Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.8654
Kai Xuan Yao
This essay is an investigation into the historical claim of a work of screendance that involves re-imagination, re-composition, or re-enactment: In what way does it access history? And how should we treat, with due seriousness, the vicarious aura of historicity these works afford? After identifying the ontological status of time as the blind spot in the debate regarding the corporeal relationship to the archive, I introduce the Deleuzian conception of time as an incessant exchange between the virtual and the actual. I present the hauntology of certain pasts as a result of the virtual-actual exchange dissipating the temporal identity of an event, which is in turn experienced as the subject's dispersion of the self. And I redefine the body as a corporeal-archival system that channels the exchange. I then analyze the nostalgic tones of the two selected films as affects formulated by cine-choreographies that express the dispersion of the self as an experience of the dissipation of the temporal identity of an event, thereby providing an analytical approach that makes it possible to interpret such screendance practices' claim to history.
{"title":"Entanglement in Time: Nostalgic Affect as Cine-Choreography in The White Crow (2018) and Suspiria (2018)","authors":"Kai Xuan Yao","doi":"10.18061/ijsd.v13i1.8654","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.8654","url":null,"abstract":"This essay is an investigation into the historical claim of a work of screendance that involves re-imagination, re-composition, or re-enactment: In what way does it access history? And how should we treat, with due seriousness, the vicarious aura of historicity these works afford? After identifying the ontological status of time as the blind spot in the debate regarding the corporeal relationship to the archive, I introduce the Deleuzian conception of time as an incessant exchange between the virtual and the actual. I present the hauntology of certain pasts as a result of the virtual-actual exchange dissipating the temporal identity of an event, which is in turn experienced as the subject's dispersion of the self. And I redefine the body as a corporeal-archival system that channels the exchange. I then analyze the nostalgic tones of the two selected films as affects formulated by cine-choreographies that express the dispersion of the self as an experience of the dissipation of the temporal identity of an event, thereby providing an analytical approach that makes it possible to interpret such screendance practices' claim to history.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48669217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.8643
Callum Anderson
Departing from the proposal set out in Amelia Abraham’s Queer Intentions: A (Personal) Journey Through LGBTQ+ Culture - that although being gay is now largely accepted in the global north, there is still a disparity in the acceptance of actions - I assert that there is still a lack of explicit gay and queer narratives in dance and on screen. Amelia Abraham is a journalist from London, UK, and her first book Queer Intentions is a snapshot of queer experiences contemporary to its publishing date of 2020. Discussing marriage, drag performance, pride and representation, it also discusses countries and parts of the world where identifying as LBGTQ+ is still punishable by law. Drawing on these different aspects of contemporary queer experience, Abraham discusses the complications of increased acceptance as queer culture becomes more mainstream in the West and, in discussing the exponential closure of gay bars, along with other queer spaces in the UK, suggests that “[p]erformative progressiveness seemed to indicate that being gay was OK, while doing gay wasn’t” [^6] (orig. emphasis), and I contend that this ‘performative progressiveness’ is still apparent today.
从Amelia Abraham的《Queer Intentions: A (Personal) Journey Through LGBTQ+ Culture》中提出的建议出发——尽管同性恋现在在全球北方被广泛接受，但在接受行动方面仍然存在差异——我断言，在舞蹈和电影中仍然缺乏明确的同性恋和酷儿叙事。阿米莉亚·亚伯拉罕是英国伦敦的一名记者，她的第一本书《酷儿意图》是对当代酷儿经历的快照，该书将于2020年出版。它讨论了婚姻、变装表演、骄傲和代表性，还讨论了世界上那些认定自己是LBGTQ+仍受法律惩罚的国家和地区。亚伯拉罕从当代酷儿经历的这些不同方面出发，讨论了随着酷儿文化在西方成为主流，越来越多的人接受酷儿文化的复杂性，并在讨论同性恋酒吧和英国其他酷儿空间的指数关闭时，提出“行为上的进步似乎表明同性恋是可以的，而做同性恋则不是”[^6](来源)。强调)，我认为这种“表现进步性”在今天仍然很明显。
{"title":"When ‘Being’ Becomes ‘Doing’: Representing Queer Masculinities in Screen(dance) Space","authors":"Callum Anderson","doi":"10.18061/ijsd.v13i1.8643","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.8643","url":null,"abstract":"Departing from the proposal set out in Amelia Abraham’s Queer Intentions: A (Personal) Journey Through LGBTQ+ Culture - that although being gay is now largely accepted in the global north, there is still a disparity in the acceptance of actions - I assert that there is still a lack of explicit gay and queer narratives in dance and on screen. Amelia Abraham is a journalist from London, UK, and her first book Queer Intentions is a snapshot of queer experiences contemporary to its publishing date of 2020. Discussing marriage, drag performance, pride and representation, it also discusses countries and parts of the world where identifying as LBGTQ+ is still punishable by law. Drawing on these different aspects of contemporary queer experience, Abraham discusses the complications of increased acceptance as queer culture becomes more mainstream in the West and, in discussing the exponential closure of gay bars, along with other queer spaces in the UK, suggests that “[p]erformative progressiveness seemed to indicate that being gay was OK, while doing gay wasn’t” [^6] (orig. emphasis), and I contend that this ‘performative progressiveness’ is still apparent today.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48758573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.8732
Blas Payri
This article explores some of the editing and filming techniques developed in Early Cinema, and that are still valid when choreographing found footage today. The Lumière Brothers started revealing the choreographic nature of daily actions. Georges Méliès choreographed with editing by cutting, overlaying, dissolving and the substitution splice. Fernand Léger applied looping and kaleidoscope effects to create new rhythms and patterns. Lev Kuleshov experimented with assembling together footage of different nature, creating new semantics. Dziga Vertov choreographed footage of different sources, theorizing the rhythmical editing. Leni Riefenstahl composed new movement trajectories with editing and inverting speed.
{"title":"Techniques Developed in Early Cinema to Edit and Choreograph Unscripted Footage","authors":"Blas Payri","doi":"10.18061/ijsd.v13i1.8732","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.8732","url":null,"abstract":"This article explores some of the editing and filming techniques developed in Early Cinema, and that are still valid when choreographing found footage today. The Lumière Brothers started revealing the choreographic nature of daily actions. Georges Méliès choreographed with editing by cutting, overlaying, dissolving and the substitution splice.\u0000Fernand Léger applied looping and kaleidoscope effects to create new rhythms and patterns. Lev Kuleshov experimented with assembling together footage of different nature, creating new semantics. Dziga Vertov choreographed footage of different sources, theorizing the rhythmical editing. Leni Riefenstahl composed new movement trajectories with editing and inverting speed.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49439439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.8657
Luisa Lazzaro
No abstract available.
没有可用的摘要。
{"title":"Interview with Astero Styliani Lamprinou on her use of archive images in her screendance work Secret City (Belgium, 2020)","authors":"Luisa Lazzaro","doi":"10.18061/ijsd.v13i1.8657","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.8657","url":null,"abstract":"No abstract available.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45005508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.9123
Sonia York-Pryce
The aim of this article is to delve into memory and dance, and to show how the archive can contribute to definitions of dance. It offers a personal journey into the records of my dance career, where I revisit and reclaim the past framed through the perspective of a mature dancer now aged in my sixties. Using the medium of dancefilm, my position is of observer, dancer, recaller, and bearer of my archive. I experiment with traces of the past, overlaid with the present, to introduce a dialogue about how this investigation can address the aging body as a site of archive. Through my research, I assert that as a dancer, my archive is housed within my body. I am using my dance history and my memories as the vehicle to address the issue of aging from a Western dance context.
{"title":"Memory, Dance and Archive: How an Archived Performance Inspired the Creation of the Dancefilm Does the Dancing Have to Stop?","authors":"Sonia York-Pryce","doi":"10.18061/ijsd.v13i1.9123","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.9123","url":null,"abstract":"The aim of this article is to delve into memory and dance, and to show how the archive can contribute to definitions of dance. It offers a personal journey into the records of my dance career, where I revisit and reclaim the past framed through the perspective of a mature dancer now aged in my sixties. Using the medium of dancefilm, my position is of observer, dancer, recaller, and bearer of my archive. I experiment with traces of the past, overlaid with the present, to introduce a dialogue about how this investigation can address the aging body as a site of archive. Through my research, I assert that as a dancer, my archive is housed within my body. I am using my dance history and my memories as the vehicle to address the issue of aging from a Western dance context.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47253302","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.9197
Jeannette Ginslov
In this article I propose that augmented reality (AR) and mixed reality (MR) have the potential to expand the notion of a Screendance archive. This takes the form of a hybrid installation, where visitors are invited to download an AR app onto their mobile phones, or tablets, to access a Screendance archive tagged to images in an installation space. This type of archive, is conceived as a piece of artistic work for hybrid installations, and is intrinsically related to collaborative artistic, philosophical and technological research. It has the ability to highlight temporal shifts between past and present and demonstrates how archived somatic states may ripple outwardly across technologies, bodies, and space, to audiences who embody these states within the wider somatic feld. For these MR interactions to work, methods in relation to flming, editing, and archiving are re-examined. Documentation and archiving methods are reviewed through a phenomenological lens and once distributed within the AR/MR archive installation, a postphenomenological perspective reveals how new relations with technology, materials and media are discovered. Furthermore, the use of AI is perceived as enhancing the rippling out of afective somatic states that becomes an embodied materiality1 (orig. emphasis), a relational feminist posthumanist perspective, that, permanently changes ways of seeing and experiencing dance on screens and the notion of a Screendance archive.
{"title":"Rippling Outwardly: Archives With Augmented And Mixed Reality","authors":"Jeannette Ginslov","doi":"10.18061/ijsd.v13i1.9197","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.9197","url":null,"abstract":"In this article I propose that augmented reality (AR) and mixed reality (MR) have the potential to expand the notion of a Screendance archive. This takes the form of a hybrid installation, where visitors are invited to download an AR app onto their mobile phones, or tablets, to access a Screendance archive tagged to images in an installation space. This type of archive, is conceived as a piece of artistic work for hybrid installations, and is intrinsically related to collaborative artistic, philosophical and technological research. It has the ability to highlight temporal shifts between past and present and demonstrates how archived somatic states may ripple outwardly across technologies, bodies, and space, to audiences who embody these states within the wider somatic feld. For these MR interactions to work, methods in relation to flming, editing, and archiving are re-examined. Documentation and archiving methods are reviewed through a phenomenological lens and once distributed within the AR/MR archive installation, a postphenomenological perspective reveals how new relations with technology, materials and media are discovered. Furthermore, the use of AI is perceived as enhancing the rippling out of afective somatic states that becomes an embodied materiality1 (orig. emphasis), a relational feminist posthumanist perspective, that, permanently changes ways of seeing and experiencing dance on screens and the notion of a Screendance archive.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":"4 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41256050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.8886
S. Kalyanasundaram
No abstract available.
没有可用的摘要。
{"title":"Book Review: Dancing Women: Choreographing Corporeal Histories of Hindi Cinema by Usha Iyer (2020)","authors":"S. Kalyanasundaram","doi":"10.18061/ijsd.v13i1.8886","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.8886","url":null,"abstract":"No abstract available.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41364568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.8656
Luisa Lazzaro
Deconstruction has been used in theater practice and performance art since the 1960s -1970s as a strategy to guide viewers to observation of things and people in and around the performance practice, questioning meaning and its making. This paper proposes that deconstruction is relevant and of value to screendance practitioners for the way in which it supports the challenging of dominant narratives, and invites us to notice and question fixed truths, including our own. For the purpose of my argument I will focus on a film, The Host (2016) by Miranda Pennell, a film made from archive images, which are deconstructed by the filmmaker as part of her narrative making. Among the numerous studies and contributions Derrida has made within philosophical debate, I will focus solely on his theory of deconstruction of text and meaning to contextualize the deconstructive approach adopted by Miranda Pennell in her film The Host (2016). Pennell’s approach includes her research into the narrative of the film. This inclusion gives the film a performative attribute, which I argue to be a point for considering the film a work of screendance. The combination of the archive material and Pennell’s approach to it, allows her to shift between various possible truths that cohabit within a broad spectrum of time and space. In the words of Trinh T. Minh-ha in “The Totalizing Quest of Meaning” from Theorizing Documentary edited by Michael Renov: To compose is not always synonymous with ordering to persuade, and to give the filmed document another sense, another meaning, itis not necessarily to distort it. If life’s paradoxes and complexities are not to be suppressed, the question of degrees and nuances isincessantly crucial. Pennell’s deconstructive approach favors the consideration of such “degrees and nuances” when presenting her narrative, constructing meaning that is complex in its subtleties and implications by pairing opposite concepts and looking at their relation and their relation to herself and others. In The Host (2016) this pairing is consistent throughout the film, openly inviting viewers to question what is being shown. Through a close analysis of The Host, contextualized both with reference to Derrida and to the wider field of screendance, I conclude that a deconstructive approach offers filmmakers and screendance practitioners interested in reinterpreting archive materials through film editing the opportunity to expand choreography to another discipline. As a screendance practitioner, I find that this opens up a world of narrative possibilities, and this is reason enough to shine more light on works that do so.
解构主义从20世纪60 - 70年代开始被运用到戏剧实践和行为艺术中，作为一种引导观众观察表演实践内部和周围的事物和人，质疑意义及其制造的策略。本文提出，解构主义对放映从业者来说是相关的和有价值的，因为它支持对主导叙事的挑战，并邀请我们注意和质疑固定的真相，包括我们自己的真相。为了论证的目的，我将把重点放在米兰达·彭内尔(Miranda Pennell)的电影《宿主》(2016)上，这是一部由档案图像制成的电影，作为她叙事制作的一部分，电影制作人解构了这些图像。在德里达在哲学辩论中所做的众多研究和贡献中，我将只关注他的文本和意义解构理论，将米兰达·彭内尔在她的电影《宿主》(2016)中采用的解构方法置于语境中。彭内尔的方法包括她对电影叙事的研究。这种包容赋予了电影表演的属性，我认为这是将电影视为银幕作品的一个要点。档案材料和彭内尔的处理方法相结合，使她能够在广泛的时间和空间范围内共存的各种可能的真相之间转换。用郑明河(Trinh T. Minh-ha)在Michael Renov编辑的《纪录片理论化》(Theorizing Documentary)中的“意义的总追求”(the Totalizing Quest of Meaning)的话来说:作曲并不总是与命令说服同义，给拍摄的文件另一种意义，另一种意义，不一定是扭曲它。如果要抑制生活的矛盾和复杂性，程度和细微差别的问题就始终至关重要。Pennell的解构方法倾向于在叙述时考虑这种“程度和细微差别”，通过将相反的概念配对，并观察它们之间的关系以及它们与自己和他人的关系，构建出微妙而复杂的意义。在《宿主》(2016)中，这种配对在整部电影中始终如一，公开地邀请观众质疑正在播放的内容。通过对《宿主》的深入分析，同时参考德里达和更广泛的放映领域，我得出结论，解构主义的方法为电影制作人和放映从业者提供了通过电影剪辑重新解释档案材料的机会，将编舞扩展到另一个学科。作为一名电影从业者，我发现这打开了一个叙事可能性的世界，这是一个足够的理由来照亮这样的作品。
{"title":"Sense Of Meanings: A Deconstructive Lens On Time, Space And Opposites In The Film The Host (2016) Directed By Miranda Pennell","authors":"Luisa Lazzaro","doi":"10.18061/ijsd.v13i1.8656","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.8656","url":null,"abstract":"Deconstruction has been used in theater practice and performance art since the 1960s -1970s as a strategy to guide viewers to observation of things and people in and around the performance practice, questioning meaning and its making. This paper proposes that deconstruction is relevant and of value to screendance practitioners for the way in which it supports the challenging of dominant narratives, and invites us to notice and question fixed truths, including our own. For the purpose of my argument I will focus on a film, The Host (2016) by Miranda Pennell, a film made from archive images, which are deconstructed by the filmmaker as part of her narrative making. Among the numerous studies and contributions Derrida has made within philosophical debate, I will focus solely on his theory of deconstruction of text and meaning to contextualize the deconstructive approach adopted by Miranda Pennell in her film The Host (2016). Pennell’s approach includes her research into the narrative of the film. This inclusion gives the film a performative attribute, which I argue to be a point for considering the film a work of screendance.\u0000The combination of the archive material and Pennell’s approach to it, allows her to shift between various possible truths that cohabit within a broad spectrum of time and space. In the words of Trinh T. Minh-ha in “The Totalizing Quest of Meaning” from Theorizing Documentary edited by Michael Renov:\u0000To compose is not always synonymous with ordering to persuade, and to give the filmed document another sense, another meaning, itis not necessarily to distort it. If life’s paradoxes and complexities are not to be suppressed, the question of degrees and nuances isincessantly crucial.\u0000Pennell’s deconstructive approach favors the consideration of such “degrees and nuances” when presenting her narrative, constructing meaning that is complex in its subtleties and implications by pairing opposite concepts and looking at their relation and their relation to herself and others. In The Host (2016) this pairing is consistent throughout the film, openly inviting viewers to question what is being shown.\u0000Through a close analysis of The Host, contextualized both with reference to Derrida and to the wider field of screendance, I conclude that a deconstructive approach offers filmmakers and screendance practitioners interested in reinterpreting archive materials through film editing the opportunity to expand choreography to another discipline. As a screendance practitioner, I find that this opens up a world of narrative possibilities, and this is reason enough to shine more light on works that do so.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44160779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-25DOI: 10.18061/ijsd.v13i1.9113
Mary Wycherley
No abstract available.
没有摘要。
{"title":"Book Review: Screendance from Film to Festival: Celebration and Curatorial Practice by Cara Hagan (2022)","authors":"Mary Wycherley","doi":"10.18061/ijsd.v13i1.9113","DOIUrl":"https://doi.org/10.18061/ijsd.v13i1.9113","url":null,"abstract":"No abstract available.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43948415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-07DOI: 10.18061/IJSD.V12I0.7846
C. Cabeen
No abstract available.
没有可用的摘要。
{"title":"Honoring the Unseen","authors":"C. Cabeen","doi":"10.18061/IJSD.V12I0.7846","DOIUrl":"https://doi.org/10.18061/IJSD.V12I0.7846","url":null,"abstract":"No abstract available.","PeriodicalId":33311,"journal":{"name":"The International Journal of Screendance","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45639835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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