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date: 13 July 2020

(p. xv) List of Contributors

(p. xv) List of Contributors

Ann Cooper Albright is Professor of Dance, and Chair of the Department of Dance at Oberlin College. Combining her interests in dancing and cultural theory, she is involved in teaching a variety of dance, performance studies, and gender studies courses that seek to engage students in both practices and theories of the body. She is the author of Engaging Bodies: The Politics and Poetics of Corporeality (Middleton, CT: Wesleyan, 2013); Modern Gestures: Abraham Walkowitz Draws Isadora Duncan Dancing (Wesleyan, 2010); Traces of Light: Absence and Presence in the Work of Loïe Fuller (Wesleyan, 2007); Choreographing Difference: The Body and Identity in Contemporary Dance (Wesleyan, 1997); and co-editor of Moving History/Dancing Cultures: A Dance History Reader (Wesleyan, 2001) and Taken by Surprise: A Dance Improvisation Reader (Wesleyan, 2003). The book Encounters with Contact: Dancing Contact Improvisation in College (2010) is the product of one of her adventures in writing and dancing and dancing and writing with others. Ann is founder and director of “Girls and Boys in Motion,” an award winning afterschool program at Langston Middle School, now in its tenth year, and co-director of Accelerated Motion: Towards a New Dance Literacy, a National Endowment for the Arts–funded digital collection of materials about dance. Currently, Ann is working on an interdisciplinary book entitled Gravity Matters: Finding Ground in an Unstable World.



Sima Belmar received her PhD in Performance Studies from the University of California, Berkeley in 2015 and her MFA in Dance from the University of Wisconsin, Milwaukee in 2003. Her writing has been published in The Journal of Dance and Somatic Practices, TDR, Dance Magazine, and The San Francisco Bay Guardian. She is currently a lecturer in the Department of Gender and Women’s Studies and the Department of Theater, Dance, and Performance Studies at the University of California, Berkeley. Her research specialties include dance in popular film and television, US dance-theater, somatic theory and practice, and embodied identity politics.



Melissa Blanco Borelli is Senior Lecturer, Dance, in the Drama and Theatre Department at Royal Holloway, University of London. She is the editor of The Oxford Handbook of Dance and the Popular Screen (Oxford: Oxford University Press, 2014) and She Is Cuba: A Genealogy of the Mulata Body (Oxford: Oxford University Press, November 2015). Other publications include chapters in Black Performance Theory (Durham, NC: Duke University Press, 2014) and Žižek and Performance (London: Palgrave, 2014), and articles in Women and Performance: a journal of feminist theory, International Journal of Screendance, and the International Journal of Performance Arts and Digital Media. She established the first joint honors program in Drama and Dance at Royal Holloway; a single honors program in Dance is scheduled to begin in Autumn 2016. (p. xvi)



Naomi Bragin works at the intersection of dance and critical black theory, drawing on her background as a club, street, and stage dancer; cultural worker; and dance educator. As former artistic director of Oakland-based DREAM Dance Company, her work was nominated for the Bay Area’s Isadora Duncan Dance Award for Best Choreography. Her current project, Black Power of Hip Hop Dance: On Kinesthetic Politics, is an ethnohistory and aesthetic philosophy of black street dance in 1960s to 1970s California. She currently holds a UC President’s Postdoctoral Fellowship at University of California, Riverside and is Assistant Professor of Performance Studies at University of Washington, Bothell. See www.naomibragin.com.



Erin Brannigan is Senior Lecturer in Dance at the University of New South Wales and works in the fields of dance and film as an academic and curator. Erin writes on dance for the Australian arts journal, RealTime, and her recent publications are Moving Across Disciplines: Dance in the Twenty-first Century (Sydney: Currency House, 2010) and Dancefilm: Choreography and the Moving Image (New York: Oxford University Press, 2010). Bodies of Thought: 12 Australian Choreographers, co-edited with Virginia Baxter, is forthcoming with Wakefield Press (South Australia, 2016). She has published articles in Senses of Cinema, Writings on Dance, Brolga, and International Journal of Performance Arts and Digital Media. She was the founding director of ReelDance (since 1999) and has curated dance screen programs and exhibitions for Sydney Festival 2008, Melbourne International Arts Festival 2003, and international dance screen festivals.



Leonel Brum earned his Doctor of Visual Arts degree from the School of Fine Arts at the Federal University of Rio de Janeiro (UFRJ) and his Master’s degree in Communication and Semiotics from the Pontifical Catholic University of São Paulo (PUC/SP). Brum is a coordinator and professor of undergraduate and graduate courses in dance at the Institute of Culture and Art of the Federal University of Ceará (ICA/UFC). He is a former dance coordinator for the National Arts Foundation of the Ministry of Culture (Funarte/MinC) and a founding director of Dance Brazil and Dance for Children festivals. Currently, he is one of the founding directors of dança em Foco—International Festival of Video and Dance. He is the author of books and articles about dance, dance history, and videodance.



Pallabi Chakravorty is Associate Professor in the Department of Music and Dance at Swarthmore College. She is a scholar of visual anthropology, performance, and culture. Trained in Kathak dance by respected gurus in Kolkata, Pallabi upholds the integration of theory and practice in her research, teaching, and artistic works. She is the author-editor of four books and proceedings and of several journal articles and book chapters, most notably Bells of Change: Kathak Dance, Women, and Modernity in India (Kolkata, India: Seagull, 2008). Her current research focuses on Indian dance and media, especially dance reality shows, Bombay film dance, and the Bollywoodization of Indian culture. Pallabi is the founder and artistic director of Courtyard Dancers (courtyarddancers.org), a nonprofit based in Philadelphia. (p. xvii)



Roger Copeland is Professor of Theater and Dance at Oberlin College. His essays about dance, theater, and film have appeared in a wide variety of publications, including The New York Times, Film Comment, The New Republic, The Village Voice, Dance Theatre Journal, Dance Magazine, and The Journal of Aesthetics and Art Criticism. His books include the widely used anthology What Is Dance? Readings in Theory and Criticism (London: Oxford University Press, 1983) and Merce Cunningham: The Modernizing of Modern Dance (London: Routledge, 2004). He has also contributed essays and chapters to numerous anthologies, including Dance and Politics, Conversations with Susan Sontag, The Routledge Dance Studies Reader, and The American National Biography.



Andrea Davidson is a former soloist and principal dancer with major North American and European dance companies. She holds an MA in Screendance and a DEA and PhD in Interactive Studies from Université Paris VIII where she taught courses on screendance and dance and new media from 2000 to 2009. Author of the book Bains Numériques #1: Danse et nouvelles technologies (Enghien-les-Bains: Centre des arts, 2007) and numerous articles on the subject of dance and new media, she currently teaches at the University of Chichester, UK. An award-winning choreographer-videographer and multimedia artist, Ms. Davidson’s works have been presented in festivals, exhibitions and art institutions around the world. She is a recipient of the UNESCO Grand Prix International Videodanse; the Prix Beaumarchais de l’Écriture Multimédia, France; and the Special Jury Prize of the Festival Napolidanza Il Coreografo Elettronico. Following the creation of a dozen choreographies for the stage and screen between 1989 and 1995, explorations with interactive video led to the creation of the interactive CD-rom and installation La morsure (1998–2001). Other works include Paysages Humains (2001), an interactive scenography created for the theater company Faim de Siècle; the interdisciplinary performance Maâlem Expérience (2001–2002) and interactive installation DiaPH (2002), created with Moroccan Gnawa master Mahmoud Ghania; the interactive installation Double Jeu (2004) with the Académie de Cirque Fratellini, Paris; the multimedia scenography D’anna-chronique … pavlova moi (2005) and installation Anaphorique(s) (2006) with Spanish choreographer Anna Ventura; videoclips, websites, and DVDs for musicians in Paris (2006–2010); Paroles trouvées (2007), a spatialized audio, videochoreographic, optical installation with French composer Dominique Besson; the interactive, telematic dance performance Inter_views (2009) with Jem Kelly; and the screendances Scènes Saint-Denis and Paroles trouvées (2009).



Esha Niyogi De is the author of Empire, Media, and the Autonomous Woman: A Feminist Critique of Postcolonial Thought (Oxford: Oxford University Press India) and the co-author of Trans-Status Subjects: Gender in the Globalization of South and Southeast Asia (Durham, NC: Duke University Press). Her articles have appeared in such leading journals as Screen and Diacritics, and in other scholarly venues in the United States, Europe, India, Bangladesh, and Australia. Her new book in progress—tentatively titled Women’s Transborder Cinema: Filmmaking and Femininities across South Asia—is based on research she recently undertook in India, Pakistan, and Bangladesh with support from a Fulbright Multicountry Scholarship. She teaches at UCLA. (p. xviii)



Priscilla Guy is a Canadian artist and scholar holding a Masters in Dance from York University, with a thesis focusing on screendance. She founded Mandoline Hybride in 2007, a Montreal-based company that creates interdisciplinary works ranging from screendance to site-specific performances and choreography for the stage. Her work has been presented in Canada, the United States, Spain, and France, as well as at several international screendance festivals. Priscilla is co-founder of Regards Hybrides, a Quebec French platform dedicated to the articulation and development of screendance, through which she writes essays, reviews, and portraits and organizes screenings and professional workshops (see www.mandolinehybride.com and| www.regardshybrides.com).



Marisa C. Hayes is a screendance artist and scholar based in France. She is the founding codirector of the International Video Dance Festival of Burgundy, and codirects Body Cinéma, a company working at the crossroads of performance and new media. Her writing on screendance has been published by Intellect Press, the Society of Dance History Scholars, and a variety of French film and dance research journals. Her own works of screendance have been presented internationally in over twenty countries and have received awards from the New York Dance Films Association and Pentacle Movement Media.



Frances Hubbard is an AHRC-funded PhD student and associate tutor in the Department of Media, Film, and Music at the University of Sussex, UK. Her work explores the corporeal ties between dance, film, and audience through the sensuous, kinesthetic experience and analysis of screen dance. However, since the senses have been trained according to regulatory controls, due attention is also given to the ideology of representation and to the links between embodiment, identities, meanings, and broader relations of inequality.



Naomi Jackson is Associate Professor in the School of Film, Dance, and Theatre, at Arizona State University. She received her PhD in Performance Studies from New York University and MA in Dance Studies from the University of Surrey (United Kingdom). Jackson has edited Dance, Human Rights, and Social Justice: Dignity in Motion (with Toni Shapiro-Phim; Scarecrow Press, Lanham, MD: 2008) and is the author of Converging Movements: Modern Dance and Jewish Culture at the 92nd Street Y (Middletown, CT: Wesleyan, 2002). She has served on the boards of the Society of Dance History Scholars and the Congress on Research in Dance, and is currently working on a book on dance and ethics.



Jessica Jacobson-Konefall is a third-year PhD candidate in Cultural Studies at Queen’s University at Kingston, Canada. Her research focuses on how indigenous new media art shapes and defies notions of identity and community in Canadian cities. Jessica teaches undergraduate courses in the English Department at the University of Winnipeg. She has numerous peer-reviewed publications, and she archives and curates at Urban Shaman Contemporary Aboriginal Art Gallery in Winnipeg, Manitoba. Her archival and curatorial work with Gallery Director Daina Warren (Montana Cree) will (p. xix) be disseminated in a forthcoming online exhibition through CACHET, Canadian Art Commons for History of Art Education and Training.



Adanna Kai Jones received her BFA in Dance from Mason Gross School of the Arts, Rutgers University and her PhD in Critical Dance Studies from the University of California, Riverside (UCR). With the support of a UCR Dissertation Research Grant, she conducted ethnographic research in 2012 on various Caribbean carnivals throughout the United States and the Caribbean, in Los Angeles, New York City, Barbados, and Trinidad. Her research and dissertation focus on the ways winin’ (a rolling hip dance) and Caribbean carnivals participate in maintaining a sense of Caribbean identity within the United States.



Rachel Joseph is an Assistant Professor of Theatre at Trinity University. She earned her PhD in Drama from Stanford. Her current book project, Screened Stages: Representations of Theatre Within Cinema, analyzes filmic representations of stages, theatre, theatricality, and performance as they have occurred throughout the history of cinema. Her chapter on Charles Chaplin is in Refocusing Chaplin: A Screen Icon through Critical Lenses from Scarecrow Press. Her essay ‘ “Max Fischer Presents”: Wes Anderson and the Theatricality of Mourning’ is in The Films of Wes Anderson: Critical Essays on an Indiewood Icon from Palgrave Macmillan. Her essays have been published in Performance Research; Octopus: A Visual Studies Journal; and The Journal of American Drama and Theatre.



Mauri Kaipainen holds a PhD in musicology and is Professor of Media Technology at Södertörn University (Sweden). He focuses on shared, collaborative, and bottom-up emergent aspects of experience using the concepts of enactment and multiperspective exploration of environment. He proposes applications of this approach ranging from media art and generative narrative systems to collaborative knowledge building and societal engagement.



Claudia Kappenberg is a performance and media artist and course leader for the MA Performance and Visual Practices program at the University of Brighton, United Kingdom. Ms. Kappenberg leads the international AHRC Screendance Network and is co-founder and editor of The International Journal of Screendance. She is a founder-member of the White Market performance project and co-curated the London What IF Festival in 2010. Her writing has been published in The International Journal of Performance Arts and Digital Media and Anarchic Dance (London: Routledge, 2006). Her performance projects comprise single-screen work as well as screen-based installations and live site-specific events and have been shown across Europe, the United States, and the Middle East (see www.ckappenberg.info).



Michael Jay McClure, PhD, is an associate professor teaching the history and theory of contemporary art in the Department of Art History at the University of Wisconsin–Madison. This essay is part of a developing manuscript titled Notes on an Exhibition: Contemporary Art and Its Instructions. (p. xx)



Sebastián Melo, born in Santiago, Chile, in 1976, has directed and produced art video and documentary films since 2005. His first project, From Afar, was awarded the Grand Prix at the Santiago International Documentary Film Festival (FIDOCS). Based in London since 2010, he was awarded the Goldsmiths International Postgraduate Scholarship to pursue an MA in Digital Media, Technology, and Cultural Form. He has worked in collaboration with Nicolas Salazar-Sutil in performance and video projects commissioned by the MOVE Media Lab: Flatland (2012), Labanimations (2012), and Mindbeats (2012). Their latest work, Structured Light (2013), formed part of the Bienal de Video y Nuevos Medios at the National Museum of Arts (MNBA). He recently formed Chaka Studio and is committed to developing r&d on interactive documentaries as part of REACT Future Documentary, an AHRC-funded program.



Mirella Misi, researcher, choreographer, and visual artist, investigates the integration of live performance and computer graphics. She is founder and coordinator of Slash Art Technology Research Laboratory (Amsterdam, Holanda), vice-leader of Electric—Cyberdance Research Group (UFBA/Brazil), and member of Artech International Association. Misi has a PhD in Performing Arts with specialization in the field of Digital and Interactive Art (Federal University of Bahia, Brazil/The Hague University of Applied Sciences, Netherlands). Her MA, PhD, and postdoctoral studies were sponsored by CAPES Brazil (Coordination for the Improvement of Higher Education Personnel).



Tracie Bettina Mitchell is a dance and film artist, academic professional, and producer. Her artwork tours globally and is highly celebrated. In 2001 she was a recipient of the prestigious Australia Council for the Arts Fellowship. She was director of Australia’s leading international dance screen organization ReelDance Inc. (2008–2010). Her PhD thesis (2014), “Moving Pictures: Dance Screen Making as a Choreographic Process,” investigates the creation of dance screen work that is driven by dance. Tracie created and teaches undergraduate and masters dance screen courses at Melbourne University, Victorian College of the Arts.



Ann Murphy is Assistant Professor and Chair of the Dance Department at Mills College in Oakland, California, where she has been on the faculty since 2007. She is co-editor and contributor with Molissa Fenley to Rhythm Field: The Dance of Molissa Fenley (Kolkata, India: Seagull, 2015). She also contributed to the monograph Nework of Pointes, under the auspices of the Society of Dance History Scholars. As a dance critic and writer, her work has appeared in the New York Times, the San Francisco Chronicle, the San Jose Mercury, and the Oakland Tribune, among other outlets, and she founded the long-lived Bay Area monthly publication, In Dance.



Ana Olenina is Assistant Professor of Film Studies at the University of North Carolina-Wilmington, where she teaches courses on Russian film history, international silent cinema, and film theory. Though her main research focus is the Soviet avant-garde, her broader interests lie at the juncture of early film history and media theory, with an emphasis on historical configurations of sensory experience, emotional response, (p. xxi) embodiment, and immersive environments. She is currently working on a book manuscript, tentatively titled Psychomotor Aesthetics: Conceptions of Gesture and Affect in Russian and American Modernity, 1910s–1920s.



Ludmila Pimentel is Adjunct Professor at the Graduate and Postgraduate Program at School of Dance, University Federal of Bahia (UFBA), Brazil. She is the leader of Electric—Cyberdance Research Group, and holds a PhD in Visual Arts and Intermedia at the Fine Arts of the Polytechnic University of Valencia, Spain. A choreographer and visual artist, she has received several grants for postdoctoral studies at Fine Academy of Arts at HBK, XM:Lab, Saarbrücken (2012), with CAPES sponsorship; for doctoral studies with Program Alban sponsorship (Valencia, 2004–2008); and a UNESCO-Aschberg grant for artistic residence (England, 2005). She is a collaborator at SLASH lab group (Netherlands) and a board member of the Journal of Dance and Somatic Pratices (Coventry University).



Sita Popat is Professor of Performance and Technology at the University of Leeds, UK. She came into academia through dance, and her research focuses on the body and digital media. She is the author of Invisible Connections: Dance, Choreography and Internet Communities (London: Routledge, 2006) and co-editor of Performance Perspectives: A Critical Introduction (London: Palgrave, 2011). She is Associate Editor of the International Journal of Performance Arts and Digital Media. In her spare time, she enjoys playing World of Warcraft with her sons.



Jenelle Porter is Mannion Family Senior Curator at the Institute of Contemporary Art, Boston. Porter has written essays for several catalogues and journals, as well as books on artists Christina Ramberg, Trisha Donnelly, Charline von Heyl, Mary Reid Kelley, Stephen Prina, Matthew Ritchie, Arlene Shechet, and Uri Tzaig.



Izabella Pruska-Oldenhof is an award-winning experimental filmmaker and Assistant Professor at the School of Image Arts, Ryerson University in Toronto. As an artist and scholar, her research interests extend to several areas: feminine aesthetics; body art; history and theory of avant-garde art and cinema; psychoanalytic and phenomenological perspectives on embodiment; and Marshall McLuhan’s theories on media and the arts.



Douglas Rosenberg has been making screendance and dance documentaries for over twenty-five years. His work for the screen has been continuously curated into significant exhibition venues in the field, both nationally and internationally, and he has been recognized with numerous awards, grants, and fellowships, including the James D. Phelan Art Award in Video, an Emmy Nomination for his Five Dance Films About Place, and an Isadora Duncan Award. As a scholar, Professor Rosenberg has brought attention to the field of screendance and been active in shaping the discourse of the field through his published writing, the organization of conferences, the founding of the long-standing ADF International Screendance Festival, and through being a founding editor of The International Journal of Screendance. His first book, published by Oxford University Press, Screendance: Inscribing the Ephemeral Image (2012), situates (p. xxii) screendance in the wider discourse of the visual arts, performance, and film studies. Rosenberg is Professor of Art at the University of Wisconsin-Madison and Chair of the Art Department.



Selby Wynn Schwartz, a recent Visiting Scholar in Performance Studies at NYU, teaches writing at Stanford. She was the dramaturge for Monique Jenkinson’s Instrument (2012), and is now working with Amie Dowling and Katie Faulkner on new performance projects. Her articles have appeared in PAJ, Dance Research Journal, Women and Performance, Transgender Studies Quarterly, Critical Dance, In Dance, Dance International, and Conversations Across the Field of Dance Studies. In 2011, she was awarded the Society of Dance History Scholars’ Lippincott Award for the best English-language article in dance studies; she is currently finishing a book on drag and dance.



Jürgen Simpson is a composer, performer, and lecturer, and is the director of the Digital Media and Arts Research Centre (DMARC), University of Limerick, Ireland. He has composed extensively for dance and collaborated in this capacity with choreographer John Scott and Shobana Jeyasingh, composer Michael Nyman, and, most significantly, seven screendance works with film director Mary Wycherley. His six scores for film director Clare Langan include Metamorphosis, which received the principal award at the 2007 Oberhausen International Film Festival. His operatic works include Thwaite (2003) with librettist Simon Doyle, which received the Genesis Opera Project’s top award. He has created numerous works for gallery spaces and in 2008 created an installation with architects O’Donnell & Tuomey and digital artist Nicholas Ward for the 2008 Venice Architectural Biennale. He was a member of the band The Jimmy Cake from 2000 to 2008 and recorded and produced their third album, Spectre & Crown. His work has been supported by RTÉ, The Arts Council of Ireland, Culture Ireland, The British Council, The Arts Council of Northern Ireland, and the Canada Council for the Arts. He is the cofounder of Ireland’s Light Moves Festival of Screendance.



Nicolás Salazar Sutil is a Chilean performance and cultural theorist/practitioner, trained in Laban movement analysis and the Laban-Malgrem system of character analysis (Drama Centre London). He is the cofounder and artistic director of the C8 digital dance-theatre collaborative. Since 2011 Salazar Sutil has been a director of Performance Studies international (PSi), Chair of the Independent Scholar Committee of PSi, and a member of PSi’s international Committee. He is the co-founder of MoVe (Movement Visualisation in e-Cultures), a network for independent research in interdisciplinary methodologies using graphic movement analysis and new media. He has directed and assisted a number of productions, workshops, and laboratories in schools and universities in the United Kingdom and in Latin America. He received the 1994 Academic Excellence scholarship from the Universidad de Chile, and the 1995 Instituto Chileno-Norteamericano award for his adaptation of Arthur Kopit’s play Wings in Santiago de Chile. He is currently a Lecturer in Dance and Digital Arts at the University of Surrey, Guildford, UK. (p. xxiii)



Susana Temperley is a Specialist in Art Criticism, with a Licentiate Degree in Social Communication from the University of Buenos Aires, and she is a professor in the transdepartmental branch of Art Criticism at the National University Institute of Arts. She has given seminars and published articles on videodance, dance criticism, and semiotics in both national and international press media. Since 2007 she has organized the International Symposium on Videodance within the frame of the Videodance Festival of Buenos Aires. At present she is working on her PhD thesis, “La danza y sus bordes. Un estudio sistémico de la Danza—Teatro y de la danza en interacción con la tecnología y la vida cotidiana.”



Alanna Thain is Associate Professor of World Cinemas and Cultural Studies at McGill University in Montreal, Canada. She codirects the Moving Image Research Laboratory, devoted to studying relations between bodies and moving image media. Her research connects affect, media, and the body, focusing on contemporary cinema, animation, and screendance. Her book, Bodies in Time: Suspense, Affect, Cinema is forthcoming from the University of Minnesota Press. Having written about Marie Chouinard, Dave St-Pierre, Jan Fabre, David Lynch, and William Kentridge, as well as questions of time, embodiment, and cinema, she is currently completing two book projects, on Canadian animator Norman McLaren, and on “anarchival cinemas,” exploring dance and performance in postcinematic production.



Pia Tikka, PhD, filmmaker-researcher, has directed the feature films Daughters of Yemanjá (1996) and Sand Bride (1998), and worked in a range of international film productions. Her enactive cinema project Obsession (2005) received a Möbius Prix Nordic award for interactive storytelling. She is co-author of the interactive film-game The Third Woman (2009). After the publication of her book Enactive Cinema: Simulatorium Eisensteinense (Saarbrücken, Germany: Lambert Academic, 2008), she has elaborated further the concept of “enactive media.” Currently, Pia Tikka leads her research group NeuroCine at Aalto University (Finland), which combines filmmaking practice with the methods of neuroimaging in order to study the neural basis of cinematic imagination.



Kim Vincs is Director of the Deakin Motion Lab, Deakin University’s motion capture studio and performance technology research center, which she established in 2006. She has been a choreographer for over twenty years, and has focused on interactive dance technology for the last ten. Recent works include The Crack Up, which premiered at the Merlyn Theatre, Coopers Malthouse, in October 2014, and Multiverse, with Garry Stewart and Australian Dance Theatre. Kim has five Australian Research Council projects in dance, technology and science, and numerous industry collaborations in motion capture, movement analysis, and digital art. She has commercial motion capture credits for computer games, television commercials, and film, including the Cannes Silver Lion winning Nocturnal Migration.



Sophie Walon trained as a ballet dancer at Conservatoire à Rayonnement Régional de Paris before deciding to move to academia. After graduating with a multidisciplinary (p. xxiv) BA from Lycée Henry IV (Paris), she received a four-year scholarship from École Normale Supérieure de Lyon. She holds Master’s degrees in philosophy from ENS Lyon; film studies, completed jointly at ENS Lyon and the University of Cambridge; and film aesthetics from the University of Oxford. She has also worked as a film critic for Le Monde. She is currently undertaking doctoral research on representations of the body in dance films at École Normale Supérieure de Paris, where she also teaches film theory and history.



Chirstinn Whyte completed a PhD in 2008 at Middlesex University, London, researching choreographic practice for the screen. Her work, created in partnership with digital artist Jake Messenger, has been shown at screendance and short film festivals worldwide, and her writing has been featured in publications including RealTime, Dance Theatre Journal, Film International, and Filmwaves.



Karen Wood recently completed her PhD dissertation at the University of Manchester, entitled “Kinaesthetic Empathy and Screendance Audiences,” as part of the Watching Dance: Kinaesthetic Empathy Project. She is an independent dance practitioner based in Manchester, interested in educating, researching, and performance. Her main interests lie in the training of dancers and, in particular, how supplementary training helps to improve dancers’ knowledge of their body and thus improves performance. Other interests include how dancers acquire kinesthetic sensibilities and how this affects embodied knowledge and dance performance and the act of viewing dance. She also holds an MSc in Dance Science from Trinity Laban, London.