1st Edition
LO: TECH: POP: CULT Screendance Remixed
This edited collection assembles international perspectives from artists, academics, and curators in the field to bring the insights of screendance theory and practice back into conversations with critical methods, at the intersections of popular culture, low-tech media practices, dance, and movement studies, and the minoritarian perspectives of feminism, queer theory, critical race studies and more.
This book represents new vectors in screendance studies, featuring contributions by both artists and theoreticians, some of the most established voices in the field as well as the next generation of emerging scholars, artists, and curators. It builds on the foundational cartographies of screendance studies that attempted to sketch out what was particular to this practice. Sampling and reworking established forms of inquiry, artistic practice and spectatorial habits, and suspending and reorienting gestures into minoritarian forms, these conversations consider the affordances of screendance for reimaging the relations of bodies, technologies, and media today.
This collection will be of great interest to students and scholars in dance studies, performance studies, cinema and media studies, feminist studies, and cultural studies.
List of Contributors
Foreword
Introduction
1. “Let Me in Through Your Window”: Dancing with Kate Bush and Hatsune Miku
Hilary Bergen
2. The Queer Art of Hospitality: “If You Can Fuck, You Can Dance!”
Luce DeLire
3. Kinesthetic Empathy as Human Connection in Digital Space
Cara Hagan
4. The Value of a Cheap Trick: Reverse Motion from Lo Tech SFX to Speculative Spectacle
Alanna Thain
5. Little Visions and Grandiose Perceptions: An Interview with Manon Labrecque by Priscilla Guy
Manon Labrecque and Priscilla Guy
6. Canonising BTS: FOMO in the Archives of Digital Convenience
Yutian Wong
7. Keeping in time: Mastery, as a condition of colonial and patriarchal discourse, and the temporality of screendance
Anna Macdonald
8. Bill Robinson: Icon of Dignity
Karla Etienne
9. The Ghost(s) of Alice Guy: Reminiscences of a Feminist Screendance Pioneer
Priscilla Guy
10. In a World of Dancing Waves and DIY Addiction: An Interview with Sonya Stefan by Priscilla Guy
Sonya Stefan and Priscilla Guy
11. “Take Me to the Place Where the White Boys Dance”: Tom Hanks’s Manchild
Addie Tsai
12. Traces, Memories, and Rediscovered Gestures: A Creative Practice of Archiving and Sensitive Writing
Camille Auburtin
13. Terrance Houle’s Ghost Dancing in A Wagon Burner Landscape
Jessica Jacobson-Konefall
14. Desire to Heal, Desire to be Seen, Desire to Dance: An Interview with Kijâtai-Alexandra Veillette-Cheezo by Priscilla Guy
Kijâtai-Alexandra Veillette-Cheezo and Priscilla Guy
15. From _ Ryan Clayton To _ Emilie Morin
Ryan Clayton and Emilie Morin
16. Filming Consciousness: Between Phonesia and Talking Camera — Organological Cinema
Anatoli Vlassov
17. The matter of analogue media technologies in Screendance, post Martin Heidegger and post Hito Steyerl
Claudia Kappenberg
18. Moving Mirror or Screendance as Performance Methodology: An Interview with Nadège Grebmeier Forget by Alanna Thain
Nadège Grebmeier Forget and Alanna Thain
Index
Biography
Priscilla Guy is a Canadian artist and researcher holding a PhD in feminist screendance from Université de Lille. She is co-founder and director of Regards Hybrides, a project that aims to promote the expression, development, and outreach of practices and discourses that border between dance and cinema. With its web platform, its international biennial, and its range of services for artists and presenters, Regards Hybrides is the only project of its kind in Canada.
Alanna Thain is Associate Professor of English, World Cinemas and Gender, Sexuality and Feminist Studies at McGill University. She is co-founder and director of the Moving Image Research Lab, dedicated to the studying of the body in moving image media, and directs the FRQSC research team CORERISC: Collective for Research on Epistemologies and Ontologies of Embodied Risk. She is the author of Bodies in Suspense: Time and Affect in Cinema (2017).
