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SESSIONS Choreocinema by André Austvoll, Norway Paper This report is aims to answer to the question "how can dance be filmed". The question is approached by analysing three films that emphasise integrated movements of camera and dancer. The three films are "Rock Your Body", "Elektrobank", and "the Very Eye of Night". These three films are examined using Laban Movement Analysis (LMA). The results from the video observations are used as examples for defining the term "choreocinema". Choreocinema defines an approach in which the dance and film are combined to create a single work of art. The focus is on choreographing the shared movement of bodies and camera that is the result of filming dance. The preliminary research indicates that there is a need for a unified terminology when filming dance. In this report the terminologies of film and dance are correlated. The purpose of correlating is to find the terms that are appropriate for describing the moving relationship between camera and dancer. The terms are compared and contrasted in order to show their individual strengths and limitations. In the chapter on choreocinematic framing, the video observations are analysed in terms of standard cinematographic and choreographic concepts. There are three main concepts that are examined; shot framing is correlated with proximity; camera angle with kinespheric inclinations; and camera motion with pathways on the kinesphere. The analysis suggests that framing emphasises general space when the camera is far away from the dance, and interpersonal to personal space when moving closer. The section on reframing focuses on small adjustments of the camera made to follow the movements of the dancer. The analysis indicates that even though reframing is adjusting for the dancer's movements, there are several options for how this is executed. The main options are to follow the centre of the body as a whole, or to track individual gestures. Frame mobility defines general movement of the camera. Frame mobility is analysed as a means for creating depth in the images, and for enabling continuous changes of angle. The camera is found to increasingly reveal gestures and enhance the representation of pathways, when frame mobility is applied. The chapter on choreocinematic perspectives deals with the representation of the dancer's perspective. Cinematic points of view (POV) are examined with the aim of seeing how the terms, originally derived from literature, can be applied to dance. The first person POV is found useful for representing the inner experience of the dancer. The second person POV functions to represent the viewer as part of the dance. The third person POV is, in general, a means for either representing interpersonal relations, or the alternation between inner and outside views of the dancers. The analysis indicates that there is a bias towards representing the view as it would appear from eye level. The report concludes that the combination of choreographic and cinematographic concepts aids in clarifying the movements of the dancer, while structuring it sufficiently to avoid nausea. In this report, choreocinema is defined as a useful concept that identifies practical means for improving kinesthetic empathy in dancefilm. André Austvoll has received his GLCMA from the University of Surrey, England. He specialises in the integration of technology in dance and movement oriented activities. The main focus of this work is on the application of Laban Movement Analysis to describe the choreographic relationship between camera and dancer. André has produced several internationally screened dance films and has taught workshops in dynamic camera movement. In his choreographic stage works, he applies movement analysis to refine the integration of video technologies. As well as working with the camera itself, he is also utilising computers to simulate and storyboard camera movement. Most recently, André produced the DVD "Momentum", which is a collection of nine works of choreocinema. Info: www.microdance.org
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