Our Dancing Daughters Analysis
This article focuses on the film Our Dancing Daughters, illustrating film techniques used in combination with the character Diana’s dance that embodies ‘kinaesthetic’ (kinetic and aesthetic.). It suggests viewers are encouraged to simulate subjectivity based on lived bodily experience of dances shared by actress and spectator. Diana experiences the world through her body’s movement, the visible fuses with kinetic, even private moments (dressing in mirror) are shared by the spectator (129). Landay defines performance as being for someone, an ‘Other’ either the actor and character or an audience. Sobchack is referenced, highlighting a phenomenological perspective; viewers invisibly perform in relation to the film in front of them. The article
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Ball often performed a kinaesthetic of movement that ran rhythmically against the hegemonic ideals regarfing domestic femininity.
IT IS TRUE THAT WE MAKE SENSE OF THE WORLD THROUGH OUR BODIES. And that what we see performed affects us. . . . Main argument.
Digital technology's possibilities for kinaesthetics in performance and spectatorship arise. ‘Performance capture’ in Avatar is used to illustrate how actors perform self in an hypothetical mirror that will be created digitally, like live theatre and for kinaesthetics of performance and spectatorship.
The author asks what new relationships between spectator and performer arise from this? Sobchack is again used to that what the digital can achieve is different to what analog, indexical cinema can, bodies exceeding their limits while still maintaining the rill of actor as a place for empathy through Mirror Neurons. But in a new way, virtual kinaesthetics which expands vision to virtual kino-eye, to create in-world cinema that encourage the viewer with telepresent and interactive virtual body. The author concludes by predicting kinaesthetics of flux, transcending very real pleasure and culture, our ‘virtua; dancing shoes’ can take us anywhere interesting to see what performance on screen will evolve into
Ball often performed a kinaesthetic of movement that ran rhythmically against the hegemonic ideals regarfing domestic femininity.
IT IS TRUE THAT WE MAKE SENSE OF THE WORLD THROUGH OUR BODIES. And that what we see performed affects us. . . . Main argument.
Digital technology's possibilities for kinaesthetics in performance and spectatorship arise. ‘Performance capture’ in Avatar is used to illustrate how actors perform self in an hypothetical mirror that will be created digitally, like live theatre and for kinaesthetics of performance and spectatorship.
The author asks what new relationships between spectator and performer arise from this? Sobchack is again used to that what the digital can achieve is different to what analog, indexical cinema can, bodies exceeding their limits while still maintaining the rill of actor as a place for empathy through Mirror Neurons. But in a new way, virtual kinaesthetics which expands vision to virtual kino-eye, to create in-world cinema that encourage the viewer with telepresent and interactive virtual body. The author concludes by predicting kinaesthetics of flux, transcending very real pleasure and culture, our ‘virtua; dancing shoes’ can take us anywhere interesting to see what performance on screen will evolve into