Since the advent of the film art form, the author finds, cinema and dance have engaged in an al-most unbroken courtship, each appropriating techniques and styles from the object of affec-tion. A hybrid form, video dance, has resulted; its recording me-dium may be thought of as its site. The architecture of this site provides a distinctive context for the critique of dances created for it. The collaborative process nec-essary to realize the potential of video dance is found to require a reconstruction of the dancing body as unencumbered by the re-straints of time and space.
This content is only available as a PDF.
© 2000 ISAST