CR Society



Minneapolis Project  
Image: Kristin van Loon in Jaime Carrera and Tyler Jensen's 2009 dance film "Station"

Purely speaking, a dance film is one in which dance and film/video are both integral to a work. This simple definition separates dance films from archival records of stage or site specific dance compositions. The makers of dance films consider the placement and movement of the camera, the lighting, the balance of foreground and background, and the composition within the framing of each shot in the overall choreography. A dance film can take many forms: dance designed for the camera (cine dance or screen dance), a screen adaptation of a stage work, animation, kinetic abstraction, or documentary (however, please note that at this time the scope of Dance Film Project does not include documentary).

The structure for a dance for the camera, otherwise known as a cine dance or screen dance, may be driven by a kinetic or visual design concept, poetry or narrative, imagery from reality or dreams, traditional or idiosyncratic musical forms. The intention may be to produce what cannot be conceived in a live performance or to stretch and condense a multi-media form.

The essential difference between an archival record of a stage work and what we are referring to as a dance film, a dance for the camera, is the involvement of the choreographer in a collaboration with a composer, cinematographer, editor, and a director. Alternatively, the choreographer may also assume all those roles him or herself.-

Director Daniel Conrad states in his article, "Getting Off the Stage," that ". . . dance film can do things neither dance nor film can do alone if it frees itself from some conventions of its parents. Film provides ways of organizing the world with angles, camera movement, locations, and montage. Dance provides abstract ways of organizing the world with human movement." -

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More about Dance Film:

  Minnesota Dance Film Festival Workshops Artist Connection Submissions Press Links DFP Archive: 2008 | 2009