304
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

A surviving camera: reorganized choreographies for the long mode of change

Pages 463-476 | Received 12 Oct 2022, Accepted 25 Aug 2023, Published online: 06 Sep 2023

References

  • Akker, Robin van den, and Timotheus Vermeulen. 2017. “Periodising the 2000s, or, the Emergence of Metamodernism.” In Metamodernism: Historicity, Affect, and Depth After Postmodernism, edited by Robin van den Akker, Alison Gibbons, and Timotheus Vermeulen, 1–19. London: Rowman & Littlefield Publishers.
  • Albuquerque, Paula. 2018. The Webcam as an Emerging Cinematic Medium. Amsterdam: Amsterdam University Press.
  • Arnheim, Rudolf. 1957. Film as Art. Berkeley: University of California Press.
  • Baym, Nancy K. 2015. Personal Connections in the Digital Age. Malden, MA: Polity Press.
  • Benjamin, Walter. [1935] 2008. The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Cambridge, MA: Belknapp Press.
  • Bennett, Naomi P. 2020. “Telematic Connections: Sensing, Feeling, Being in Space Together.” International Journal of Performance Arts & Digital Media 16 (3): 245–268. doi:10.1080/14794713.2020.1827531
  • Burrell, Jenna. 2017. “The Fieldsite as a Network: A Strategy for Locating Ethnographic Research.” In Routledge Companion to Digital Ethnography, edited by Larissa Hjorth, Heather Horst, Anne Galloway, and Genevieve Bell, 51–60. New York: Routledge.
  • Capece, Kendra, and Patric Scorese. 2021. “Introduction: Pandemic Performance and Aliveness as Art.” In Pandemic Performance: Resilience, Liveness, and Protest in Quarantine Times, edited by Kendra Capece, and Patrick Scorese, 1–17. New York: Routledge.
  • Colebrook, Claire. 2005. “How Can We Tell the Dancer from the Dance? The Subject of Dance and the Subject of Philosophy.” Topoi: An International Review of Philosophy 24 (1): 5–14.
  • Deleuze, Gilles. 1986. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press.
  • Elsaesser, Thomas. 2006. “Early Film History and Multi-Media: An Archaeology of Possible Futures?” In New Media, Old Media: A History and Theory Reader, edited by Wendy Hui Kyong Chun, and Thomas Keenan, 13–26. London: Routledge.
  • Foster, Susan Leigh. 2007. “The Earth Twice Shaken Wonderfully.” In Considering Calamity: Methods for Performance Research, edited by Linda Ben-Zvi, and Tracy C. Davis, 151–170. Tel Aviv: Assaph Books: Yolanda and David Katz Faculty of the Arts, Tel Aviv University.
  • Foster, Susan Leigh. 2011. Choreographing Empathy: Kinesthesia in Performance. New York: Routledge.
  • Golik, Krešo, and Vera Maletić. 1968a. “Koreografija za kameru i plesače.” In “Ples na filmu – pokret i slika,” Hrvatski državni arhiv, June 25, 2020, YouTube video, 41:07, https://www.youtube.com/watch?v = ne8v3zPeu2A&t = 37s. On June 25, 2020, the Croatian State Archive released a rare 1968 dance film on its YouTube channel (Golik and Maletić, 1968a and 1968b)
  • Golik, Krešo, and Vera Maletić. 1968b. “Koreografija za kameru i plesače.” Zagreb film, Studio za dokumentarni film. Video, 10:42.
  • Joy, Jenn. 2014. The Choreographic. Cambridge, Massachusetts: The MIT Press.
  • Koepnick, Lutz. 2012. “In Kracauer’s Shadow: Physical Reality and the Digital Afterlife of the Photographic Image.” In Culture in the Anteroom: The Legacies of Siegfried Kracauer, edited by Johannes von Moltke and Gerd Gemünden, 111–127. Ann Arbor, MI: University of Michigan Press.
  • Kracauer, Siegfried. 1960. Theory of Film: The Redemption of Physical Reality. New York: Oxford University Press.
  • Kracauer, Siegfried. [1951] 2012. “The Photographic Approach.” In Siegfried Kracauer's American Writings: Essays on Film and Popular Culture, edited by Johannes von Moltke, and Kristy Rawson, 204–213. Oakland, CA: University of California Press.
  • Lepecki, André. 2004. “Introduction: Presence and Body in Dance and Performance Theory.” In Of the Presence of the Body: Essays on Dance and Performance Theory, edited by André Lepecki, 124–139. Middletown, CT: Wesleyan University Press.
  • Maletić, Vera. 1987. “Videodance: Technology: Attitude Shift.” Dance Research Journal 19 (2): 3–7. doi:10.2307/1478165
  • Marchart, Oliver. 2019. “On Pre-Enactments: Constructing Time Loops Between the Artistic and the Political.” In Aesthetics of Standstill, edited by Reinhold Görling, Barbara Gronau, and Ludger Schwarte, 72–89. Berlin: Sternberg Press.
  • Mihelcˇić, Jelena. 2008. “Arhiva Videodancea u Hrvatskoj.” Kretanja 9/10: 11–14.
  • Nicely, Megan V. 2016. “Review of The Choreographic, by Jenn Joy.” TDR: The Drama Review 60 (1): 175–178. doi:10.1162/DRAM_r_00534
  • Pakes, Anna. 2020. Choreography Invisible: The Disappearing Work of Dance. Oxford: Oxford University Press
  • Parmentier, Richard J. 1994. Signs in Society: Studies in Semiotic Anthropology, Advances in Semiotics. Bloomington: Indiana University Press.
  • Plesna scena.hr. 2011. “Hrvatski plesni film i video u Zagrebačkom plesnom centru, 24.1., Vera Maletić.” Plesna scena.hr, January 7, 2011. https://www.plesnascena.hr/index.php?p = article&id = 1220.
  • Pouillaude, Frédéric. 2017. Unworking Choreography: The Notion of the Work in Dance. Oxford: Oxford University Press
  • Rancière, Jacques. 2019. Aisthesis: Scenes from the Aesthetic Regime of Art. London: Verso Books
  • Soja, Edward W. 1996. Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Cambridge, MA: Blackwell Publishers.
  • Vertov, Dziga, and Annette Michelson. 1984. Kino-Eye: The Writings of Dziga Vertov. Oakland, CA: University of California Press.
  • Wilcox, Jess. 2015. “The Choreographic by Jenn Joy.” The Brooklyn Rail, April 2015. https://brooklynrail.org/2015/04/art_books/the-choreographic-by-jenn-joy.