Envisioning Dance on Film and Video by Judy Mitoma, ELIZABETH ZIMMER, Dale Ann Stieber

By Judy Mitoma, ELIZABETH ZIMMER, Dale Ann Stieber

Virtually every person operating in dance this present day makes use of digital media expertise. Envisioning Dance on movie and Video chronicles this 100-year heritage and offers readers new perception on how dance creatively exploits the paintings and craft of movie and video. In fifty-three essays, choreographers, filmmakers, critics and participating artists discover all points of the method of rendering a third-dimensional artwork shape in two-dimensional digital media. a lot of those essays are illustrated by ninety-three pictures and a two-hour DVD (40 video excerpts).

A venture of UCLA – middle for Intercultural functionality, made attainable in the course of the Pew Charitable Trusts (www.wac.ucla.edu/cip).

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Envisioning Dance on Film and Video

Nearly every body operating in dance at the present time makes use of digital media know-how. Envisioning Dance on movie and Video chronicles this 100-year historical past and provides readers new perception on how dance creatively exploits the artwork and craft of movie and video. In fifty-three essays, choreographers, filmmakers, critics and taking part artists discover all facets of the method of rendering a 3-dimensional paintings shape in two-dimensional digital media.

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The artists at the Disney Studios were encouraged to visualize the music in this groundbreaking film. This was all music without words, tone poems that set free the imagination of the animators. The integration of film techniques, choreography (some by George Balanchine), and dance would never be the same. 5 Walt Disney continued to create films that can be classified as precursors to music video. Saludos Amigos and The Three Caballeros combined live Latin American dancers with animated whirling flowers, exploding fireworks, and bursting stars, with Carmelita Maracci contributing portions of the choreography.

He introduced me to some of the new generation of choreographer-dancers like Alvin Ailey, Geoffrey Holder, and Glen Tetley, who counted on television or Broadway to support a few annual concerts at the 92nd Street YMHA. Assigned to design a live Christmas special, I bonded instantly with Butler and his dancers over a pathetic pizza Christmas dinner rushed between the last camera dress rehearsal and air. John had smuggled some of his less cheerleaderlike concert dancers into the program, heavily disguised as reindeer.

The plan was overly ambitious and would require a different production strategy. Although a ballerina can dance full out on point for a two-hour performance, we would be spending a week of long studio taping days on camera, expecting “full-out” performance from morning until night. ABT’s repertoire of modern ballets included a full performance of Antony Tudor’s Pillar of Fire and the first half of Agnes de Mille’s Rodeo, each introduced by the choreographer. Excerpts from Fokine’s Les Sylphides, Petipa’s Black Swan Pas de Deux, and Lander’s Études presented the classic roots of the company.

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