Mitoma, Judith: Envisioning dance on film and video. New York/London: Routledge 2002
Survey: The book examines how dance is captured on film and video, covering its historical evolution, technical challenges, and creative innovations. It features contributions from choreographers, directors, and editors, providing diverse perspectives on integrating dance and media.
Question: How has technology shaped the filming of dance? What methods do filmmakers use to adapt choreography for the camera? Who are contributors to the field of dance on film and what are their notable works?
Read: The introduction of the book highlights the significance of recording dance for archival and creative purposes, exploring tools like cinematography and editing. Specific chapters detail milestones in dance film history, profiles of innovators – like for example Merce Cunningham – and techniques for preserving choreography.
Recite:
Chapter 1: Dance as Television: A Continuing Challenge
- Dance and television have had a complicated relationship, as TV often prioritizes entertainment over the artistic integrity of dance.
- Early broadcasts struggled to capture the full energy and complexity of live performances.
- Pioneers like Jac Venza explored ways to adapt choreography for TV while keeping its artistic value.
- Television pushed dance creators to innovate by thinking beyond the stage.
- There was resistance from traditionalists who feared the loss of the „live experience.“
- However, these adaptations allowed for a new form of creative expression that could reach global audiences.
Chapter 2: Music Video as Short Form Dance Film
- This chapter explains how dance is adapted for film and video, the creative techniques used by choreographers and filmmakers, and the ways technology enhances or changes the presentation of movement.
- It also explores the historical development of dance media, the intersection of visual and performing arts, and the evolving role of film as a tool for preserving and reinterpreting dance.
- Music videos revolutionized dance on film by blending choreography with cinematic storytelling.
- Directors used fast editing, close-ups, and creative camera movements to amplify the energy of the dance.
- Examples like Michael Jackson’s Thriller showcased how dance could drive a narrative and reach mass audiences.
Some general Keywords:
- Preservation (Dance captured for future study and enjoyment)
- Adaptation (Choreography reimagined for film and TV)
- Audience Accessibility
- Creative tools (Camera angles, lighting, editing)
- Pioneers (Merce Cunningham, Jac Venz)
- Music videos (Dance and film merging to tell stories visually)
- Multi-Camera Techniques
Review: The book connects historical practices with contemporary innovations, demonstrating how film has become a vital tool for the preservation and evolution of dance. It bridges performance and media, offering practical insights for dancers, filmmakers, and scholars.
Is the author an expert? Judy Mitoma is an expert in intercultural performing arts, having led the UCLA Center for Intercultural Performance and the Department of World Arts and Cultures.(https://www.wacd.ucla.edu/people/retired-faculty/judy-mitoma)
How would you rate the structure of the text, the quality of the content, the style? Written from the perspective of Jac Venza, Chapter 1 highlights his role as an American public television producer who was directly responsible for most of the theater and music programs seen on PBS since its creation in 1970. Because of his expertise, it is really nice to read, and even with it being more of a personal experience, it is definitely not useless or less valuable information. I would rather say it is to get to know the history from the inside. Furthermore, the texts examine their topics in much detail. There are a lot of references, shows, experts and so on mentioned to support greater research in depth in its fields. Generally, it is structured clearly due to bullet points, graphics and pictures with descriptions.
The second Chapter against the first is written scientifically. The examples and references to continue like in the previous chapter, and it has many important pioneers mentioned as well. Visually and in writing, it is clear from where certain passages in the texts are cited and are obviously used word by word. I really liked this while reading, because I researched the mentioned literature and got into my research even deeper.
Is the book/article useful for your purpose? If yes, which chapter % aspects? If not, why not? What is missing, what is inadequate? For the theoretical part of my master thesis, it can be really helpful, but I also think that the first two chapters are not that necessary for my topic. I want to go more in depth with my written part, thus writing more about the visual language in dance films or videos. So Chapter 14, which is titled “A Dancer behind the Lens” will be more useful for my purpose and my thesis’ theoretical part. Finally, I would say the first two chapters are not inadequate, but I would only pick out small points of the chapter’s content.
Excerpt
- How does contemporary dance differ from traditional storytelling techniques in film?
Contemporary dance diverges from traditional storytelling techniques by focusing on abstraction, gesture, and movement rather than dialogue or structured narratives. Unlike film, which often adheres to a clear dramatic arc and character development, contemporary dance prioritizes the emotive and interpretive power of physical motion. However, some choreographers have begun to reintegrate narrative elements into their works, blending traditional and modern approaches to storytelling. (S.163)
- What role does the setting play in the storytelling of dance films like Enter Achilles and Reines d’un jour?
In dance films such as Enter Achilles and Reines d’un jour, the setting serves as a crucial narrative element that enriches the choreography. In Enter Achilles, the British pub setting grounds the dance in a realistic sociocultural context, while in Reines d’un jour, the natural Swiss village landscape contrasts with modern dancers, highlighting themes of generational change. The settings are not mere backdrops but active participants in the storytelling, amplifying the emotional and thematic resonance of the dances. (S. 164-165)
- What makes Pascal Magnin’s Contrecoup an effective example of blending stage and cinematic elements?
Pascal Magnin’s Contrecoup effectively blends stage and cinematic elements by using distinct locations, lighting, and camera techniques to contrast and eventually merge the stage and street worlds. His dynamic editing, close-ups, and use of real-world settings heighten the emotional intensity and psychological depth of the choreography. By tying all movements and scenes to the characters’ conflicts and resolutions, Magnin crafts a narrative that maintains the abstraction of dance while adhering to the cause-and-effect structure of classical storytelling. (S. 165-166)
