By John Green, Caroline Denzler
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There are clearly many variables in terms of where and how a director may position a camera in relation to the body and it is evident that the camera is an essential element of the choreography. Hinton suggests: Any movement of the camera itself is more powerful cinematically than the movement of a person in a fixed frame. So the movement of the camera, in what I would call a cinematic kind of choreography, has to be an element that you take into account. Similarly, in reference to choreographing Horseplay (1995), Murray states: I just wanted to explore the dynamics of female playfulness and I wanted the camera really to be a part of that.
The distance between the camera and its 30 Dance on Screen subject matter, the angle and focus, the use of colour and lighting, and the style of editing all contribute to this modification. This undoubtedly has far-reaching implications for dance, in which the moving body, with its particular spatial, temporal and dynamic characteristics, is central to the aesthetic. Therefore the aim of this section is to make a comparative analysis of the live body and the screen body, the theatre setting and the television context.
Several writers have noted that the camera tends to ‘dull’ or ‘flatten’ the sense of dynamic quality that a movement employs, but there appears to be no single explanation for why this transformation occurs (Maletic, 1987–88; Mackrell, 1993). One of the central factors is simply the absence of full-size, live bodies on television. As the television screen provides a diminished and relatively poor-quality image, the detail of a live body is reduced. Consequently, the viewer is able to see less of the effort that underlies a movement and the subtle contraction and relaxation of the specific muscles that this requires.