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date: 10 July 2020

(p. 749) Index

(p. 749) Index

abnormal bodies, 321, 329–30, 342
absolute synchronization, sound and, 294–97
abstraction
in animation and screendance, 172
art and introduction of, 56
of body by screen in False Start (2008), 581–83, 582f
Ackerman, Chantal, 534n76
The Actor and His Body (Pisk), 647
actors
Kuleshov on emotion and, 94
Kuleshov’s principles for rhythm and, 93–94, 93f, 100
scripts assisting, 646
Vertov on human material and, 95–96, 100
Adaptive Lines (2007), 30
advertisements for gadgets
bodies and brand identity in, 430
capitalism and, 421–22, 434
desire and, 421
“flexible citizenship” and, 429
Lenovo Idea Pad Yoga’s “The Pursuit,” 427–29
Microsoft’s Surface Pro tablet commercials, 426, 430–34
Roomba commercial, 434
Samsung Galaxy S2 Dual Core smartphone commercial, 426–27
soul through dance in, 432
sound and choreography in, 433
Aeppli, Simon, 72
aesthetic behavior, 500
aesthetic emotion. See rasa
aesthetic fact, art and, 500
aesthetics
“aspectual properties” and, 501
authorial intention and, 500–501
Biped’s world and choices with, 662
of Bombay films, 127
of Cage, 522–23
Clair on cinema and, 228
of dance, 499–500
displeasure and, 509–10
hood dance and improvisational, 537–38
installations and, 507
mobile devices and, 72–74
screendance and appreciation of, 501–2
screendance and approaches to, 505–10
screendance properties and, 503–5, 510–11
AffeXity (2011-2012), 408
African Americans. See also antiblackness; black sexuality; hood dance
Astair and influence of, 474n15
Cyrus’ cultural appropriation from, 549
Harlem Shake memes and parodying, 548
hip-hop choreo and, 539–41
hood dance and realities of, 545–46
Italian-American neighborhoods and tensions with, 464, 472, 477n46
RIP videos and police surveillance of, 542–43
Saturday Night Fever appropriating culture of, 462, 465
Singin’ in the Rain and cultural appropriation from, 464
turfing and social empowerment of, 546–47
Aggiss, Liz, 232–33, 292, 296, 509–10
Agon (1957), 35
Akinyele, Adesola, 245
Alam Ara (1931), 130
Alban, Amadeu, 110–11
Alberti, Leon Battista, 658–59
Albright, Ann Cooper, 59n16, 595–96
Alencar, Jorge, 110–11
Alexeïeff, Alexandre, 167–68
Alfred, Taiaike, 349–50, 359
(p. 750) alienation, 423
Allan, Vicky, 521
Allsopp, Ric, 400
All That Is Solid Melts Into Air (Berman), 196, 203n55
Alonso, Rodrigo, 114–15
Altman, Robert, 232
Amateur versus Professional (Deren), 289
American Dance Festival, xi
The American Soldier (1970), 225
America’s Best Dance Crew, 540
An Anagram of Ideas on Art, Form, and Film (Deren), 303, 305
Anarchic Variations (2002), 292, 296, 509–10
Anderson, Jack, 7
Anderson, Joseph D., 291
Anderson, Peter, 69
Anger, Kenneth, 521
animalistic bodies, 323–28, 324f327f
Animal Mechanism (Marey), 148
animation
abstraction in screendance and, 172
A Chairy Tale’s techniques of, 177–78
creativity of screendance and, 171–72
Deren’s rejection of, 172
as digital cinema future, 182n12
as illusion of movement, 172–73
immediation and, 168
“lifedeath” cycle of, 183n14
McLaren and ballet, 174–75
McLaren’s pioneering work in, 171
McLaren’s work on “in-between” and, 168, 171, 174
pinscreen, 167–68
semblance and, 170, 173–74
stop motion, 173, 616–17, 617f
as unique art, 167
antiblackness, 552n30. See also African Americans
Cyrus and, 549
Harlem Shake memes and, 547–48, 550
RIP videos and, 546
Antin, Eleanor, 31–32
Apparition (2006), 394
The Archaeology of Knowledge (Foucault), 581
Aristotle, 143–44, 162nn2–3, 163n4
Eleatic School’s influence on, 145
gait analysis of, 147
human movement visualization and, 146–47
metaphor defined by, 226
photographic thinking of, 145–46
Arledge, Sara Kathryn, 66
Arnaud, Alexandre, 194
Aronson, Arnold, 399
arrested movement, McLaren on, 167
Arrivée d’un train en gare de la Ciotat (1895), 214
Ars Electronica Futurelab, 394, 396f, 397f
art
abstraction’s introduction in, 56
aesthetic fact and, 500
animation as unique, 167
audience contribution to, 46
authorial intention and evaluation of, 229–30
as “chaoid,” 431
chronophotography and, 153–56, 154f156f
Clair on parameters of, 200
dematerialization of, 14
Deren on integrity and, 70
devices as, 398
early cinema dismissed by world of, 188
electricity’s impact on, 56
enactment and, 306
failure and experimental, 13
freedom and, 238
Happenings and, 25
hybridity in, 591–92
Judson Dance Theater and underground, 24–25
McLuhan on technology and, 55
mediadance’s potential and, 569–70
montage as, 64
“speculative theory” of, 500, 511n5
technology as bridge to, 596
technology used in, 6
Artificial Neural Network, 277
artists
Entr’acte and community of, 192
as future historians, 56–57
moving image’s potential discovered by, 64–66
sets for dance provided by, 588n21
technology and privilege of, 503–4
The Art of Making Dances (Humphrey), 35, 531n17, 597, 659
(p. 751) As Cinzas de Deus (2002), 110
Ascott, Roy, 623–24
“aspectual properties,” aesthetics and, 501
aspirational desire, in Bollywood films and dance reality TV, 128–29
Astair, Fred, 474n15
At Land (1944)
audience anticipation and, 313–15
change blindness and, 312
cinematography and choreography in, 310
cognitive challenge of, 313–14, 313f
feminism and, 374–75
horizontal movements in, 311–14
multiples in, 619–20
ocean metaphors in, 374
overview of, 309–10
prototype theory and, 312
reverse image in, 312
vertical movements in, 311
Atlas, Charles, 29–30, 41n17
audience
art and contribution of, 46
cinematic engagement and emotional empathy of, 247–51
dance and new media engagement with, 399–400
Entr’acte targeting, 189, 194
False Start (2008), computer as choreographer and, 586–87
initiated, 505
kinesthetic empathy and motivations of, 251, 257–58
At Land and anticipation of, 313–15
Landscape’s performance component and response of, 354
Lives of Performers and engagement of, 517, 527
live theater and engagement of, 285–86
live theater and fixed, 285
Meshes of the Afternoon and nausea of, 372
power of, 46–47
punctum variation with, 490
RIP videos on YouTube and engagement of, 544
RIP videos’ sociopolitical message missed by, 544–45
screendance and intention of, 507–8
technology changing role of, 503
telematic dance and participation of, 508
Telematic Dreaming and engagement of, 668–69
viewing-sensing devices and performativity of, 402, 404–5, 405f
“auditory scene analysis,” 284
Aumont, Jacques, 210
Aura (2009), 273–74
Auslander, Phillip, 207, 219n7, 393, 411, 496n20
Auster, Paul, 477n46
authenticity, photography and, 239
authorial intention
aesthetics and, 500–501
art evaluation and, 229–30
defamiliarization and, 250
mocap and, 269, 272–73
screendance categorization and, 231–32
avant-garde cinema, 5, 66
human movement visualization and digital, 160–62
Rainer contributing to, 517–18
in Soviet Union, 79–80
B., Claire, 395
Baartman, Saartjie, 554n54
Baauer, 547, 549
baddess, Rihanna as, 689
Badham, John, 471, 476n35
Bailey, Helen, 273
Baker, George, 190, 198–200
Baker, Josephine, 428
Balanchine, George, 520
Balàzs, Béla, 64, 187, 193–94
Balla, Giacomo, 153–54, 154f
ballet
McLaren’s animation and, 174–75
music videos compared to, 34–35
suspension in, 612
Ballet Adagio (1972), 168, 174–75
Ballet Mécanique, 625–26
Ballet of Light, of Fuller, 720–21
Les Ballets Fantastiques de Loïe Fuller (1934), 725–26
Ballets Suédois, 188–89
Banes, Sally, 521
Banks, Azealia, 549
(p. 752) The Banner of Cinematography (Kuleshov), 87
Bansali, Sanjay Lila, 134
Barbados, 677, 684–85
Bargues, Michele, 114
Barjatya, Suraaj, 135
Barnett, Daniel, 194
Barnum, P. T., 482
Barthes, Roland, 161
on live theater and photography, 486
on posing for photography, 584
punctum theory of, 481, 484–86, 490, 494–95
Basil, Toni, 34
Basilotta, Antonia Christina, 34
Basu, Anustup, 136
Basu, Bipasha, 454–55
Bataille, Georges, 342, 683
Baudrillard, Jean, 183n14
Bauhaus movement, 6–8, 164n34
Bausch, Pina, 294
Baylaucq, Philippe, 181
Bazin, André, 211, 236–40
Beaman, Jeanne, 390
Beardsley, Monroe, 231
the Beatles, 614
Beatty, Patricia, 591, 598
Beatty, Talley, 707
Beaucage, Marjorie, 350, 359
Bec, Louis, 414n22
Bee Gees, 461, 464, 465, 468–69
Beehive (1985), 29, 29f
Being, concept of, 144
Béjart, Maurice, 390
Bekhterev, Vladimir, 305
Bench, Harmony, 312, 601–2
Benjamin, Herman, 133, 360
Benjamin, Walter, 619
Berardi, Franco “Bifo,” 422
on alienation, 423
on capitalism and soul, 423–24, 432
on consumer desire, 427
on technology creating virtual class, 424
Bergman, Ingmar, 636, 638, 652
Bergson, Henri, 143–44, 187, 217, 375
on chronophotography limitations, 152–53
on cinema and rationality, 152
Berkeley, Busby, 474n12, 481. See also showstoppers
camera technological advancements and, 492–93
cinematic memory in work of, 489
cinematography techniques of, 483, 492–93
climactic moments in work of, 492
close-ups of, 483
depth and crowding of frames of, 488
female bodies and depth used by, 489–92
photographic reproducibility used by, 494
showstoppers of, 482–83, 493
Berlo, Janet, 354
Berman, Marshall, 191, 196–97, 203n55
Bersani, Leo, 377–78
Bey, Jeriel, 552n25
Bharat Mata, 442, 443f
bhava (everyday emotion), 126–27
bilingualism, A Chairy Tale and, 180, 184n24
Billman, Larry, 465, 475n22
binarism, empire and, 441–42
Biped (1999), 400, 658, 672
aesthetic choices and world of, 662
ontological cut in, 661–62
virtual and physical bodies in, 660, 661f
Birds (2000), 115, 227–28, 229, 234
The Birds (1963), 229, 290
Birdwhistell, Ray, 563–64
Birringer, Johannes, 18n19, 409
Birth of a Nation (1915), 731, 733, 737
Bishop, Elizabeth, 573
bi-stability, virtual body and, 568–69
blackface, 465, 473n3, 474n17
black light, Fuller and, 721–22
Black Maria, 221n30, 230
black sexuality, 677
colonization of, 682–83
exoticism and, 690
feminism and, 680–81
gender and, 683
identity and, 688–89
Rihanna and, 679–80
“winin’ fatale” and, 681–82
Bleeker, Maaike, 661–62
Blom, Lynne Anne, 597–98
Blood (2011), 622
Blue Dancer, 153
Blue/Yellow (1995), 287, 288f
Blumenthal, Lyn, 2
(p. 753) Blush (2004), 323–25, 324f, 330, 338, 342, 509
Bodies and Technology (Ihde), 567
Bodies that Matter: On the Discursive Limits of Sex (Butler), 589n23
body. See also female body; sexual bodies
abnormal, 329–30, 342
advertisements for gadgets and brand identity through, 430
animalistic, 323–28, 324f327f
Bollywood films and disruptive, 455–56
Bring on the Lumière! and screen as dancing, 215–16
as center of cinema, 208
CG characters and morphology of, 270, 274
cinematic techniques to metamorphose, 322
Clouin decontextualizing, 343–44
dance and maintenance of, 213
early cinema and dancing, 210–11
enactment, 307
False Start (2008) and screen abstraction of, 581–83, 582f
fetishized, 370
Foucault on liberation of, 342
Foucault on power and, 341–42
Goldring on malleability of, 339
in humanism, 328
lived, 340, 370
Lumière brothers’ early work and moving, 220n28
in mediadance, 558
Merleau-Ponty on flesh of world and, 560–61, 568–69
Merleau-Ponty uniting soul and, 559
mocap’s relationship to, 267–68
monstrous, 330–32, 330f, 331f, 333f, 334
motion capture and “inner forces” of, 270
“normal” or “natural,” 341, 342
political conceptualizations of, 322
postmodernism and phenomenological, 400
screendance altering perceptions of, 322–23, 339–40
screendance resisting control of, 341–42
within screenic frame, 211–12
sociocultural influences on, 340–41
technology for metamorphosis of, 332, 333f, 334, 421
unidentifiable, 334–38, 335f337f, 344
unusual representations of, 321
Body, Body on the Wall, 325
“body” category, Dance with Camera exhibit and, 26–30
“body genres,” 182n9
body-medium, 563
body schema, Merleau-Ponty’s concept of, 558–61, 568–69
body without organs (BwO), 343–44
Bogdanov, Aleksandr, 82–83
Bokaer, Jonah, 408, 576–77, 585, 587, 588n11. See also False Start (2008)
Bokhonov, Ivan, 85, 101n24
Bollywood films, 17n7, 125, 453
aspirational desire in, 128–29
Bombay films’ transition to, 135
class mobility and, 136–37
consumerism in, 135
cultural dominance of, 136
dance reality TV evolution from, 138
disruptive bodies in, 455–56
gender in, 441–42
Hindu/Urdu Cinema and roots of, 456
informatic screendance and, 454
“item boys” in, 136
“item girls” in, 132
“item numbers” in, 128, 133–34, 136
music videos and relationship with, 135–36
remix and, 127–28, 136, 138
synchronicity and, 454–55
Bombay films, 125
aesthetics of, 127
Bollywood films transition from, 135
camera innovations in, 131
choreography’s modernization in, 129–31
courtesan films and, 134
desire in, 126–29, 138
elaborate sets in, 133–34
gender of choreographers in, 134
golden age of, 139n9
national identity in, 127–28, 132, 134
Western influence on, 132–33
Bonansea, Christine, 206f, 212–16, 217f, 218f
Bonnie and Clyde (1967), 225–27
(p. 754) Boogie Doodle (1941), 168
Bookchin, Natalie, 28
Borade, Jay, 135
Borelli, Melissa Blanco, 476n34
Borlin, Jean, 189, 192, 198, 200, 725
Boss, Stephen “Twitch,” 432–33
Boston Dynamics, 434
Botella Lorenzo, Caridad, 73
Boucher, Marc, 267
Boulègue, Franck, 628f, 629, 629f
Bourdieu, Pierre, 345n12
boy (1995), 69
Boyce, Albert Leopold, 550
Boyce, Sandra, 550
Bragaglia, Anton Giulio, 156–57, 158f, 159
Brakhage, Stan, 69, 71–72, 230, 296
on screendance’s future, 74
Brandini, Cristina, 108
Brannigan, Erin, 199, 601
Braun, Marta, 153
Braune, Wilhelm, 151
BREAKAWAY (1966), 34
The Breathing Show (2002), 727
Brecht, Bertolt, 495n6
Bregman, Albert, 284
Brejzek, Thea, 658
Breton, Andre, 190
Bridges-Go-Round (1958), 67, 230–31
Bring on the Lumière! (2011), 206f, 217f, 218f
cinematic nostalgia in, 211, 216–17
cinematic time in, 213
dances in, 211
Lumière brothers reanimated through, 206–7, 209–10, 212
screen as dancing body in, 215–16
screendance’s boundaries stretched with, 205–6
shadows used in, 214–15
Broadway Melody (1929), 487
Brooks, Alice, 705
Brophy, Philip, 292–93
Brown, Chris, 686–87, 690
Brown, Jarusha, 351
Brown, Trisha, 35–36, 520, 526, 531n17
Bruce Goes Dancing, 475n22
Bullfight (1955), 67
Buñuel, Luis, 195
Bürger, Peter, 499–500
Burgess, Jean, 696–97
Burlesque, 639
Burley, Xan, 605
Burman, Rahul Dev, 133
Burrows, Jonathan, 287
Burt, Ramsay, 266, 473n9, 519
Busby, George, 722
Bush, Jeffrey, 114
Busta Rhymes, 541
Butler, Judith, 589n23
butterfly dance move, 679–80
Cage, John, 24, 32–33, 289, 518–19, 521, 528, 587n7
aesthetics of, 522–23
on form, 527, 532n32
interdisciplinarity and, 523
live theater defined by, 524
Rainer and influence of, 521–22
Rainer’s on social deficiency of, 522
Caldas, Paulo, 110, 112–13, 114
Calgary, 349
Indigenous peoples’ names on streets of, 354
Indigenous peoples’ resurgence in, 351
Landscape and civic consciousness in, 349–50, 355, 355f, 362
settler colonialism and power in, 358–59
Stampede in, 357–58
calm technology, 657
Cambiantes (1976), 108
camera
Atlas pioneering choreography for, 29–30
Berkeley and technological advancements of, 492–93
Bombay films and innovations with, 131
Dance with Camera exhibit and exploration of, 25, 40
Deren on dance created by, 72
power of, 35
as stage and audience, 23
thermographic, 326, 327f
Camera Lucida (Barthes), 481, 485–86, 584
Campbell, Martin, 427
Campion, Jane, 254
(p. 755) Campos, Daniel “Cloud,” 430–33
capacitation, 170–71, 173
capitalism
advertisements for gadgets and, 421–22, 434
Berardi on soul and, 423–24, 432
corporealities and, 426–27
dance resisting, 433–35, 436n25
dance used in, 426, 431
desire produced by, 431
identity and technological, 422
LXD and, 708
time and, 434
Carlson, Ann, 39
Carlson, Trevor, 32–33
Carlton Dance Festival, 108, 118n18
Carne I and II (2005), 108
carnival, Rihanna and traditions of, 685, 688–89
Carroll, Noël, 205, 211–12, 630
Cash, Lucy, 71
Cassal, Alex, 111–13
Catanese, Brandi, 538
Cathedral of Emptiness, 623f
Caught (1949), 532n25
Caught in the Act (1973), 31–32, 31f
Cavell, Stanley, 474n15, 630
C’est le Veau qui Bêle, 328
CG characters. See also motion capture
body morphology with, 270, 274
gravity and, 269–71
potential of, 269, 277
process of mapping, 268
virtual dance hybrid with live performers and, 275–77
A Chairy Tale (1957), 169f, 177f
animation techniques of, 177–78
bilingualism and, 180, 184n24
music for, 178
narrative of, 179
screendance’s potential in, 180
Chaki-Sircar, Manjusri, 440, 440f, 444, 449–50
Chakravarty, Sumita, 134
Chámame (2008), 509
Chamecki, Rosane, 616–17, 617f
Chandralekha (1948), 131–32
change blindness, At Land and, 312
Chaplin, Charlie, 206, 211–12, 287, 358
Chaplin, L. Train, 597–98
characters, scriptwriting and, 645–48
Charpentier, Raymond, 720
Charrier, Magali, 71
Chatterjea, Ananya, 440, 681
Chave, Anna, 519
Cheng, Anne Anlin, 428
Un Chien Andalou (1929), 195
Childs, Layla, 39
Childs, Lucinda, 414n35, 625
Chion, Michel, 284–85, 290, 291, 296
Chirriaeff, Ludmilla, 602, 605
Chitrangada (1935), 450–53
Chitrangada (2012), 441, 450
Choinière, Isabelle, 405, 406f
Cholodenko, Alan, 173, 183nn13–14
Chopra, Uday, 455
choréauteur, 593
choreocentricity, 539, 545
choreography
from within, 576
advertisements for gadgets and sound with, 433
Atlas pioneering camera and, 29–30
Bombay films and modernization of, 129–31
choreocentricity compared to, 539
Deleuze on Entr’acte and thread of, 197–98
False Start (2008) and pace of, 577, 578f
final, 594
Galasso on cinematography and, 210
Greenfield on scriptwriting and, 641
historical definitions of, 592
initial, 594
in At Land, 310
Landscape’s performance component and, 352–53, 353f
in Lives of Performers and Setterfield’s solo, 380–81
Mass Ornament using YouTube for, 28
micro-choreographies, 335–36, 601
pedestrian movement and, 38
Rainer’s strategies for, 529–30
Rosenberg on need for new, 72
sound as object of attention of, 298
in Soviet Union in 1920s, 79
of Tagore and circular gaze, 448
(p. 756) choreographers
authorship concerns with directors and, 69
Bombay films and gender of, 134
directors collaborating with, 68–69
False Start (2008), computer as audience and, 586–87
historical definitions of, 592–93
video assisting, 105
writings by, 520
choreographic editing, 591. See also multiples; repetition; suspension
dance revealed through, 595, 598–99
intimacy and, 597–98
kinèmes and, 593–95
kinesthetic empathy and, 599
McPherson, Katrina, and, 598–99
micro-choreographies and, 601
motifs of, 629–30
narrative and, 598
An Ostrich Proudly and, 605–6, 608
parameters and concepts of, 597–600
Pas de Deux and, 603, 605
potential of, 608
rhythm and, 599
screendance advanced with, 602
truth and, 596–97
The Turin Horse and, 608–9
choreographic engagement, 67–68
Choreographic Morphologies, 273
Choreological Laboratory, 80, 87, 99. See also Rossiiskaia Akademiia Khudozhestvennykh Nauk
Bogdanov’s influence on, 83
cinema focus and objectives of, 84–85
dance defined by, 82
foundation of, 81
goal of, 83
initial research priorities of, 81–82
“photomechanical” dance charts of, 85
screendance possibilities acknowledged by, 86
Choreotopography (2010), 274–75
choreovideographies, 108
Chow, Rey, 360
chronometry, 151
chronophotography, 85, 143
art and, 153–56, 154f156f
Bergson on limitations of, 152–53
Marey on objective of, 149–50
Marey’s inventions and techniques with, 150–51, 150f, 153, 210–11
Muybridge’s invention of, 148–49, 149f
photodynamism compared to, 156–57
chronotope, 119n32
chronovideography, 161
Chu, John, 430, 432, 705
background of, 702
influences on, 708–9
on YouTube’s significance for popular dance, 697, 706
Chunky Move, 394, 396f
cine-dance, 230, 234–35, 563. See also screendance
cinema
animation as future of digital, 182n12
art world’s early dismissal of, 188
Balàzs on expression with, 193–94
Bergson on rationality and, 152
Berkeley and memory with, 489
body as center of, 208
body metamorphosis with techniques of, 322
Bring on the Lumière! and nostalgia of, 211, 216–17
Bring on the Lumière! and time in, 213
Choreological Laboratory’s focus and objectives with, 84–85
Clair on aesthetics of, 228
Clair on representation and, 191–92
dancing bodies in early, 210–11
defamiliarization techniques in, 253–55
Deren on potential of, 303
electricity and emergence of, 60n37
emotional empathy and audience engagement with, 247–51
Fuller’s influence on, 722
gaze and, 2
Great Depression and distraction of, 734–35
history of, 208, 220n19
illusion of depth and, 484–85
Judson Dance Theater and, 521
kinesthetic empathy techniques in, 258
kineticism and, 7, 194, 239 (p. 757)
Kuleshov on rhythm and, 92–93
as language, 193
live dance reconstructions on, 8
live theater conventions and, 237, 239
living image and, 212–14, 216
Lumière brothers and public, 221n38
mechanical innovation fascination in early, 207
Mirror Dance and future of, 51
mobile devices’ impact on, 72–74
movement and, 228, 725
of movement-images, 173, 194–95
Pas de Deux and manipulations of, 602–4, 604f
Picabia’s vision of, 191
Plato’s cave metaphor and, 207–8
Rainer referencing, 532n25
screened stages and continual return of, 481
sound of movement in, 287–88
sound’s location in, 285
talkies and anxiety in, 487–88, 496n23
of time-images, 173, 194–95
Cinema 1 (Deleuze), 188, 195
“cinema of attractions,” 183n13, 718
Cinématographe, 208, 210, 220n15
cinematography
Berkeley’s techniques with, 483, 492–93
Galasso on choreography within, 210
in At Land, 310
in Lives of Performers, 378
in LXD, 705
in The Tango Lesson, 382
unidentifiable bodies with, 334–38, 335f337f
civic consciousness, Landscape on Calgary and, 349–50, 355, 355f, 362
The Civilizing Process, vol. 1: The History of Manners (Elias), 345n12
Clair, Renè, 3, 64, 188–89, 193, 201n14, 614. See also Entr’acte
on aesthetics of cinema, 228
on art’s parameters, 200
on cinema and representation, 191–92
Entr’acte and narrative dispensed with by, 197–98
legacy of, 725
Clark, Lygia, 106
Clarke, Shirley, 230–31
choreographic engagement and, 67–68
editing style of, 27
jump cuts used by, 26–27
Claxton, Dana, 358
Clément, Catherine, 188
Clinic of Stumble (1947), 37
clones. See multiples
Clouin, Pierre Yves, 321–22
animalistic bodies and work of, 328
body decontextualized by, 343–44
monstrous bodies and work of, 330, 330f
sexual bodies and work of, 328
unidentifiable bodies and work of, 336–37, 338f
Clover, Carol J., 464, 476n33
C.L.U.E., Part 1 (2007), 39
CO3 (2001), 409
Cochrane, Todd, 408f
Cocteau, Jean, 297
code, new media and, 391
Coffman, Elizabeth, 49
cognition, 414n22
Coldcut, 295
Cole, Keith, 38
Colman, Felicity, 209
colonizing gaze, 683–84, 687
colorblindness, race and problems of, 538
Colour Cry (1952), 66
communication
kinesthesia and, 246
Sennett on technology and, 425
telematic dance and, 508
Company in Space, 409
computer, as metamedium, 411
concept, 390
A Concert of Dance, 24
concrete sound, 295, 300n40
Coniglio, Mark, 412, 570n12
Conner, Bruce, 34
Constellations of Things Learnt and Forgotten (2012), 71
Constructivism, 81
consumerism, in Bollywood films, 135
contact improvisation, 70
in Chitrangada (1935), 452
touch and, 445
(p. 758) content, 390
contested borders, Rihanna and, 678
continuity editing, 228
Contrary concept, of Indigenous peoples, 352–53
Cooper, Carolyn, 678
Copeland, Roger, 65
copies. See multiples
Cordeiro, Analívia, 105–8, 106, 117n10, 118n13
Corntassel, Jeff, 350, 359
Corpocolado (2004), 111–13
corporealities. See also body
abnormal, 321, 329–30, 342
animalistic, 323–28
capitalism and, 426–27
monstrous, 330–32, 330f, 331f, 333f, 334
sexual, 328–29, 329f
tradition challenged by original, 322
transformative nature and, 340
unidentifiable, 334–38, 335f337f, 344
corps de ballet, 618
Corpus Corvus, 272–73
Cosmococas (1973), 106, 117n6
Coughlin, Paul, 250
Coulthard, Glen, 361
courtesan films, Bombay films and, 134
Cowboy, 328
Cowie, Bill, 296, 509–10, 627
The Crack Up, 275–76
The Creative Evolution (Bergson), 151
creative geography, montage as, 113
critical activism, screendance and, 13
critical dance studies, 435n6
Crop Over, 685, 688, 692n30
Cubas, Tamara, 111, 116
culture
Bollywood films and dominance of, 136
Cyrus’s appropriation of African American, 549
Indigenous peoples’ dance and values of, 361–62
Saturday Night Fever’s appropriation of African American, 462, 465
Singin’ in the Rain and appropriation of African American, 464
Cunningham, Chris, 295–96
Cunningham, Merce, 24–25, 41n17, 390, 400, 520, 658, 661f. See also Biped
4′33″ performed by, 32–33
LifeForms used by, 41n8
mocap used by, 660
relational space and, 659, 662–63
Cutting Rhythms: Shaping the Film Edit (Pearlman), 599–600
Cybernetic Serendipity, 390
Cyrus, Miley, 549
CYSP I (1956), 390
Dada, Picabia and, 190–91. See also neo-Dada
Daly, Ann, 245–46
Damelio, Toni, 405f
Dames (1934), 493–95
Dança Brasil festival, 109, 118n20
Dança em foco (2003), 110, 118n23
dance
advertisements for gadgets and soul through, 432
aesthetics of, 499–500
artists providing sets for, 588n21
body maintenance in, 213
Bring on the Lumière!’s use of screen as body and, 215–16
capitalism and use of, 426, 431
capitalism resistance with, 433–35, 436n25
choreographic editing revealing, 595, 598–99
Choreological Laboratory defining, 82
cinema reconstructions of live, 8
colonial India and circular gaze with, 446, 448
as data, 276–77
Deren on camera creating, 72
Deren on time and, 26
deterritorialization, 115–16
early cinema and body and, 210–11
early new media adopters in, 390–91
False Start (2008) as, 585
with hands, 36
in Hollywood cinema, 5
Indigenous peoples’ cultural values and, 361–62
intermedia and, 9, 11
Kuleshov on montage and, 87
Kuleshov’s interest in, 86–87
Kuleshov’s photographs of, 88, 88f91f, 92 (p. 759)
Labanotation for, 25
as metaphor, 225–28
mocap as documentation and, 267
multiple-exposure photography and, 85–86
in musicals, 5
music’s connection with, 290
new media and audience engagement with, 399–400
new media embraced by, 411–12
photography for clarity with, 36–37
Rauschenberg and, 525
repetition’s history in, 624–25
Rosenberg on hybridity of, 205
Rosenberg on technology and, 200
Saturday Night Fever and influence of television and, 467–68
Sennett on cooperation and, 425–26
stillness and, 32–33
Tagore on thought structures and, 450
Tagore’s gender politics and, 447
Tagore’s paintings and sketches of, 448–49, 449f
technology’s history with, 502–3
as time-based medium, 23
videodance without, 115
as virtual force, 263–64
Dance (1997), 414n35
Dance 1 (2002), 28
Dance/Draw, 519
Dancefilm: Choreography and the Moving Image (Brannigan), 199, 601
dance-for-camera, screendance compared to, 233–34
Dance for the Camera series, 68–69
A Dance for Those of Us Whose Hearts Have Turned to Ice, Based on the Choreography of Françoise Sullivan and the Sculpture of Barbara Hepworth (2007), 38
dancehall, in Jamaica, 685
A Dance Incorporating Movements Derived from Experiments by Harry F. Harlow and Choreographed in the Manner of Martha Graham (1999), 37–38
Dance in the Sun (1953), 26–27, 27f
Dance on Screen: Genres and Media from Hollywood to Experimental Art (Dodds), 637
Dance or Exercise on the Perimeter of a Square (1967–1968), 30–31
dance poetics, 263–65
dance reality TV, in India, 125
aspirational desire in, 128–29
Bollywood film evolution into, 138
class mobility and, 136–37
formats of, 137–38
Dancer in the Dark (2000), 292
Dance Umbrella, 68
Dance with Camera exhibit
“body” category and, 26–30
camera exploration with, 25, 40
“effort” category and, 30–34
“shape” category and, 34–37
“space” category and, 37–39
works featured in, 23–24
Dancing Shoes (1999), 408–9
Dandayudapani, K. N., 130
Danjon, Michèle, 409
Danse, K., 407
Danse dans la neige (1948), 38
Danse e-Toile (2009), 407
Danza para simetrías (2005), 506
darshan, 446, 452
Darwinism, in colonial India and sexuality, 444, 444f
data, dance as, 276–77. See also motion capture
database, new media and, 392–93
Davar, Shaimak, 454–55
David, Joseph, 130
Davidson, Andrea, 402, 404, 407, 407f
Davies, Rachel, 255–56
Davis, Richard, 542
Davis, William, 36
Dawkins, Richard, 553n48
Dean, Tacita, 32–33, 41n21
death, on screen in Hollywood cinema, 225–26
Death and the Maiden (2003), 639–41, 654n16
De Bemels, Antonin, 321–22
monstrous bodies and work of, 332, 333f, 334
unidentifiable bodies and work of, 338
de Certeau, Michel, 436n25, 462, 472–73
(p. 760) defamiliarization
authorial intention and, 250
cinematic techniques and, 253–55
kinesthetic empathy and, 249–50
Defrantz, Thomas, 709
De Keersmaeker, Anne Teresa, 625
deLahunta, Scott, 400
Deleuze, Gilles, 152–53, 209, 217, 322, 696
BwO concept of, 343–44
on Entr’acte and choreographic thread, 197–98
on Entr’acte and power and symbolism of images, 195–96
Goldring and influence of, 344
on movement-images and time-images, 173, 194–95
as philosopher of movement, 187–88
on rhizomatic practice, 15, 115–16
on visibility, 360
Delia and George (2005), 254–55
Delsarte, François, 92–93
de Maré, Rolf, 192
dematerialization, of art, 14
La Démence des Anges (1999–2004) (Choinière), 405, 406f
Demeny, Paul, 48
De Mey, Thierry, 298, 321–22
abnormal bodies and work of, 329–30
animalistic bodies and, 325–26, 325f327f
monstrous bodies and work of, 331, 331f
unidentifiable bodies and work of, 337
De Palma, Brian, 521
De Preester, Helena, 566–67
depth
Berkeley’s crowding of frames and, 488
Berkeley’s use of female body and, 489–92
cinema and illusion of, 484–85
Footlight Parade and illusion of, 483
screened stages providing, 495
Deren, Maya, 27, 212, 221n35, 369, 384, 642, 707. See also At Land; Meshes of the Afternoon
animation rejected by, 172
on artistic integrity, 70
on camera creating dance, 72
choreographic engagement and, 67
on cinema’s potential, 303
conventional narrative rejected by, 648–49
editing and filmic manipulation of, 235, 289
Greenfield’s intertextuality with, 374–76
horizontal progression model of, 304, 311–14
jump cuts used by, 289
on memory and imagination, 304
metaphors rejected by, 306–7
music videos influenced by, 34
on preproduction, 635
religious possession and, 305
on screendance production models, 70–71
on technology, 74
on time and dance, 26
trance films of, 305
vertical progression model of, 66–67, 304, 311, 375–76
Derenkowsky, Solomon, 305
Desai, Vasant, 132
desire
advertisements for gadgets and, 421
Berardi on consumer, 427
in Bombay films, 126–29, 138
capitalism producing, 431
female body and, 683
Tomari Matir Kanya and female bodies and, 444–45
De Spain, Kent, 727–28
deterritorialization, dance, 115–16
Devdas (2002), 134
Device Art, 398
Dewey, John, 306
Dhoom 2 (2006), 453–55
Dhum Machale (2008-2009), 137
Dias, Antonio, 118n13
diegetic sound, screendance and, 292–93
digital avant-garde, human movement visualization and, 160–62
Dillon, Beth A., 360
Dils, Ann, 728
Dil Se (1998), 135
Diplo, 549
direct cut, in sound editing, 289
“direct film,” 66
directors, 68–69
disco dancing, 463, 466, 474n10, 475n28. See also Saturday Night Fever
displeasure, aesthetics and, 509–10
(p. 761) dispositives, of screendance, 505–6
disruptive bodies, Bollywood films and, 455–56
Distinction: A Social Critique of the Judgment of Taste (Bourdieu), 345n12
Divine Horsemen (1953), 305
Dixon-Gottschild, Brenda, 474n18, 681, 690, 744n32
Doane, Mary Ann, 64, 85, 147–48
documentation, 11
mocap as dance and, 267
screendance moving beyond, 237–38
Dodds, Sherril, 637
Donay, Millie, 475n22
dos Santos, Karenina, 110
“Do the Harlem Shake,” 537
D-Real, 537–38
Driscoll, Kevin, 710
DS210 “The Dance Lifestyle Channel,” 702
Duchamp, Marcel, 143, 154–55, 155f, 522, 525, 587n7
Entr’acte and influence of, 199–200
Muybridge’s influence on, 156
Dulac, Germaine, 725
Dumb Type, 400–401, 402f
Dumoncel, Claude, 207–8
Duncan, Isadora, 265, 531n17
Dunn, Robert, 24
Duo#1, 111–13
Dutt, Geeta, 132
Dutt, Guru, 131
DW2, 336
dynamic vision, 143
dynamophotography, 143. See also photodynamism
dynamovideography, 161
East Oakland, CA, 542. See also turfing
Echols, Alice, 463, 474n10
écriture, virtual dance and, 266–67
e-Dance Project (2007-2009), 405, 407
Edgerton, Harold Eugene, 164n40
Edison, Thomas, 49, 219n14, 221n30, 230
editing. See also choreographic editing; jump cuts; montage; multiples; repetition; suspension
Clarke’s style of, 27
continuity, 228
Deren’s filmic manipulation and, 235, 289
Entr’acte’s suspension and, 614–15
experimental potential of, 630
instant replay and, 626–29
Keaton’s innovation with, 211–12
of Kuleshov compared to Vertov, 96
Kuleshov’s legacy with, 86
McLaren’s use of blinking and, 180–81
metaphor and, 227
mobile devices and, 73
music videos and, 295–96
rhythm from, 34, 228
scrubbing technique and, 332
of sound, 289–90
suspension through, 611–12
time and, 27
Le Voyage dans la lune’s suspension and, 616
Edmunds, Becky, 71
Eduarda Gusmão, Maria, 109
“effort” category, Dance with Camera exhibit and, 30–34
Eggeling, Viking, 625, 626f
Eiffel Tower, electricity appearing on, 60n33
18 Happenings in 6 Parts, 25
Einstein, Albert, 51
Eisenstein, Segei, 80, 113, 232, 304, 485
Elástico (1992), 109
The Elders (2006), 70
Eleatic School, 144, 145
electricity. See also technology
art and impact of, 56
cinema’s emergence and, 60n37
creative possibilities of, 57
Eiffel Tower and appearance of, 60n33
era of, 46, 48
Fuller’s use of, 48, 57, 60n42, 716
Elias, Norbert, 345n12
Ellis Island (1981), 626
Elsewhereness—Yokohama (2008), 73
Elwes, Catherine, 293
Emak-Bakia (1926), 65
embodied imagination, kinesthetic empathy and, 250–51
(p. 762) embodiment
enactive mind and, 305–6
False Start (2008) and screen, 581
Ihde on approaches to, 565
Ihde on technology and, 565–67
Landscape and, 360–61
in mediadance, 561–62, 568–69
Meshes of the Afternoon and, 373
metaphors and, 307
of soul, 424
The Tango Lesson and freedom and, 382–83
telescopic observation and, 566
Embodiment and Technics (Ihde), 565
The Emergence of Cinematic Time (Doane), 147–48
emotion
facial expressions and, 247
kinesthetic empathy and, 248–49
Kuleshov on actors and, 94
narrative and, 248, 255
Where the Hell is Matt? generating, 701–2
emotional empathy, 247–51, 381. See also kinesthetic empathy
empire, 440–42
Emshwiller, Ed, 234–35, 237–38
enactment
art and, 306
body, 307
of mind and embodiment, 305–6
neuroscience of, 307–8, 313–15, 313f
“entertainments,” Robinson/Temple partnership and, 734
Entity (2008), 414n35
Entr’acte (1924), 64–65, 725
artistic community behind, 192
audience targeted in, 189, 194
authorship of, 201n14
characters in, 198–99
Clair dispensing with narrative in, 197–98
Deleuze and choreographic thread in, 197–98
Deleuze on power and symbolism of image in, 195–96
Duchamp’s influence on, 199–200
legacy and influence of, 200–201
live performance and, 198–99
mission and goals of, 187
motion celebrated in, 191
multiple readings of, 615
narrative elements of, 194
Picabia and conception of, 188–89, 193
as self-contained work, 192–93
subversiveness of, 189–90
suspension and editing of, 614–15
Envisioning Dance on Film and Video (Zimmer), 219n11
E-Pormundos Afeto, 508
Escobar, Arturo, 361–62
Eshkar, Shelley, 267, 400, 402f, 403f, 660, 727–28
estrangement effect, of Brecht, 495n6
ETV Bangla, 137
Euclidean space, 658–59, 672
Event, 615, 616f
Event One (1969), 390–91
Ever is Over All (1997), 573, 574f, 575–76
everyday emotion. See bhava
Exosphere (2002), 72
exoticism, black sexuality and, 690
Expanded Cinema (Youngblood), 8–9, 500
experimental art, failure and, 13
Experiments in Art and Technology (E.A.T.), 59n17, 390
Eyecon software, 570n13
Factory of the Eccentric Actor, 88
failure, experimental art and, 13
False Start (1959), 579–80
False Start (2008), 576, 582f
choreography’s pace in, 577, 578f
computer as audience and choreographer in, 586–87
as dance, 585
embodiment of screen in, 581
mournful final sequence of, 583–84
movement and image in, 585–86
movement’s origin in, 580–81
moving image and, 583, 584
presentation of, 587n7
screen abstraction of body in, 581–83, 582f
screens within, 577, 579–81
somatic causality and opening of, 577
structure of, 582, 584
surface and screen in, 586
(p. 763) Faltier-Boissière, Jean, 724
Fase, 331
Fassbinder, Rainer Werner, 225
Faun, 80f
La Féerie des Ballets fantastiques de Loïe Fuller (1934), 722
female body
Berkeley’s use of depth and, 489–92
colonial India’s classifications of, 442, 443f, 444, 444f
desire and, 683
feminism re-envisioning naked, 376–77
Lenovo Idea Pad Yoga’s “The Pursuit” and, 428–29
postmodernism and touching of, 446
Tomari Matir Kanya and desire with, 444–45
feminism, 369–70
black sexuality and, 680–81
future promise of, 374
gaze deconstruction of, 379, 383–84
At Land and, 374–75
naked female body re-envisioned through, 376–77
pluralism within, 384
“second-wave,” 384
Tagore and, 447–49
Tides and, 375
feminist film theory, 384
Ferreira, Lírio, 109
Festival Dance Screen, 115
Festival de Dança de Joinville, 116
Festival Videodança de São Carlos, 505
fetishized body, 370
Feuer, Jane, 484
FF (2007), 110
fiction, in screendance, 509
Fifteen Years of a Dancer’s Life: With Some Account of Her Distinguished Friends (Fuller), 50–51
Figures, 335–36
Fildes, Simon, 69–70, 627–28, 627f
Film Choreographers and Dance Directors (Billman), 475n22
Filmdance (Greenfield and Summers), 8
Film-Philosophy (Wall), 200
Filthy Frank, 537
final choreography, 594
Fini, Francesca, 622
Fire Dance, 719–20
Fischer, Otto, 151
Flaharty, Chris, 717
flash mobs, 425, 436n15
Fleetwood, Nicole, 681
Flex, 295–96
“flexible citizenship,” 429
flux, new media and, 391–92
Flying Lesson (2008), 616–17, 617f
Footlight Parade (1933), 483, 486–88
close-ups in, 483
fantasy of screened stage in, 486
floating spectacle of geometric patterns in, 488–90
illusion of depth in, 483
showstoppers in, 482–83, 487–88
sound and anxieties in, 487–88
Fora de Campo (2007), 111–12
force, virtual dance and, 264
Foreman, Richard, 399
Forgione, Nancy, 208
The Forgotten Circus (2008), 253–54
Form Without Formula (Beatty), 591, 598
Forsythe, William, 35, 63, 520
Forti, Simone, 518
Fosse, Bob, 5
Foster, Susan, 361
Foucault, Michel, 322, 581, 583
on body and power, 341–42
on body liberation, 342
on visibility, 360
4’33” (Cage), 32–33
42nd Street (1933), 490–91, 496n25
fourth wall, live theater and, 285
Fractions I (1977), 29–30, 41n17
Fraleigh, Sondra Horton, 642
Freedberg, David, 247
freedom
art and, 238
RIP videos and, 547
The Tango Lesson and embodiment and, 382–83
Free Radicals (1958), 66
(p. 764) freestyle writing, 643–44
Fregoli, Leopoldo, 221n30
Fréjaville, Gustave, 724
Freud, Sigmund, 172–73, 183n13
Friedberg, Anne, 661
Frio na barriga (1987), 108
Front Room, 336
Fukushima, Marina, 206f, 212, 214–16, 217f
Fuller, Loïe, 211, 216, 221nn30–31, 502
Ballet of Light of, 720–21
black light and, 721–22
cinema influenced by, 722
electricity used by, 48, 57, 60n42, 716
“Garment for Dancers” patent of, 717–18
identities of, 45–46, 49–51, 58, 60n42
imitators of, 45, 718
inventions and legal protections of, 716–17
legacy of, 58, 715–16, 718
“Mechanism for the Production of Stage Effects” patent of, 717, 719
Mirror Dance and, 51–52, 59n30
myth-making of, 50, 59n22
negative images used by, 724
physical transformations of, 51
Serpentine Dance and, 45, 48, 50, 57–58
shadows and, 722
slow motion used by, 724
technology used by, 715
“Theatrical Stage Mechanism” patent of, 717, 719–20
vaudeville struggles of, 49
functional magnetic resonance imaging (fMRI), 308, 318n44
funding, production models and, 70–71
Fuses, 9
Future of Memory (2003), 394, 394f, 395f
futurism, photodynamism and, 157, 159
Gaines, Kash, 542, 552n23
gait analysis, 147–49
Galadzhev, Petr, 93, 93f
Galasso, Catherine, 205–6, 213–14. See also Bring on the Lumière!
on choreography within cinematography, 210
La Sortie des usines Lumière à Lyon restaged by, 209–10, 218, 218f
Galileo, 565–66
Gallese, Vittorio, 247
Galloway, Stephen, 38
Gance, Abel, 197
Garelick, Rhonda, 59n22, 59n30
“Garment for Dancers” patent (Fuller), 717–18
Gates, Henry Louis, Jr., 732
Gaudreault, André, 207
gaze
cinema and, 2
colonizing, 683–84, 687
dance in colonial India and circular, 446, 448
feminism and deconstruction of, 379, 383–84
Landscape and multiple, 353–54
Lives of Performers and performers, 379
Saturday Night Fever and theory of, 463
Tagore’s choreography and circular, 448
Geertz, Clifford, 232
Gelmini, Gustavo, 112–13
gender, 422. See also female body
black sexuality and, 683
in Bollywood films, 441–42
of choreographers in Bombay films, 134
of screendance creators, 621
Tagore and empire challenged by, 440–41
Tagore’s dance and politics, 447
The Tango Lesson and fluidity of, 382–83
unidentifiable bodies and, 337–38
General Post Office (GPO) Film Unit, 65
Genette, Gerard, 500–501
Gentile, Tatiana, 110
geotechnics, 349, 352, 362
Gernsheim, Helmet, 239
Gertie the Dinosaur (1914), 183n13
gestalt psychology, body schema and, 559
Ghosh, Rituparno, 441, 450, 456
Ghostcatching (1999), 267, 400, 402f, 403f, 727–28
Ghost World (2001), 133
Gianetti, Claudia, 508
Giannachi, Gabriella, 664–65
Gibson, J. J., 664
Gibson, Ruth, 73, 270–71, 664–65. See also igloo
Gide, Andre, 238
(p. 765) Gil, José, 180
Gilbreath, Frank B., 64
Gilden, James, 699
Gilroy, Paul, 687
Ginsburg, Faye, 358
Girl Running on a Balcony, 153–54, 154f
The Global Choreography (2012), 408
Glow (2008), 394, 396f
Godard, Hubert, 264–65
Godard, Jean-Luc, 195, 290
Gold (2006), 256
Goldman, Danielle, 727
Goldring, Laurent, 321–22
Deleuze’s influence on, 344
on malleability of body, 339
micro-choreographies of, 335–36
unidentifiable bodies and work of, 334–36, 335f337f, 344
Goleizovskii, Kas’ian, 79, 86
Gonzalez, Ladys, 504–5
The Good, the Bad, and the Ugly (1966), 308
Google, 434, 708
Gopalan, Lalitha, 134
Goshogaoka (1998), 38
Gowarikar, Ahsutosh, 134
Grafismos (2010), 113
Graham, Martha, 37–38, 520
Grant, Oscar, 542, 553n31
gravity, 264–65, 268–71
Great Depression, cinema as distraction from, 734–35
Green, Joshua, 696–97
Greenberg, Clement, 17n6, 18n11, 234–35, 292
Greenfield, Amy, 8, 212, 369, 384. See also Tides
Deren’s intertextuality with, 374–76
on scriptwriting and choreography, 641
transcendence through movement of, 377
Griffin, Sean, 736–37
Griffith, D. W., 731, 733, 737
Griffith, M., 45, 51–52
Gropius, Walter, 6
Groseth, Jen, 719
Grossman, Peter Z., 114
Grosz, Elizabeth, 374
Guattari, Félix, 188, 696
on art as “chaoid,” 431
BwO concept of, 343–44
on rhizomatic practice, 15, 115–16
Guide (1965), 133
Guillem, Sylvie, 287
Gumnaam (1965), 133
Gunning, Tom, 208, 220n28, 221n31, 718
La Habanera, 294
Hagendoorn, Ivar, 245–46
Halprin, Anna, 518
Hand Catching Lead (1968), 9, 10f
“handmade” film, 65
Hand Movie (1966), 9, 10f, 36, 532n25
hands, dance with, 36
Hansen, Kathryn, 130
Hanson, Christopher, 629
Hapgood, Susan, 517
Happenings, art and, 25
A Hard Day’s Night (1964), 614
Harder, Phil, 616–17, 617f
Harding, Matthew, 698. See also Where the Hell is Matt?
Harlem Shake (original dance), 548, 550
Harlem Shake memes
antiblackness and, 547–48, 550
common plots of, 547
humor and, 548
libidinal economy and, 549
obliteration and, 549–50
parodying African American in, 548
spread of, 537, 547
Harlow, Harry, 37–38
Harryhausen, Ray, 173
Hartman, Saidiya, 546, 681
Hasson, Uri, 313
Hasta mudras, 439
Hawkins, Yusef, 472
Hays Production Code, 735–36
Heckman, David, 15
Heidegger, Martin, 595–96, 716
Helen, 132–33
Hen Hop (1942), 168, 169f
Hepworth, Barbara, 38
Hernandez-Ramdwar, Camille, 684
Herring, Oliver, 28
Hewison, James, 273
(p. 766) Hexstatic, 295
Hill, Richard, 358
Hillairet, Prosper, 725
Hindson, Catherine, 59n30
Hindu/Urdu Cinema, 456
Hinton, David, 115, 227, 229, 231
hip-hop choreo, 539–41
hip-hop dance, 538. See also hood dance
Hitchcock, Alfred, 229, 290, 487
hit points, 295
Holden, Peter William, 626
Holker, Allison, 432–33
Hollywood cinema
dance in, 5
death on screen in, 225–26
Hays Production Code and, 735–36
Lives of Performers using devices and clichés of, 377–78
Saturday Night Fever and lineage of musicals in, 463–64
The Hollywood Musical (Feuer), 484
L’homme orchestre, 619
homoeroticism, blackface and, 473n3
hood dance. See also Harlem Shake memes; turfing
African American realities and, 545–46
choreocentricity and recognition of, 545
improvisational aesthetics of, 537–38
race and, 538–39
YouTube circulation of, 538
Hooks, Galen, 703–4, 709
Hopkins, Candace, 358
Hopkins, Daniel, 73
horizontal progression model, of Deren, 304, 311–14
Horst, Louis, 520
Horton, Jessica, 354
Houle, Terrance, 349, 355f357f. See also Landscape
on contemporary powwow, 351
on Indigenous traditions and photography, 357
on technology and territory, 352
Howrah Bridge (1958), 132
Huesca, Roland, 344
Huhtamo, Erkki, 410–11
humanism, body in, 328
human movement visualization. See also chronophotography
Aristotle and, 146–47
digital avant-garde and, 160–62
Doane on history of, 147–48
graphic representation of, 150–51, 150f
Marey’s focus on, 151
photodynamism and, 157, 159–60
technology approaches to, 143
Zeno’s paradoxes and, 144–46, 148
Hum Apke Hai Kaun (1994), 134–35
Humphrey, Doris, 35, 531n17, 597, 659
Hurley, Chad, 696
hybrid bodies. See monstrous bodies
hybridity
in art, 591–92
favoritism undermining, 234, 240
mediadance and, 557
postmodernism and, 240
Rosenberg on dance and, 205
screendance as genre of, 232–33, 236, 240
of virtual dance with CG characters and live performers, 275–77
hybrid practice, technology enabling, 69
identity
advertisements for gadgets and bodies for brand, 430
black sexuality and, 688–89
Bombay films and national, 127–28, 132, 134
cities and resurgent Indigenous, 350
Fuller and, 45–46, 49–51, 58, 60n42
Indigenous peoples and new media, 358
Landscape and Indigenous, 351–52, 356, 356f
sexual, 337–38
technological capitalism and, 422
igloo, 658, 664–68, 666f, 667f
Ihde, Don, 558
on embodiment approaches, 565
on out-of-body experience, 567
as phenomenological materialist, 565
on technology and embodiment, 565–67
Il s’Agit, 334
imagination
Deren on memory and, 304 (p. 767)
kinesthetic, 246
kinesthetic empathy and embodied, 250–51
immediation, 168
IMZ (International Music and Media Center) Dance Screen Award, 227, 229
India. See also dance reality TV, in India
dance and circular gaze in colonial, 446, 448
Darwinism and sexuality in colonial, 444, 444f
female body classifications in colonial, 442, 443f, 444, 444f
patriarchal nationalism in post-colonial, 456
Indigenous peoples
Calgary and resurgence of, 351
Calgary street names and, 354
cities and resurgent identity of, 350
Contrary concept of, 352–53
dance and cultural values of, 361–62
Houle on photography and traditions of, 357
Landscape and citizenship of, 350, 352–53, 353f
Landscape and identity of, 351–52, 356, 356f
Landscape and representation in sports of, 356, 357f
new media and identity of, 358
technology and social action of, 359–60
Indrasabha (David), 130
Industrial Revolution, 48, 63–64
(1998), 39
informatic screendance, 454
information and communication technologies (ICT), 557–58
initial choreography, 594
initiated audience, 505
The Inn of Floating Imagery, 623, 624f
In Spite of Wishing and Wanting, 325, 338
installations
aesthetics and, 507
interactive, 392, 398, 562–63
Instantanéism movement, 190
Instant Dissidence (2011), 408
instant replay, screendance and, 626–29
Institute of Artistic Culture. See Institut Khudozhestvennoi Kul’tury
Institut Khudozhestvennoi Kul’tury (INKhUK), 81
integrity, artistic, 70
intention. See authorial intention
“intentional fallacy,” 231
interactive installations, 392, 398, 562–63
interactive Internet projects, 407–8, 408f
interactive user-computer software, 562
interactivity, new media and, 392, 399
interagir, 726
Interim (1953), 230
intermedia
dance and, 9, 11
performances, 562
screendance as, 205, 207, 213–14, 216
technology and, 9
International Journal of Screendance, 601–2
International Music and Media Center. See IMZ
Internet memes. See Harlem Shake memes
intersubjective synchronization, 308
intertextuality, of Greenfield and Deren, 374–76
interval (2000), 27, 28f
Inter_views: on Memory and Recollection (2009), 407, 407f
intimacy, choreographic editing and, 597–98
The Intimate Act of Choreography (Blom and Chaplin, L. Tarin), 597–98
Intolerance, 737
Introspection (1941, 1946), 66
IntuiTweet (2010), 407–8
Invitation to the Dance (1966), 238
Irani, Ardeshir, 130
Irigaray, Luce, 412
iRobot, 434
Isadora software, 570n12
Isin, Engin, 350
Isler, Dale, 390
Italian-American neighborhoods, African American tensions with, 464, 472, 477n46
Italian neorealism, 237
“item boys,” 136
“item girls,” 132, 136
(p. 768) “item numbers,” 128, 133–34, 136
Ivan the Terrible, 485
Izambard, Georges, 46–47
Jackson, Janet, 476n34
Jackson, Jonathan David, 539
Jackson, Timothy A., 399
Jacob, Luis, 38
J’ai des Bouches Partout (1999), 343–44
Jamaica, dancehall in, 685
Jandl, Nathan, 12–13
Jaques-Dalcroze, Émile, 92–93
Jason and the Argonauts (1963), 173
The Jazz Singer (1927), 487
J-Boogie, 705–6
Jenkins, Henry, 552n22
Jenks, Andrew, 537
Jerk (1969), 68
Jesus Christ Superstar (1973), 463
Jhank Jhanak Payal Baje (1955), 132
Jijia, Sang, 627–28, 627f
Jim Crow laws, Robinson/Temple partnership and, 733, 736
Johns, Jasper, 579–80, 587n7, 587n9
Johnson, Mark, 306
Johnston, Jill, 24, 517, 533n57
Jolson, Al, 487
Jonas, Hans, 564
Jones, Bill T., 400, 402f, 403f, 727–28
Joseph, Brian, 519, 522–23, 532n32
Joseph, Chris (Babel), 161–62
Judd, Donald, 519
Judson Dance Theater, 9, 11, 38, 41n6, 525
cinema and, 521
interdisciplinary practices at, 24
Nauman influenced by, 31
underground art and, 24–25
Judson Dance Theater (Burt), 519
Juicy J, 549
jump cuts
Clarke’s use of, 26–27
Deren’s use of, 289
An Ostrich Proudly and, 606, 608
turfing in RIP videos and, 543–44, 553n36
Jurassic Park (1993), 183n13
Just Around the Corner, 737
Jutra, Claude, 177–78, 177f
Kaiser, Paul, 267, 400, 402f, 403f, 660–61, 727–28
Kalpana (1948), 130–31
Kandinsky, Wassily, 81–82
Kangaroo (1998), 328, 330, 330f
Kapoor, Raj, 131
Kaprow, Allan, 24–25, 291–92
Keaton, Buster, 206, 357–58
editing innovation of, 211–12
Kedhar, Anusha, 429
Keeler, Ruby, 483–85, 489–91, 493–94
Kelley, Mike, 37–38
Kelly, Gene, 238–39
Kelly, Jem, 407, 407f
Kember, Sarah, 370
Khalnayak (1993), 135–36
Khan, Saroj, 134
Kidwai, Saleem, 447
Kierkegaard, Søren, 624
Kim-Cohen, Seth, 286–87
kinèmes, 593–95
kinesfield, 563–64
kinesics, 563–64
kinesphere, 563
kinesthesia, communication and, 246
“kinesthetic contagion,” 251–52
kinesthetic empathy
admiration for skill and, 254
audience motivations and, 251, 257–58
choreographic editing and, 599
cinematic techniques for, 258
defamiliarization and, 249–50
definition of, 245
embodied imagination and, 250–51
emotions and, 248–49
memory and, 248, 249
narrative structures and, 255–57
synchronicity and, 251–53
viewing-sensing devices and, 402
kinesthetic imagination, 246
kineticism
cinema and, 7, 194, 239
screendance maintaining, 238–39
kinetic resolution, 96, 97f
Kinetoscope, 219n14, 221n30
Kinney, Sharon, xiif
Kirby, Michael, 393
(p. 769) Kirstein, Lincoln, 34–35, 520
Kiverstein, Julian, 307
Koester, Joachim, 33–34, 33f
Kool & the Gang, 468
Kozel, Susan, 267–68, 401, 412, 565, 657–58, 664, 668–71
Krauss, Rosalind, 576
Kraut, Anthea, 539
Krishna, Gopi, 132
KRNFX, 432–33
Kuleshov, Lev, 80, 84
on actors and emotion, 94
actors and rhythm principles of, 93–94, 93f, 100
dance interest of, 86–87
dance photographs of, 88, 88f91f, 92
editing legacy of, 86
editing of Vertov compared to, 96
on montage and dance, 87
on montage as creative geography, 113
on rhythm and cinema, 92–93
Taylorism and, 94
Kumar, Surya, 132
Kurosawa, Akira, 297
Kusahara, Michiko, 398
Kutash, Jeff, 465, 475n22
Laban, Rudolf, 25, 246, 659
kinesphere concept of, 563
Labanimations (2012), 161, 161f
Labanotation, 25
Labyrinth Within (2012), 219n4
Lacan, Jacques, 484, 588n20
Lagaan (2001), 134
Lakoff, George, 306
Lal, Chantur, 178
Lambert-Beatty, Carrie, 36, 518, 519
Landscape
audience response to performance component of, 354
Calgary and civic consciousness in, 349–50, 355, 355f, 362
choreography in performance component of, 352–53, 353f
embodiment and, 360–61
Indigenous citizenship and, 350, 352–53, 353f
Indigenous identity and, 351–52, 356, 356f
Indigenous representation in sports in, 356, 357f
multiple gazes in, 353–54
photography component of, 355–58, 355f357f
Super 8 film component of, 354–55
wardrobe in, 352
Lang, Cecília, 110
Langer, Susanne, 170, 174, 263–64, 274
language
cinema as, 193
metalanguage, 392
Rainer’s focus on, 369
Lansdown, John, 390–91
lanterne vive, 220n19
Larionov, Aleksandr, 83–85, 99
Lassry, Elad, 35
Launay, Isabelle, 614
Lawrence, Bonita, 358
Lee, Rosemary, 69, 641
Lee, Shayne, 680
Lefebvre, Henri, 564, 670
Léger, Fernand, 625–26
The Legion of Extraordinary Dancers. See LXD
Lemieux, Michel, 181–82
Lenovo Idea Pad Yoga’s “The Pursuit,” 427–29
Leone, Sergio, 308
Lepecki, André, 219n11, 266, 519
Lerner, Andrea, 616–17, 617f
Le Roy, Xavier, 334
“Letters of the Seer/Visionary” (Rimbaud), 47
Levitskii, Aleksandr, 87
Lewitt, Sol, 414n35
Libertango (Piazzolla), 383
libidinal economy
choreocentricity and, 540
Harlem Shake memes and, 549
race and, 538–39
Li Chiao-Ping, xiif
Lidberg, Pontus, 219n4
Lifar, Serge, 593
LifeForms, 41n8
Life in the Web, 623
Light Body Corpuscles, 338
Lil’ C, 703
Linedance, 248–53
(p. 770) Lippard, Lucy, 14
Lippi, Fernanda, 110
Lip Sync (1969), 293
Lista, Giovanni, 718
The Little Big, 328
The Little Colonel (1935), 736–42
The Littlest Rebel, 736–37
lived body, 340, 370
Lives of Performers (1972), 38, 369, 380f
audience engagement with, 517, 527
choreography of Setterfield’s solo in, 380–81
cinematography in, 378
collage strategies and, 527–28
collage structure of, 517
depersonalized narrative in, 379
disjuncture of sound and image in, 378–79
emotional empathy and, 381
gaze of performers in, 379
Hollywood devices and clichés used in, 377–78
narrative in, 526–27
neo-Dada qualities of, 525–26
realism and, 526
rehearsal process in, 528–29
stillness and, 379–80, 529
live theater, 207
audience engagement in, 285–86
Barthes on photography and, 486
Cage’s definition of, 524
cinema and conventions of, 237, 239
fixed audience and, 285
fourth wall and, 285
mediation and, 393
sound and, 285–87, 290
living image, cinema and, 212–14, 216
Locke, John, 283–84
The Lockers, 468, 475n31
Lockhart, Sharon, 38
Lockyer, Bob, 659
Lodela (1996), 181
Lomax, Yve, 187
long exposure, 143, 156–57. See also photodynamism
Longo, Robert, 225–26
Lord, Richard, 407
Lott, Eric, 473n3
Louppe, Laurence, 264–65
Love, Shelly, 253–55
Love on the Wing (1938), 65
Lugones, María, 689
Lukin, Lev, 79, 87–88
Lumière brothers
bodies in motion in early work of, 220n28
Bring on the Lumière! reanimating, 206–7, 209–10, 212
Cinématographe and, 208, 210, 220n15
public cinema of, 221n38
shadows and work of, 221n37
LXD (The Legion of Extraordinary Dancers), 695
capitalism and, 708
cinematography in, 705
community building of, 706
criticism of, 709
influences on, 708–9
national recognition from, 704
popular dance’s underrepresented aspects highlighted by, 703
promise of, 709
racial diversity in, 703
serious approach of, 704
setup in, 702
Where the Hell is Matt? compared to, 703
YouTube and heated comments on, 705
Lye, Len, 65–66
Lyotard, Jean-François, 529
Le Lys de la Vie (1920), 715–17, 723–25
M., Adrien, 395
M3x3 (1973), 107, 118n14
Maas, Willard, 304
MacDonald, Alistair, 404f
Mach, Julia, 396f, 397f
Machado, Arlindo, 107
Maciel, Andréa, 111–12
Maciel, Katia, 117n7
Magnin, Pascal, 294
Mahabharata, 450
Maharaj, Lachchu, 133
Maharaj, Shambhu, 133
Making Video Dance (McPherson, Katrina), 598–99, 641
The Male Dancer: Bodies, Spectacle and Sexuality (Burt), 473n9
(p. 771) Maletic, Vera, 114
Malevich, Kazimir, 95
Mallarmé, Stéphane, 715
Malraux, Andre, 237
Ma Mère l’Oye (2004), 331, 331f
Man Dressing (1944), 164n35
Mangolte, Babette, 35, 378, 534n76
Manning, Erin, 175–76, 265, 267
Mannoni, Laurent, 220n19, 221n30
Manovich, Lev, 182n12, 398, 411
Man Ray, 65
Man With a Movie Camera (1929), 96, 97f98f, 98
Mapa D2, 508
Maracajá, Paula, 113
Marahope 14/07 (2007), 110
Marcalo, Rita, 408
Marey, Étienne-Jules, 6, 85, 148, 175
chronophotography inventions and techniques of, 150–51, 150f, 153, 210–11
on chronophotography’s objective, 149–50
human movement visualization focus of, 151
Marino, Jennifer, 477n46
Martelli, Bruno, 73, 270, 664–65. See also igloo
Martin, John, 520
Martin, Randy, 434
massMobile App: Responsive Smartphone Performance (2011), 408
Mass Ornament (2009), 28
Massumi, Brian, 170, 174
Matos, Jean-Marc, 412
Matter, Herbert, 164n35
Matter and Memory (Bergson), 151, 217
Maurício Caldas, Paulo, 109
Maya, Vera, 99, 99f
Mazzarella, William, 128–29
McCall, Debra, 7
McCarren, Felicia M., 60n42
McCormick, John, 277
McGregor, Wayne, 272, 414n35
McKayle, Donald, 466
McKee, Robert, 637
McLaren, Norman, 65, 169f. See also Pas de Deux
animation and “in-between” in work of, 168, 171, 174
animation and pioneering work of, 171
on arrested movement, 167
ballet animations of, 174–75
A Chairy Tale and, 169f, 177–80, 177f
editing and blinking used by, 180–81
immediation and, 168
modernism and, 175
multiples used by, 620
neglected legacy of, 170–71
optical printing and, 175
screendance and influence of, 168, 170
sound design of, 178–79
surrealism and work of, 172
suspense in work of, 176
McLuhan, Marshall, 46–47, 410
on art and technology, 55
on artists as future historians, 56–57
on medium as message, 55–56
McPherson, Bruce, 642
McPherson, Katrina, 69–70, 627–28, 627f
choreographic editing and, 598–99
on treatments, 641
“Mechanism for the Production of Stage Effects” patent (Fuller), 717, 719
mediadance
art and potential of, 569–70
body in, 558
categories of, 562–63
definition of, 557
embodiment in, 561–62, 568–69
hybridity and, 557
imaging display’s role in, 568
kinesfield and, 564
Merleau-Ponty’s body schema concept and, 560
research and, 558
The Median Movement Company, 605
Medina, Marie “Pandora,” 703
medium, 390
McLuhan on message from, 55–56
screendance and function of, 11
space as, 563
technology as, 398
Mekas, Jonas, 230, 240n4
Méliès, Georges, 616, 619
Mello, Christine, 106, 116
Melo, Sebastian, 161, 161f
Memórias em Desalinho (2003), 109
memory
Berkeley and cinematic, 489
Deren on imagination and, 304
kinesthetic empathy and, 248, 249
screened stages and, 491
virtual dance and, 266
mentalizing, 307
Merce (Manchester) (2007), 32–33
Mercier, Margaret, 603, 620
Merleau-Ponty, Maurice, 252–53, 305, 322
on body and flesh of world, 560–61, 568–69
body and soul united by, 559
body schema concept of, 558–61, 568–69
on lived body, 340, 370
mediadance and body schema concept of, 560
on space as medium, 563
Meshes of the Afternoon (1943), 369, 372f, 373f
audience and nausea from, 372
cyclical structure of, 370
embodiment and, 373
meaning and, 372–73
physicality and violence of, 371–74
warning in ending of, 374
metalanguage, 392
metaphors
Aristotle’s definition of, 226
cinema and Plato’s cave, 207–8
dance as, 225–28
Deren rejecting, 306–7
editing and, 227
embodied, 307
At Land and ocean, 374
montage and, 228
Tides and ocean, 375
usage problems with, 226–27
Michalek, David, 401
micro-choreographies, 335–36, 601
microfascism, 343
Microsoft’s Surface Pro tablet commercials, 426, 430–34
Miller, Arthur, 304
“Miller Time” (Plastic Little), 547
Miller-Young, Mireille, 682
Mini@tures (1998-2001), 407
Mirror Dance, 51–52, 59n30
mirroring, 307–8
mise-en-scène, 237, 324
Mitchell, W. T. J., 352
mixed reality environments, 657
limitations of, 673
options for, 671–72
SwanQuake: House and, 665–68, 666f, 667f
mobile devices, 72–74
mocap. See motion capture
modernism, 17n6
Bauhaus movement and, 6–7
cine-dance and, 234–35
contradictions of, 191
Greenberg defining, 235
manifestos for, 8
McLaren and, 175
as Puritan, 235–36
screendance and, 4–5, 16
Modern Times, 287
Moholy-Nagy, Laszlo, 6–7, 159, 164n34
Moindrot, Isabelle, 410
Molesworth, Helen, 519, 525
Molina, Hernando “Sweepy,” 432–33
A Moment in Love (1956), 67
Monji, Jana, 552n29
Monk, Meredith, 9, 626
Mon Lapin Bleu, 328
Monogram, 525
Monroy, Ximena, 504–5
monstrous bodies, 330–32, 330f, 331f, 333f, 334
montage. See also editing
as art, 64
Bazin in opposition of, 236–37
as creative geography, 113
Kuleshov on dance and, 87
metaphor and, 228
Vertov’s innovation with, 95
Montalvo/Hervieu Danse, 400, 401f
Moore, Annabelle, 221n30
Moore, Frank, 29, 29f
“More Than a Woman” (Bee Gees), 468–69
Mori, Masahiro, 675n47
Morris, Robert, 519, 524
La morsure (1998-2001), 404–5, 405f
(p. 773) Moten, Fred, 548
Mother Goose Tales (Perrault), 331
motion analysis, 85–86, 143
motion capture (mocap), 151, 263. See also CG characters
authorial intention and, 269, 272–73
body’s “inner forces” and, 270
body’s relationship to, 267–68
Cunningham’s use of, 660
as documentation and dance, 267
movement recontextualized with, 264
potential of, 269, 277
process of, 268
in real-time, 273–74
Skinner Release Technique and, 271, 279n32
spatiality and, 271–72
Motion Control, 296
Motion.Lab, 273–74, 277
Mouthface, 334
Le Mouvement (Marey), 149–50, 150f
Move: Choreographing You, 519
movement. See also pedestrian movement
cinema and, 228, 725
cinema and sound of, 287–88
Ever is Over All and origin of, 573, 575
False Start (2008), image and, 585–86
False Start (2008) and origin of, 580–81
Greenfield and transcendence through, 377
At Land and horizontal, 311–14
At Land and vertical, 311
mocap recontextualizing, 264
in narrative, 257
narrative and, 254–55
somatic, 663
sound magnifying, 292
Movement #1 (2009), 73
Movement as Meaning (Barnett), 194
“Movement” commercial, 430–32
movement-contingency, 312
movement-images, cinema of, 173, 194–95
movement signatures, 646–47
movement visualization. See human movement visualization
Um movimento quase qualquer (2003), 110
moving image. See also cinema
artists discovering potential of, 64–66
False Start (2008) and, 583, 584
Industrial Revolution and studies on, 63–64
twenty-first century studies on, 74
Moving Viewers: American Film and the Spectator’s Experience (Plantinga), 248
MTV, 34, 68, 295, 537, 540
Mughal E-Azam (1960), 133
Müller, Claudia, 111–12
multiple-exposure photography, dance and, 85–86
multiples
in Blood, 622
cloning tool creating, 618
in L’homme orchestre, 619
in At Land, 619–20
in Through the Moss Stuffed Chinks Heard Voices, 621–22, 621f
Pas de Deux and McLaren’s use of, 620
reproductions compared to, 619
Rose’s use of, 622–23, 623f, 624f
in screendance, 618
Multiverse, 275
Mulvey, Laura, 686
Mundy, Jennifer, 190
Muñoz, Brisa, 116
Münsterberg, Hugo, 305
Murch, Walter, 73–74, 295
music
A Chairy Tale and, 178
dance’s connection with, 290
in early screendance works, 290–91
hit points for, 295
repetition in, 625
silent films and, 290–91
timing sheets for, 295
musicals
blackface and, 474n17
dance in, 5
history and development of, 482
Saturday Night Fever and lineage of Hollywood, 463–64
showstoppers in, 482–83
stage framing Imaginary and Real in, 484, 489
Music Piece (1971), 118n13
(p. 774) music videos
ballet compared to, 34–35
Bollywood films and relationship with, 135–36
BREAKAWAY’s influence on, 34
Deren’s influence on, 34
editing and, 295–96
“item numbers” compared to, 136
Musser, Charles, 220n18
Muybridge, Eadweard, 3, 6, 210
chronophotography invention of, 148–49, 149f
Duchamp and influence of, 156
gait analysis of, 148–49
photography innovation of, 64
Nabuco, Letícia, 110
Nadia, 132
Nagrin, Daniel, 26
Namuth, Hans, 65
Narcissus/Narcisse (1983), 171
narrative
of A Chairy Tale, 179
choreographic editing and, 598
Deren’s rejection of conventional, 648–49
emotion and, 248, 255
Entr’acte and Clair dispensing with,