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date: 10 July 2020

Abstract and Keywords

Beginning with the traditions of Chinese shadow-theater and the magic lantern, and progressing through the photographic innovations of late-nineteenth-century motion studies, including the work of Eadweard Muybridge and Etienne-Jules Marey, the moving image established itself and gained nonlinear dance-related freedom in the work of René Clair and Ferdinand Leger. This informed its legacy in the twentieth-century avant-garde film movement and in the works of dance-based filmmakers such as Maya Deren and Shirley Clarke, with particular reference to Deren’s notion of “vertical form” and concept of the term “choreographic” as used within a screen context. Meanwhile, despite the dominance of more narrative-based film and television industry production models, so-called hybrid dance/screen practice arose from twenty-first-century artists such as Katrina McPherson, Alex Reuben, and Lisa May Thomas. The chapter concludes with recent writing on the history of mobile filmmaking by Caridad Botella Lorenzo and the potential future impact of mobile technologies.

Keywords: Eadweard Muybridge, Maya Deren, vertical form, hybrid dance/screen practice, Katrina McPherson, Caridad Botella Lorenzo, mobile filmmaking

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