Screendance Self/portraits
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 c...
| Main Author: | |
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| Format: | Article |
| Language: | English |
| Published: |
The Ohio State University Libraries
2017-06-01
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| Series: | The International Journal of Screendance |
| Subjects: | |
| Online Access: | http://screendancejournal.org/article/view/5830 |
| _version_ | 1819154929583915008 |
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| author | Hetty Blades |
| author_facet | Hetty Blades |
| author_sort | Hetty Blades |
| collection | DOAJ |
| description | 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. |
| first_indexed | 2024-12-22T15:28:53Z |
| format | Article |
| id | doaj.art-7f2219f0e3c541a491f5d4bb61b2f09d |
| institution | Directory Open Access Journal |
| issn | 2154-6878 |
| language | English |
| last_indexed | 2024-12-22T15:28:53Z |
| publishDate | 2017-06-01 |
| publisher | The Ohio State University Libraries |
| record_format | Article |
| series | The International Journal of Screendance |
| spelling | doaj.art-7f2219f0e3c541a491f5d4bb61b2f09d2022-12-21T18:21:24ZengThe Ohio State University LibrariesThe International Journal of Screendance2154-68782017-06-018010.18061/ijsd.v8i0.58303787Screendance Self/portraitsHetty Blades0Coventry UniversityScreendance 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.http://screendancejournal.org/article/view/5830self/portraitscreendanceselfhood |
| spellingShingle | Hetty Blades Screendance Self/portraits The International Journal of Screendance self/portrait screendance selfhood |
| title | Screendance Self/portraits |
| title_full | Screendance Self/portraits |
| title_fullStr | Screendance Self/portraits |
| title_full_unstemmed | Screendance Self/portraits |
| title_short | Screendance Self/portraits |
| title_sort | screendance self portraits |
| topic | self/portrait screendance selfhood |
| url | http://screendancejournal.org/article/view/5830 |
| work_keys_str_mv | AT hettyblades screendanceselfportraits |