Screendance Self/portraits

Hetty Blades

doi:10.18061/ijsd.v8i0.5830

Screendance Self/portraits

Hetty Blades

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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 language	English
Journal	The International Journal of Screendance
Volume	8
DOIs	https://doi.org/10.18061/ijsd.v8i0.5830
Publication status	Published - 2017

Keywords

self/portrait
screendance
selfhood

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10.18061/ijsd.v8i0.5830

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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 Tomi{\'c}-Vajagi{\'c}{\textquoteright}s (2016) notion of the {\textquoteleft}self-portrait effect{\textquoteright} 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.",

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KW - selfhood

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ER -

Screendance Self/portraits

Abstract

Keywords

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