______________________________________________________________________________ The International Journal of Screendance Fall 2014 • Volume 4 ISSN 2154–6878 EDITORS Douglas Rosenberg and Claudia Kappenberg EDITORIAL ASSISTANT Nathan Jandl ______________________________________________________________________________ The International Journal of Screendance Editorial Board DR. ANN COOPER ALBRIGHT Professor of Theater and Dance Oberlin College ELLEN BROMBERG Associate Professor, Department of Modern Dance University of Utah DR. HARMONY BENCH Assistant Professor, Dance Department The Ohio State University DR. SIMON ELLIS Reader (Practice-based) Roehampton University DR. FRANK GRAY Director of Screen Archive South East (SASE) University of Brighton CLAUDIA KAPPENBERG Principal Lecturer, Performance and Visual Art; School of Arts and Media University of Brighton MIRANDA PENNELL Independent film and video artist London, UK DOUGLAS ROSENBERG Professor of Art, Department of Art University of Wisconsin–Madison DR. THERON SCHMIDT Lecturer in Theatre and Liberal Arts King’s College London SILVINA SZPERLING Director, Internacional Festival de Videodanza Buenos Aires, Argentina DR. SARAH WHATLEY Professor of Dance Coventry School of Art and Design Coventry University MARISA ZANOTTI Senior Lecturer Dance University of Chichester Cover Design Nathan Jandl and Douglas Rosenberg Publication Design Harmony Bench and Simon Ellis, after Barry Roal Carlsen, University of Wisconsin–Madison Cover Image All This Can Happen. David Hinton and Siobhan Davies. Used with permission. The International Journal of Screendance is published by The Ohio State University Libraries ISSN 2154–6878 Website: http://screendancejournal.org Email: [email protected] Table of Contents: Theory Into Practice IJSD Volume 4 1 From the Editors Douglas Rosenberg and Claudia Kappenberg 3 From the Incoming Editors Harmony Bench and Simon Ellis 5 Editorial Douglas Rosenberg and Claudia Kappenberg Articles 13 Cutting Across the Century: An Investigation of the Close-Up and the Long- Shot in “Cine-Choreography” Since the Invention of the Camera Katy Pendlebury 28 Poetic Phenomenology in Thierry De May’s Open Corporealities, Responsive Spaces and Carnal Experience Sophie Walon 44 Understanding the “Dance” in Radical Screendance Anna Heighway 63 Screen Position and Proprioception Marc Boucher 80 Bodies, Site, Screen: Eiko and Koma’s Dances for Camera Rosemary Candelario 93 Faces, Choreography and Close-Ups: A Deleuzian Critique of So You Think You Can Dance Sherril Dodds & Colleen Hooper Provocations and Viewpoints (formerly Artist Pages) 117 Fleshing the Interface Dianne Reid 130 Paradigms of Movement Composition Ami Skånberg Dahlstedt Interviews 149 “Looking Back” A Conversation With Katrina MacPherson Reviews 159 Review and Discussion of The Co(te)lette Film Priscilla Guy 170 Conversation with Boxing Gloves Between Chamecki and Lerner Cristiane Bouger 177 Still, Moving: Reflecting on All This Can Happen Kyra Norman 183 Contributor Biographies FROM THE EDITORS 1 ______________________________________________________________________________ From the Editors A personal note from Douglas Rosenberg This, the fourth issue of the International Journal of Screendance, marks a number of turning points. Claudia Kappenberg and I will be turning over the editorial duties to current editorial board members Harmony Bench and Simon Ellis. Harmony and Simon will bring a number of new and energetic ideas to the journal, and I am very excited about their stewardship. We received tremendous support for the first three issues from Parallel Press at the University of Wisconsin-Madison. Now and for the foreseeable future, however, the journal will be an open source publication, hosted by The Ohio State University. The move to open source is a choice brought on by new models of scholarship and access, and discussions about how knowledge is commodified in academia. We will have more information about that in the future, but if you are reading this, you are probably accessing it in its new incarnation. It is my hope that we can continue to grow and inspire the conversation about screendance and that we will be able to bring new voices and ideas to these “pages.” For any project to succeed, a number of things need to coalesce simultaneously and countless people have contributed many ideas and copious energy to every stage of this journal. I especially want to note the work of Nathan Jandl here. Nathan has been the editorial assistant for the journal since its inception. About the time we began the process of bringing the first issue to press, Nathan showed up at my house, sent by a neighbor to borrow a tool for his summer gardening job. I became aware that he was a PhD candidate in the English Department and it occurred to me that the young man standing in my driveway might be the perfect candidate to help with our fledgling journal. Luckily the idea piqued his interest. I cannot overstate his contribution to these first four issues. Nathan has quite literally read and edited every line of every essay or article on every page. He has communicated with writers and helped to shape the intellectual rigor of the publication. His probing intellect and keen editorial skills have made the journal possible for me, and he has enhanced every text he assisted with, all while pursuing his own PhD, which he will soon complete. The process of building a journal from the ground up is daunting in retrospect. Somehow it has found traction and I could not be more proud of our collective efforts to this point. It has been a privilege to be a part of this process and I will continue to be involved, but very happy to watch Harmony and Simon steer us in new directions. The International Journal of Screendance 4 (2014). 2 ROSENBERG AND KAPPENBERG ______________________________________________________________________________ A Personal Note from Claudia Kappenberg When the Screendance Network launched the journal in 2010, we wanted it to be an open platform for many different voices and perspectives, and to be experimental in how these dialogues would be curated and disseminated. Five years down the line it is my pleasure to find that the community of writers and readers has grown enormously and to be able to pass on the editorial lead. As we migrate from the University of Wisconsin-Madison to Ohio, I would like to add my thanks for the amazing support from Parallel Press, who helped us get of the ground and create an international presence. I would also like to thank my own University of Brighton, who has backed the screendance project from its inception and through all the stages of development. I would like to thank Kyra Norman, who helped to managed the Screendance Network in its very first days, and Sam Cochrane who came on board to run the day-to-day business of the journal at the UK-base. And finally I would like to thank the team at The Ohio State University, who have welcomed us and have built a new site for the journal. It is very satisfying to see such an energetic and engaged debate on these pages, gathered under the name of the International Journal of Screendance. This journal was a team effort, as Doug writes, and continues to be so. I intend to use my newly found freedom for one-off projects and special issues in order to further develop the critical discourse, forge new links and expand the parameters. And no doubt I will, occasionally, shout from the sidelines. FROM THE INCOMING EDITORS 3 ______________________________________________________________________________ From the Incoming Editors Harmony Bench and Simon Ellis It is with great pleasure that we assume the editorship of the International Journal of Screendance. Up until this time, the journal has been edited by Claudia Kappenberg and Douglas Rosenberg, and the first four volumes are a testament to their work and commitment to the process of publishing the journal. We would like to thank Claudia and Doug for their energy, enthusiasm, and artistic-scholarly vision. They will continue to be a guiding presence in the journal’s future. But what of that future? Publishing journals is becoming an increasingly difficult undertaking, with the uncertainty in the publishing industry in general and the tight fiscal conditions under which academic institutions are being asked to operate. With this in mind—and with the support of the Journal’s Board—we have decided to adopt the online Open Journal System (OJS) in order to make the Journal openly accessible in various digital formats (HTML, PDF), and to increase its financial viability. OJS will enable a completely online peer-review process (which minimizes administrative burden) and will help us get the journal to readers more quickly. The volume you are now reading—Volume 4—is the first edition of IJSD to be published on our OJS site at screendancejournal.org, hosted by The Ohio State University. Volume 5 will be completely submitted, reviewed, prepared, and published via OJS. Volume 5 will also be our first edition as editors, and it is scheduled for publication in the (Northern) Spring of 2015. Its theme is screendance practices and community. Looking further forward, there will be an open call for papers for Volume 6 in May 2015, and we are currently looking into the various possibilities for print on demand for readers who prefer a little less screentime. We are very much looking to continuing Claudia and Doug’s work, and we are excited at how we might keep developing the journal for the screendance community: its artists, students, and scholars. The International Journal of Screendance 4 (2014). EDITORIAL 5 ______________________________________________________________________________ Editorial Douglas Rosenberg and Claudia Kappenberg The art world of the twentieth century was driven by movements and manifestos. It was also a space in which artists generated copious amounts of texts: words on paper that described the nuanced progression of art practice and of new possibilities across the arts. In theory, it seemed as if any serious movement required manifestos, textual references to the existence of such a movement.