Screendance Self/portraits

Research output: Contribution to journalArticle

22 Downloads (Pure)

Abstract

Screendance works often comprise multiple authorial perspectives. The camera, staging, sound, choreography and context all contribute to the aesthetic and conceptual potential of the work. This provocation draws on Tamara Tomić-Vajagić’s (2016) notion of the ‘self-portrait effect’ to discuss how a confluence of first and third person perspectives cultivates representations of selfhood in two screendance examples: Vis-er-al (2015) by Polly Hudson and 52 Portraits (2016) by Jonathan Burrows, Matteo Fargion, and Hugo Glendinning.
Original languageEnglish
JournalThe International Journal of Screendance
Volume8
DOIs
Publication statusPublished - 2017

Fingerprint

Esthetics
methamidophos

Keywords

  • self/portrait
  • screendance
  • selfhood

Cite this

Screendance Self/portraits. / Blades, Hetty.

In: The International Journal of Screendance, Vol. 8, 2017.

Research output: Contribution to journalArticle

@article{fa33abb5ed5b4fa8a28a76db7377e504,
title = "Screendance Self/portraits",
abstract = "Screendance works often comprise multiple authorial perspectives. The camera, staging, sound, choreography and context all contribute to the aesthetic and conceptual potential of the work. This provocation draws on Tamara Tomić-Vajagić’s (2016) notion of the ‘self-portrait effect’ to discuss how a confluence of first and third person perspectives cultivates representations of selfhood in two screendance examples: Vis-er-al (2015) by Polly Hudson and 52 Portraits (2016) by Jonathan Burrows, Matteo Fargion, and Hugo Glendinning.",
keywords = "self/portrait, screendance, selfhood",
author = "Hetty Blades",
year = "2017",
doi = "10.18061/ijsd.v8i0.5830",
language = "English",
volume = "8",
journal = "The International Journal of Screendance",
issn = "2154-6878",
publisher = "Ohio State University Libraries",

}

TY - JOUR

T1 - Screendance Self/portraits

AU - Blades, Hetty

PY - 2017

Y1 - 2017

N2 - Screendance works often comprise multiple authorial perspectives. The camera, staging, sound, choreography and context all contribute to the aesthetic and conceptual potential of the work. This provocation draws on Tamara Tomić-Vajagić’s (2016) notion of the ‘self-portrait effect’ to discuss how a confluence of first and third person perspectives cultivates representations of selfhood in two screendance examples: Vis-er-al (2015) by Polly Hudson and 52 Portraits (2016) by Jonathan Burrows, Matteo Fargion, and Hugo Glendinning.

AB - Screendance works often comprise multiple authorial perspectives. The camera, staging, sound, choreography and context all contribute to the aesthetic and conceptual potential of the work. This provocation draws on Tamara Tomić-Vajagić’s (2016) notion of the ‘self-portrait effect’ to discuss how a confluence of first and third person perspectives cultivates representations of selfhood in two screendance examples: Vis-er-al (2015) by Polly Hudson and 52 Portraits (2016) by Jonathan Burrows, Matteo Fargion, and Hugo Glendinning.

KW - self/portrait

KW - screendance

KW - selfhood

U2 - 10.18061/ijsd.v8i0.5830

DO - 10.18061/ijsd.v8i0.5830

M3 - Article

VL - 8

JO - The International Journal of Screendance

JF - The International Journal of Screendance

SN - 2154-6878

ER -