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Title: Where is screendance? A practice-as-research investigation into the role of site, place and location in screendance practice
Author: Norman, Kyra
ISNI:       0000 0004 5923 7192
Awarding Body: University of Bristol
Current Institution: University of Bristol
Date of Award: 2015
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The principal aim of this research is to investigate the role of site, place and location in screendance practice, applying methods and perspectives developed through site-sensitive dance practice to the making and screening of moving image work. Through practical investigation and critical analysis, this research traces a line of attention to questions of place that leads from the three-dimensional, physical space inhabited by artist(s) on location, through the partial, conical space created by the camera, on through that malleable, imagined space the parameters of which are defined in the edit, to the situation and contextualisation of flat screen space within the wider socio-political space of the screening as event. The writing is structured in three parts, gathering the key research questions, explorations and findings of this project around the three key sites where screendance practice 'takes place': on location, in the edit and at the screening. In this way, the structure of this writing intentionally emphasises the proposal inherent in this research, that screendance practice prompts questions around place not only through the activities that occur on location, but also through the exploration and arrangement of this material within editing and screening contexts. Informed by existing and evolving discourses in screendance practice and research, which seek to articulate the variety of modes of interaction between dance and screen media being pursued under the umbrella term 'screendance', the original contribution of this research to ongoing developments and debates in the field is to maintain a tight focus on one highly particular methodology for making and screening screendance, that is, an attention to site, place and location, claiming this as a recognisable and distinctive strand or genre of screendance practice. Through my consideration of the implications of applying site-sensitive, somatic knowledges to the practice of filmmaking, it becomes possible to draw from this intentionally narrow focal point observations pertinent both to the wider field of screendance, and more generally to contemporary choreographic practice, whether it occurs on screen or in the flesh. This submission is presented through practice and in writing: three short films accompany and enrich the following body of text.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available