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1 Introduction: Dance and Film as Siblings |
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1 | (16) |
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Screendance: A Short History |
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2 | (1) |
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Dance on Screen: Genres and Media |
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3 | (2) |
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Dancefilm: Choreography and the Moving Image |
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5 | (2) |
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Rosenberg's Screendance: Inscribing the Ephemeral Image |
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7 | (1) |
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TAKES as Multimodal Dance |
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8 | (2) |
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Dance and Film in Conversation |
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10 | (1) |
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10 | (1) |
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Movement Beyond the I/Eye |
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11 | (1) |
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12 | (1) |
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13 | (2) |
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New Technologies: Dance as 3D's Ultimate Agent |
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15 | (2) |
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Part I Site/Sight and the Body |
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17 | (78) |
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2 Location, Location, Location: Dance Film and Site-Specific Dance |
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19 | (30) |
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Origin Stories and Parallel Aims |
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20 | (2) |
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A New Context for the Dancing Body |
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22 | (5) |
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Altering Perspectives on the Body (in Place) |
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27 | (5) |
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32 | (8) |
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40 | (6) |
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46 | (3) |
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3 The Feminist Body Reimagined in Two Dimensions: An Exploration of the Intersections Between Dance Film and Contemporary Feminism |
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49 | (20) |
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49 | (1) |
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Putting Culture into Context |
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50 | (2) |
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Kitchen Table: Engaging in Contradictions Makes Statements |
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52 | (3) |
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55 | (3) |
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Confessions of a Lacking Pursuit: Vulnerability and Defiance |
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58 | (2) |
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Yellow River: Challenging the Constructs of Imposed Identity |
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60 | (2) |
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MORE: Contesting a Culture of Hyper-Productivity |
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62 | (1) |
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Well Contested Sites: Radical Creativity and Activism |
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63 | (2) |
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In Conclusion: An Invitation for Further Dialogue |
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65 | (4) |
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4 Hollywood Cinematic Excess: Black Swan's Direct and Contradictory Address to the Body /Mind |
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69 | (26) |
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A Phenomenological Cinematic Psychosis |
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70 | (2) |
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72 | (3) |
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Vertiginous Intertextuality and the Prefiguration of Doom |
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75 | (2) |
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An Intense Auditory/Bodily Experience |
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77 | (4) |
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An `Infernal Vision of Patriarchy': Gratifying (or Subverting) the Male Gaze? |
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81 | (3) |
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A Complex Negotiation Between Misogyny and Feminism |
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84 | (2) |
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Reinvigorating and Exploiting Lesbian Cliches? |
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86 | (2) |
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Conclusion: A Feminist Phenomenological Assault |
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88 | (7) |
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Part II Movement Beyond the I/Eye |
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95 | (32) |
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5 Loie Fuller and the Poetics of Light, Colour, and Pdiythm: Some Thoughts on the Making of fugitive l(i)ght |
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97 | (22) |
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Biographical Notes on Fuller |
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99 | (2) |
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101 | (2) |
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103 | (3) |
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Loi'e Fuller's Mysterious Image |
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106 | (2) |
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108 | (1) |
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109 | (4) |
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Julia Kristeva's Opposing Drives: Revising Specular Modalities |
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113 | (6) |
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6 Naked Came I/Eye: Lights, Camera and the Ultimate Spectacle |
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119 | (8) |
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120 | (1) |
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120 | (2) |
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122 | (2) |
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124 | (3) |
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127 | (46) |
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129 | (12) |
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8 Wrestling the Beast and Not Getting Too Much Blood on Your Skirt: Integration of Live Performance and Video Projection |
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141 | (18) |
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Live Performance and Projected Performance |
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142 | (3) |
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145 | (2) |
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147 | (1) |
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148 | (1) |
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Focus, Timing and Content |
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149 | (1) |
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149 | (1) |
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150 | (1) |
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150 | (2) |
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152 | (3) |
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Intentions to Overcome the Beast |
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155 | (1) |
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Feedback on Audience Perceptions |
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155 | (4) |
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9 Turning Around the Gaze in the Age of Technological Proliferation; or, Things Are Seldom What They Seem |
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159 | (14) |
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Which Mixed Media: And Why? |
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160 | (1) |
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161 | (1) |
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The Observer and A mbiguity |
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162 | (2) |
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Other Possible Perspectives |
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164 | (1) |
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Illusion and Reality: Interpreting and Creating Meaning |
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165 | (1) |
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166 | (1) |
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Earlier Works: And the Spectator's Gaze |
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166 | (1) |
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167 | (1) |
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168 | (2) |
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Representation and Relationship in Dance |
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170 | (1) |
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Simultaneous Contradictions: Tricking the Gaze |
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171 | (1) |
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171 | (2) |
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Part IV Bodies, Spaces, Camera |
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173 | (50) |
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10 Videodance: How Film Enriches the Dance |
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175 | (24) |
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176 | (1) |
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177 | (1) |
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178 | (1) |
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179 | (2) |
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181 | (1) |
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182 | (2) |
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184 | (2) |
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186 | (1) |
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187 | (1) |
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188 | (1) |
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189 | (1) |
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189 | (2) |
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191 | (1) |
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192 | (1) |
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193 | (1) |
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193 | (6) |
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11 Maya Deren: Leaping Across Frames and Framing Leaps |
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199 | (12) |
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Dream Logic: Surrealists Versus Imagists |
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200 | (1) |
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201 | (1) |
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202 | (1) |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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205 | (2) |
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A Turn Against Psychoanalysis |
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207 | (1) |
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Physical Memory and Relational Gravity |
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208 | (1) |
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209 | (2) |
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12 Valentine for Dance Historians: Astaire on Film |
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211 | (12) |
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Film, Movement, and Dance: An Uneasy Relationship |
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212 | (1) |
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Either the Camera Will Dance, or I Will |
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213 | (2) |
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215 | (2) |
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217 | (2) |
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219 | (1) |
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220 | (3) |
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Part V New Technologies: Dance as 3D's Ultimate Agent |
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223 | (30) |
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225 | (14) |
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Breaking a Cycle of Ephemerality |
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226 | (1) |
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227 | (2) |
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229 | (1) |
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Movement as Basic Substance of Cinema |
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230 | (1) |
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Consequences of 3D Technology |
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231 | (1) |
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232 | (1) |
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233 | (1) |
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234 | (5) |
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14 Conclusion: Where the Gaze Lands |
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239 | (14) |
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A Journey in Mind and Body: Video into and Out of the Glass |
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240 | (1) |
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A Five-Minute Mixed Media History Lesson |
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241 | (1) |
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242 | (1) |
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243 | (1) |
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244 | (1) |
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244 | (1) |
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245 | (2) |
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247 | (3) |
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An Interdisciplinary Duet |
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250 | (3) |
| Bibliography |
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253 | (6) |
| Index |
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259 | |
