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The Dance Company Film

The Dance Company Film pamela krayenbuhl public-facing dance media have been have slipped through the cracks of film and widely available for decades. Examples- in media studies because they are not well clude the dance-heavy movie musicals of the known outside of the dance world; meanwhile, 1930s–50s, competition and reality television most dance scholars have evaluated them pri - shows likeS o You Think You Can Dance, and marily in terms of their effectiveness as faithful games like Dance Dance Revolution. All of records of performance events or as notations these have been the subjects of inquiry for intended for restaging. What has therefore media scholars seeking to understand not been overlooked in the surface-level treatment only the kinds of meaning-making in which of dance documentation films is the potential these artifacts engage, but also how dance is for them to reveal something about their c - re involved in the process. However, both the ators and the institutions they represent - . In general public and media scholars are less deed, I would like to suggest that while these familiar with media created by and for “the recordings ostensibly serve a documentary or dance world” itself. These are normally doc - u http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

The Dance Company Film

Journal of Film and Video , Volume 74 (1) – Apr 6, 2022

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

pamela krayenbuhl public-facing dance media have been have slipped through the cracks of film and widely available for decades. Examples- in media studies because they are not well clude the dance-heavy movie musicals of the known outside of the dance world; meanwhile, 1930s–50s, competition and reality television most dance scholars have evaluated them pri - shows likeS o You Think You Can Dance, and marily in terms of their effectiveness as faithful games like Dance Dance Revolution. All of records of performance events or as notations these have been the subjects of inquiry for intended for restaging. What has therefore media scholars seeking to understand not been overlooked in the surface-level treatment only the kinds of meaning-making in which of dance documentation films is the potential these artifacts engage, but also how dance is for them to reveal something about their c - re involved in the process. However, both the ators and the institutions they represent - . In general public and media scholars are less deed, I would like to suggest that while these familiar with media created by and for “the recordings ostensibly serve a documentary or dance world” itself. These are normally doc - u

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 6, 2022

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