This is the second part of my conference report from the Society of Cinema and Media Studies (SCMS) 2014 conference in Seattle. Here are the other panel presentations that I found intriguing!
“Andy Warhol’s Stitches” by Ryan Conrath
Conrath pointed out that Warhol used a sewing machine to stitch together four to eight often identical photographs in Stitched Works and I found that this mechanical, repetitive action and the tactility of stitches were contradictory but could lead us to consider the nature of pop art, consumerism, and postmodernism in society.
During the discussion that took place after his presentation, Conrath pointed out that Warhol told his model not to blink in Screen Tests. I wonder if Warhol’s Screen Tests series had any relevance to tableaux vivants.
“The Memory of Where the Dance Has Been: Quantum Physics, Affective Ecologies, and the Architectural Body in Daniel A. Belton’s Dance Films” by Livia Monnet
Time Dance: An Algebra of Movement (Daniel Alexander Belton, 2012)
If I remember correctly, she did not greatly engage with the necessity of quantum physics, but the use of scientific knowledge or research in humanities (and social science) often becomes troublesome: scholars in humanities and social science tend to use only particular aspects of a specific scientific research that validates their research. Regardless of this, Monnet’s research has the potential for further exploring the nature of affect and screen through dance films or screendance. The moving image that strongly integrates the physical capacity of dancers into itself can trigger viewers’ proprioceptive sensation and will allow us to examine the affective process of experience.
“Refiguring Excorporations: New Ecologies of Screendance” by Alanna Thain
Kiss & Cry (NanoDanses) (Michèle Anne De Mey and Jaco Van Dormael)
Thain’s examination can open up an inquiry into an integration of theatrical dance and screen media. During the discussion after her presentation, Thain pointed out that works like Kiss & Cry needs a better term to examine this emerging field of integrated dance and screen media and that “expanded cinema” does not necessarily provide a productive framework because of its genealogy. Maybe, “intermedia,” which emerged around the same time as expanded cinema, can equally treat all of the elements of dance, theatrical space, and screen.
Next year’s SCMS conference takes place in Montreal and I am very excited about it!