impression de répression que véhicule le film. Dans ce film, les mouvements, l’espace, les stratégies filmiques ainsi que les sensations qui en résultent sont les porteurs d’une micro-fiction, celle de désirs sensuels et de velléités d’insubordination qu’une autorité extérieure semble réprimer et que, probablement inconsciemment, les corps semblent intérioriser.