Open AccessScreendance Self/portraits
Author(s) -
Hetty Blades
Publication year - 2017
Publication title -
the international journal of screendance
Language(s) - English
Resource type - Journals
eISSN - 2154-6894
pISSN - 2154-6878
DOI - 10.18061/ijsd.v8i0.5830
Subject(s) - portrait , choreography , context (archaeology) , art , art history , visual arts , sociology , aesthetics , history , dance , archaeology
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.