Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers. The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughly interdisciplinary.
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克拉考尔不早就说了，舞蹈、追逐和动静对比是电影艺术独特的兴趣点所在。所以“身体”除了政治议题之外也有独特的戏剧效果。希区柯克和霍克斯的镜头运动里面都有不少例子。
评分克拉考尔不早就说了，舞蹈、追逐和动静对比是电影艺术独特的兴趣点所在。所以“身体”除了政治议题之外也有独特的戏剧效果。希区柯克和霍克斯的镜头运动里面都有不少例子。
评分克拉考尔不早就说了，舞蹈、追逐和动静对比是电影艺术独特的兴趣点所在。所以“身体”除了政治议题之外也有独特的戏剧效果。希区柯克和霍克斯的镜头运动里面都有不少例子。
评分克拉考尔不早就说了，舞蹈、追逐和动静对比是电影艺术独特的兴趣点所在。所以“身体”除了政治议题之外也有独特的戏剧效果。希区柯克和霍克斯的镜头运动里面都有不少例子。
评分克拉考尔不早就说了，舞蹈、追逐和动静对比是电影艺术独特的兴趣点所在。所以“身体”除了政治议题之外也有独特的戏剧效果。希区柯克和霍克斯的镜头运动里面都有不少例子。
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