무용필름의 시공간 분석을 통한 정체성 연구

고현정 ( Hyeon Jeong Go ) 한국무용교육학회 2014 韓國舞踊敎育學會誌 Vol.25 No.1

Generally speaking, dance is relevant to and compatible with film as both genres are composed of based on action and movement. However, dance field seems to neglect film device because it loses transience and a delicate sense of human of mounting tension with risks, which are known as important characteristics of live dance performance, through the television apparatus. Therefore, this research interrogates on combining dance and film to explore whether the perspective on realism of film emphasising dance`s ``real`` to project dance`s ``reality`` is crucial issue or there is more than that on fused dance film perspective. The purpose of this research is to provide dance field an another platform that can be the trigger to create a new experimental work and establish the identity of dance film through understanding their differences by analysing how combining dance with film can expand human experience of perception, and how it transcends the logical perspective on the dancer`s body within space and time. Therefore, this research discusses firstly, realism based on semiologic perspective to argue that if the absence of dance`s characteristic of transience makes dance film moot points or a potential choreographic place. Secondly, it analyses modified ontological foundation to the dancer`s body through various perspective on time in dance film. Thirdly, it explores the dancer`s enhanced multiple space which is experienced through unique television apparatus. In conclusion, it is explored below, Firstly, the role of camera in dance field is now beyond recording dance as archival work, it absorbs an experimental arts work that integrates with the dancer`s body intimately. Therefore, the dancer`s body in screen is able to expand, reduct and divagate from material limits in real life. This extraordinary body in dance film refuses the convention such as the dancer`s ability, which is only able to be seen on that moment of the performance, but rather it transcends. This is the enhanced screenised dancer`s body and surpasses space-time in the real world. Secondly, screen apparatus challenges the perspective of existing logical space-time through unique way of dance film and it gives some shapes that can never be seen in a live performance. Thirdly, dance film must have validity of its own rather than a subordinate concept of dance as it provides a flexible perception that the dancer`s body is no longer exists only conventional regulation but it has more to be explored in dance film to give an opportunity to create new dance work. Finally, screen apparatus is able to adjust dancer`s movement and effect on choreographer`s choice through its filmic technique and therefore, wide spectrums of multiple space-time in dance film can enhance the dancer`s epidemiological movement as a flexible medium, and have implication for the multilateral relationship between practical choreography and audiences.

댄스 필름에서 안무 과정의 확장성 탐색 -국제 댄스 필름 페스티벌 관계자 인터뷰를 중심으로-

김연재,최예진 한양대학교 우리춤연구소 2021 우리춤과 과학기술 Vol.17 No.2

The exploration of new ways of art expression methods has been increasing due to the convergence of various genres and media. In this context, dance film also has grown both quantitative and qualitatively through the medium convergence of dance and film. This research explores the expanding possibilities in the field of dance film by interviewing judges from international dance film festival and dance film directors. As a result of the study, the choreographic expansion in the field of dance film can happen through dance film creative process and composition of the location. First, the choreography should consider for the camera and dance film can expand the choreographic methods/expression through shooting and post-production. Second, dance film is emphasized on the expansion of space by selecting the contextual space which can visually show the message of the film. In addition, the dance film creates new images and meanings according to the camera’s perspective on the movement in the contextual location. Therefore, it is helpful to emphasis on the choreographer’s artistic intention and bring audience attention through the camera angles. This study is meaningful in discussing the expansion of the choreographic process by interviewing the judges and dance film director of the international dance film festival. Currently, there is a lack of an academic and educational system for the process of dance film. Dance is not irrelevant to the current development of technology, therefore, it is necessary to develop academic systems and research related to dance film. It is meaningful to study the dance film production process and how to use dance film in the dance education as follow-up research. 현재 다양한 장르와 매체가 융합되면서 새로운 표현 방식들에 대한 탐구가 높아지는 현실에서 댄스필름은 양적, 질적으로 많은 성장을 이뤄왔다. 본 연구는 국제 댄스필름 페스티벌의 심사위원과 댄스필름 감독 인터뷰를 통해 기존 무대 공연을 위한 안무과정과는 다르게 댄스 필름에서의 안무 과정 확장성에 대해 탐색해보고자 한다. 연구 결과는 크게 두 가지로 나타났으며, 창작 과정에서의 확장과 장소 구성의 확장이 이루어지고 있었다. 첫째, 창작 과정에서의 확장은 카메라를 고려한 안무가 구성되어야 하며, 촬영과 후반 작업을 통해 안무 표현 방식을 확장 시킬 수 있다. 둘째, 장소 구성에서의 확장은 작품의 메시지를 시각적으로 잘 담아낼 수 있는 맥락적인 장소 선택의 중요성이 강조되었다. 또한 댄스 필름에서 장소는 움직임을 바라보는 카메라의 시각에 따라 새로운 이미지와 메시지를 만들어낸다. 그렇기에 카메라를 통해 안무가가 의도한 의미를 부각하고, 관객의 시선을 집중시키는 것에 유용하다. 본 연구는 국제 댄스 필름 페스티벌의 심사위원과 댄스 필름 감독들을 통해 안무 과정의 확장성에 대해 논의하였다는 점에 의의가 있다. 현재 댄스 필름의 과정에 대한 학문적, 교육적 체계가 부족한 것이 현실이다. 향후 댄스 필름에 대한 제작 과정에 대한 연구와 무용교육 현장에서의 활용 방안에 대한 후속 연구를 제안해 볼 수 있겠다.

조선의 여성 문인 김호연재 시의 Dance Film 콘텐츠화 과정 : Dance Film ‘김호연재의 비상’을 중심으로

임수정(Lim SuJeong) 한국문화융합학회 2021 문화와 융합 Vol.43 No.10

조선 시대의 대표적 여성 문인으로는 허난설헌, 신사임당, 황진이, 김호연재를 뽑을 수 있다. 대전 지역에서는김호연재의 문화적 가치를 인정하고 다양한 문화예술 콘텐츠 개발을 시도하고 있음에도 불구하고 다른 여류시인에 비해 인지도가 낮아 대중성에 미흡하다. 이러한 문제의식을 바탕으로 따라서 김호연재와 관련된 학술 연구와문화콘텐츠 연구의 필요성이 있다. 김호연재 시를 바탕으로 창작한‘Dance Film <김호연재의 비상>’의 콘텐츠화과정을 논의하였다. 따라서 김호연재 관련 연구현황과 문화콘텐츠 현황을 조사하고 ‘Dance Film <김호연재의 비상>’의 기획과정과 작품의 특징에 대해 고찰하였다. ‘Dance Film <김호연재의 비상>’은 조선의 여인 김호연재의 삶이 반영된 <법천의 하루> 시집에서 현대 여성이공감하는 시어를 바탕으로 현대무용으로 재창조된 영상콘텐츠이다. 이 영상콘텐츠는 2015년 대전 문학관에서 주관하는 ‘문학 콘서트’에 무용가로 초청되어 ‘김호연재를 추다’를 공연하면서 김호연재의 삶에 대한 강연을 듣고 그녀의 삶을 공감하며 시작된 기획이다. 그 결과 김호연재는 문학가 집안에서 태어나 자라면서 문학적 재능을 키웠으며, 조선의 봉건적 제도에 살아가는 자신의 삶을 시로 표현하였다. 그리고 그 후손들이 그녀의 시작품을 후대에 남기기 위해 보존, 유통하였다는것을 본 연구를 통하여 확인하였다. 그리고 현대의 예술가가 김호연재의 삶을 공감하고 제작된 문화콘텐츠는 그지역의 문화를 자연스럽게 반영하고 역사적 맥락 속에서 지역의 특수성을 확보하여 재탄생되었다는 것을 확인하였다. 앞서 언급된 영상콘텐츠는 ‘김호연재 여성문화 축제’에 상영이 되었고 지역 문화예술교육에 특강 자료로 활용되었으며 지역의 대표 무용페스티벌에 초청되어 무대화된 공연으로 확장 진행되었다. 이는 곧 지역의 특수성을 확보한 예술가의 작품은 새롭게 문화적 가치를 창조하며 지역의 역사를 읽어내는 중요한 수단이 되었다는 것을 의미한다. 그리고 지역 문화의 자료로 활용되는 예술 작품과 기록은 지역을 기반으로 한 예술가의 삶을 통찰하도록안내하였다. 또한, 댄스 필름(dance film)을 활용한 문화콘텐츠는 무용의 새로운 시도와 무용 작품의 학문적 의미에 긍정적 방향 제시를 해 줄 것이라 판단된다. The representative female writers of the Joseon Dynasty include Heo Nan-seol-heon, ShinSaim-dang, Hwang Jin-yi, and Kim Ho-yeon-jae. Despite of recognizing Kim Ho-yeon-jae s culturalvalues and attempting to develop various cultural and artistic contents in Daejeon area, herpopularity is not enough due to the lower recognition compared to other female poets. Based onthis sense of problem, there is a need for academic research and cultural content research relatedto Kim Ho-yeon-jae. We discussed the process of content creation of ‘Dance Film <Emergency ofKim Ho-yeon-jae’, which was created based on Kim Ho-yeon-jae’s poem. Therefore, the planningprocess and the characteristics of “Dance Film <Kim Ho-yeon-jae’s Soaring>” were consideredwith investigating the current status of research and cultural contents related to Kim Ho-yeon-jae. “Dance Film <Kim Ho-yeon-jae s Soaring>” is a video content recreated by modern dancebased on a poetic word, empathized by modern women, in the book of poetry of <A day ofBeop-stream> which reflects the life of Kim Ho-yeon-jae who is a woman of the Joseon Dynasty. This video content was a started project with being empathize with her life after listening to thelecture on Kim Ho-yeon-jae’s life while performing “Feeling Kim-ho-yeon-jae by dance” by beinginvited as a dancer at the “Literature Concert” hosted by the Daejeon Literature Museum in 2015. As a result, Kim Ho-yeon-jae developed her literary talent with being born and raised in aliterary family, and expressed her life by poetry in the feudal system of the Joseon Dynasty. Andit was confirmed by this study that the descendants preserved and distributed her poetry worksfor delivering to future generations. In addition, it was also confirmed that the cultural contents,produced by a modern artist empathized with the life of Kim Ho-yeon-jae, was reborn bynaturally reflecting the local culture and securing the specificity of the local area in a historicalcontext. The aforementioned video content was screened at the “Kim Ho-yeon-jae Women’sCulture Festival” and have been utilized as a special lecture material for local culture and artseducation, and was invited to a regional representative dance festival and was performed afterthe video content expanded to a stage works. This means that the work of artists who haveacquired the specificities of local area has become an important means of creating new cultural values and understanding local history. The works of art and records used as materials for localculture guided us to insight into the lives of local-based artists. In addition, cultural contentsusing dance film are expected to give positive direction to new attempts at dance and theacademic meaning of dance works.

댄스 다큐멘터리 영화 「댄싱 베토벤 Dancing Beethoven 」(2016)의 내러티브 분석을 통한 댄스필름 논의

한지영,김말복 한국무용예술학회 2018 무용예술학연구 Vol.71 No.4

The purpose of this study is to analyze the narratives of dance documentary film Dancing Beethoven (2016) and to see what aesthetic discourse can be elicited by using “documentary film” expressions. To achieve it, I examines the characteristics of dance documentary films within the context of dance film theoretically and the narratives in analytical methods. Specifically Dancing Beethoven is analyzed in three aspects: “objective subject”, “composition method” and “photography and editorial methods.” The three analytical axes span the historical and expressive aspects of documentaries and cinematic arts, while penetrating the layers of images and stories in the dance. The find this study, The film is not just to simply recording dancing, the film was re-contextualizing dance with cinematic techniques. In addition, various shorts and angles were used to capture the dynamics and spectacles of the dance, and it is observed that the dance text is expanded through editing process using images both inside and outside the stage.

무용 교육에서 댄스 필름의 활용 가치 탐색

김연재 한양대학교 우리춤연구소 2023 우리춤과 과학기술 Vol.19 No.3

This study explored the educational value in the social and cultural context and the artistic context for the purpose of exploring the value of using dance films in dance education. As for the research method, the discourse was analyzed through literature review, and then the results were derived by analyzing the dance film works. As a result of the study, in the sociocultural context, it appears centered on the discourse of gender/race and environment. Gender can be discussed from a political, historical, and cultural perspective in relation to the power (gender, race, class, capital, etc.) given by the body. This provides us with new senses and perspectives by expressing movements and images with the ‘unidentified body’ in the dance film. Next, through ecological discourse, the environment is discussed with expressions such as recognizing nature as a relationship of coexistence and coexistence with us, or containing warning messages about problems. This is the meaning of ‘the body of the earth’ in dance film, and we provide a new perspective on daily life through the process of developing a new movement by forming a relationship with the body using daily movements, sounds, and space. Finally, the contents system of the educational program proposed by the dance film in dance education is divided into four areas: concept understanding, creation, production, and presentation. In the area of concept understanding and creation, we propose a discussion on the socio-cultural discourse in dance films. Through discussions on socio-cultural discourse, the process of creation can be specified, and new ways of expression can be discussed through video. This study proposes a new method of creation and choreography process, and at the same time, proposes practical research such as program development by applying it to the actual educational field in the future.

영화 「탱고 레슨」 춤 장면에서 나타나는 여성의 역할 분석

김주희 한국무용예술학회 2008 무용예술학연구 Vol.23 No.-

An Analysis of Role of Women on the Dance Scenes in the Film 「Tango Lesson」 Kim, joo hee sung kyun kawn university This paper aims to popularize the art of dance and to seek a new understanding of the history of dance, by making an analysis into the dance sequences in films, which are the easily approachable media. This paper analyzed the dance sequences in Tango Lesson, the film, and looked into the role of the women in the film. To this end, this paper used a research methodology of Janet Adshead, which was description, interpretation and evaluation, to observe and analyze the dance sequences. As a result, it was found that a woman in the film had to fix her eyes to man all the time and a woman had to spread her legs when a man was in front of her. Also, there are many scenes that stressed the sexuality of women, by having a woman put her legs between a man? legs. These are all moves designed to attract a man, as the woman? consciousness is all about that man. Such a factor can be found in the origin of tango, the dance. Tango was born as a natural mixture of several folk cultures, as the needy and the poor immigrants gathered together to soothe their nostalgia for home and their poverty. Then, tango moved to the red light district where prostitutes made more provocative and seductive moves to attract customers. In this process, tango? moves were formed into a certain style. Also, a beginning of the dance can be made only by a man, and the direction of the dance moves is also decided only by a man. Moves like jumps and turns can be made only by the help of the male partners. This can be understood as a reflection of a male-dominant society where women are seen only from the perspective that is led by men. It is considered that it is also necessary in reality to look into the role of women in dances in the film Tango Lesson, when we are living in the age of moving images and we are all under the influence of such media. Also, from now on, it would be of much help to have further understanding of a woman? role in dance, if there are follow-up researches made regarding the role of a man in the dance

일반논문 : 영화 <왕의 춤>에 나타난 루이 14세 시대의 무용사적 정황과 정치적 함의

배수을 ( Su Eul Bae ) 한국공연문화학회 (구,한국고전희곡학회) 2010 공연문화연구 Vol.0 No.21

본 연구에서는 영화 <왕의 춤 (The King Is Dancing; Le Roi Danse)> (2000)을 분석대상으로 하였다. 본 연구의 목적은 등장인물의 대사와 영화에서 재현된 무용이미지를 중심으로 루이 14세 시대의 무용사적 정황과 정치적 함의를 탐구함으로써 영화의 내용과 무용사적 의미를 새로이 제시하는데 있다. 이는 영화 미디어를 통한 다각적인 이해를 도모하여 춤 연구의 지평을 넓히는 시도가 될 것으로 기대한다. 이 영화를 선정하게 된 계기의 첫째는 주인공으로 다루어지는 루이 14세가 무용사적 공헌이 큰 인물이라는 점, 둘째는 영화 전체의 맥락에 있어 춤이 주요내용으로 전개된다는 점, 셋째는 루이 14세 시대가 궁정발레의 전성기로서 발레 발전에 원동력이 되었던 시대적 중요성이 부각된다는 점, 넷째는 루이 14세 시대만의 특징적인 춤 문화 이데올로기가 존재한다는 점에서 비롯되었다. <왕의 춤> 영화 분석을 통해 본 연구자는 `루이 14세 시대의 무용사적 정황`을 네 가지로 범주화 하였다. 첫째는 루이 14세의 절대왕정체제 선언, 둘째는 발레에 대한 루이 14세의 지지, 셋째는 무용수로서의 루이 14세, 넷째는 예술 인재의 기용이다. `루이 14세 시대 발레에 투영된 정치적 함의` 역시 다음의 네 가지 범주를 통해 귀결되었다. 첫째는 왕의 권력을 대변하고자 한 공연의도, 둘째는 정치세력 회유를 위한 당원과 귀족의 공연 참여, 셋째는 내레이션을 통한 정치적 메시지, 넷째는 의상과 소품의 상징적 모티브가 그것이다. 종합적 관점에서 정리하면, 루이 14세는 열정적인 관심과 기여를 통해 궁정발레의 토대를 구축하고 미학적 발전과 더불어 무용사적으로는 전성기를 이루어냈다. 한편 그의 든든한 후원 하에 공연되었던 궁정발레에는 권력을 대변하기 위한 정치적 함의가 내재되어 있었음을 알 수 있다. 결국 루이 14세의 권력은 발레를 통해 강화되고, 발레는 권력을 바탕으로 발전되는 미묘한 상호보완 관계를 보여준다. The objective of this research is to suggest the meaning of the film and its historical significance in the dance history by analyzing the conversations of the key characteristics and the image of dance appeared in the film <The King Is Dancing (Le Roi Danse)> (2000) to explore the background of dance history and political significance during the rein of Louis XIV. In doing so, this study encourages more diversified understanding of dance through films and expects to open the new chapter of research on dance. The first reason why this film is selected is that Louis XIV who is the leading character of the film has been a key figure who made a significant contribution to dance development. Second, dance is the main substance of the film in the overall context. Third, this film conveys the importance of the time during Louis XIV when the court ballet was fully flourishing and the court ballet became the key driver in the development of ballet. Forth, there are clear characteristics found in the ideology of the dance culture under the reign of Louis XIV. Through the analysis of the film <The King Is Dancing>, this study divides `the background of dance history during the rein of Louis XIV` into the following four categories. First, the declaration of Absolute Monarchy by Louis XIV. Second, Louis XIV` s support to ballet. Third, Louis XIV as a dancer. Forth, the appointment of art talents. The study also divides `political significances of ballet during the rein of Louis XIV` into four categories. First, the intention of performances to represent the power of the King. Second, participations by the party members and their families to appease the political foes. Third, political message in the form of narration. Forth, symbolic motif of the costume and accessories. From the general perspective, Louis XIV laid the foundation for the court ballet by paying interests and making contributions with his passion. In this way, he made esthetical development and reached the height of ballet in the dance history. Meanwhile, the court ballet which was performed under his strong sponsorship delivered political significance to represent the power. In the end, the power of Louis XIV was strengthened by ballet, while ballet was developed based on the power. In closing, they subtly developed each other in a mutually complementing way.

문화영화 〈춘앵무〉에 등장하는 기생 이미지 위상

신명숙(Shin, Myung-Sook) 비교민속학회 2014 비교민속학 Vol.0 No.54

1969년 12월 문화영화 〈춘앵무〉가 제작되어 전국 영화관에 방영되었다. 영화제목이 〈춘앵무〉라서 무용관련 문화영화라고 생각하기 싶지만 실제 이 영화스토리는 신탁은행을 홍보하기 위해서 만든 영화이다. 즉 궁중무용 〈춘앵무〉을 췄던 노년(老年)의 무녀(舞女)는 친 딸이 춘앵무를 잘 전수하기 위해 자신의 자산 전부를 신탁은행에 위탁시킨다는 내용인데 이때의 주인공 기녀의 위상은 경제적 자립은 물론 전통무용을 계승하는 중상층의 신여성상이다. 불과 30,40년 이전까지만 해서 기녀에 대한 행실과 활동들이 사회적으로 불의를 일으키고 부정적인 평가가 많은 상황과 너무나도 다른 모습이다. 1900년대 관기(官妓)들은 기생이라는 직업으로 춤과 웃음으로 팔아야 했던 그들의 진정한 바램은 전통예술 계승이라는 무의식적인 의무감이 있었기 때문에 장소불문하고 일본 각종 박람회에 참석하여 〈춘앵무〉와 전통무용 공연 활동을 계속되었고 일본 신문사에서도 이 춤의 가치를 높이 평가했다. 그러나 기생들이 장소불문하고 끊임없이 춘앵무를 추는 이유는 춘앵무는 유일하게 봄을 상징하는 무용이고 조선의 암담한 현실에서 겨울지나 반드시 봄이 온다는 조선의 해방을 기억하자는 희망의 메시지를 담고 있기 때문이다. 사회적 멸시와 천박 그러나 계승하는 전통 예술은 마침내 중류사회의 한 모습으로 표상화되어 국가의의 건설자금에 도움을 주고 보람을 느낀다는 스토리의 문화영화 〈춘앵무〉로 전국 영화관에서 상영되었다 이 영화가 당시 경제 발전 자금 모금에 믿음과 설득력으로 대중들에게 어떤 파급을 주었는지 알 수도 없고 문화영화 자체가 이익과 인기 창출이 아니기 때문에 그 당시 문화영화에 대한 가치 평가는 중요시하지 않은 것 같다. 무용과 은행이라는 부적합한 소재가 무녀의 삶을 통해서 재 탄생되는 신탁은행 홍보영화는 1960년대 무형문화재 정책에 의해 전통문화를 계승하는 사람들을 중시여기는 시대적 갈망과 맞물려 만든 문화영화라고 본다. 그러나 근대기생들의 힘든 삶과 예술을 중상층의 신여성으로 표명한 영화 주인공의 모습은 경제 발전상의 신여성의 모습과 근대 무용사에서 소홀히 해왔던 기녀들의 업적을 재 평가할 수 있는 중요한 자료가 될 것이다. In December 1969, a culture film 〈ChunAengMu〉 was made and released to cinemas across the country. It is easy to mistake 〈ChunAengMu〉 for some dance culture movie by its title but as a matter of fact, this film has been made to promote a trust bank. In other words, in the film, there was a gisaeng, a Korean geisha, who was old and, used to dance 〈ChunAengMu〉. The film went as this gisaeng entrusted her all assets to a trust bank to teach ChunAengMu to her own daughter. Here, the gisaeng, the heroine of the film, was understood as a new modern woman who would be financially independent, working hard to hand down traditional dance. Only 30 or 40 years ago, behaviors and activities of gisaengs were considered so much of social issue with negative evaluations. However, what the movie was talking about there was something that was completely different from those days. In the 1900’s, gisaengs sold their dances and smiles but, the true desire that they had unconsciously in their mind was to hand down traditional arts to the next generation. For that reason, regardless of places, they joined all sorts of exhibitions held in Japan doing traditional dance such as 〈ChunAengMu〉. Even newspapers in Japan highly praised value of the dance 〈ChunAengMu〉. That way, gisaengs accumulated wealth which has been described as an image of the middle class. This culture film 〈ChunAengMu〉 newly interpreted how gisaengs’ wealth made a contribution to strengthening of national power and, that was the film released to the cinemas across the country. How people evaluated culture film back then was not so much significant because we do not have any ideas about how this film affected the public with its financial support to the economy giving trust to people with convincing words. In addition, culture film is not supposed to create profits and popularity and because of that, again, how value of culture film was thought back then was not that important. Inappropriate materials, dance and bank, were re-born through life of a dancer in this trust bank promotional film. This film has been certainly made by the intangible cultural property system in the 1960’s when many people were focusing on value of traditional culture. The first intention of the film was not so much artistic but, this film will become such significant data in the dance field for it has made a good use of gisaengs’ life and art to reach customers of economic power.

캐트린 홀(Katrin Hall)의「파열 Burst」에 나타난 춤과 영상 테크놀로지 연구

이지원 한국무용예술학회 2009 무용예술학연구 Vol.28 No.-

The combination of art and technology combined has shown expeditious development as was predicted by Paik Nam June - “In the 21th century, painting will take the form of electronic machines coloring across a canvas”. Technology is to art, the source for imagination and an efficient tool for expression, signaling challenge within arts’ history. Art, based on technology, transformed into various media and continued together with it through time. In dance, the combination to technology is exemplified in Loie Fuller’s integration within theater art, Ted Shawn’s imagery of dance, and in mid 20th century, New Technology dance as emphasized by Alwin Nikolais’ ‘Total art’, and Merce Cunningham’s dance and video imaging as an independent medium. In fact, many dancers have combined dance with present technology and have joined in the experimentation of dance identity. In the late 20th century, we see an active use of objet d’art. Thus, dance, in a new field of computers and digits, endowed with traits of mass media greets an era of visual dance. Now, dance newly embodies the image of the moving body in a virtual time and space, of which Marshall Mcluhan referred to as ‘a global village’. In Katrin Hall’s 「Burst」(2003), a traditional sense of time and space was broken by a form of digital image. Moreover, through the so-called mixing of images, it established an artificially combined sensual reality where two-way communication in which the constructed audiences can also participate is attained. So it ascended from a purity of bodily movements to a new imaged domain with the use of video media. A mutual understanding of multilateral communication and interactive form was also made possible. Furthermore, we have parted from an era where the identity of dance was one of momentary and instantaneous documentary arts and created a spectacle on screen of dance having eternity which can be viewed upon the audience’s freedom and choice. Hereafter, dance will greet its audience with a globalism of an artificial digital form, alternative to the previous conventional system which emphasized the visual/sensorial structure of dance. The imaging project, an outcome which headed the transition of ideas along with technological advancement, is just another genre of dance which reflects the spirit of the time mentioned by Sparshott. Now the imaging project of dance has come into the spotlight as a promising cultural enterprise that will lead dance of the 21th century, forecasting future dance on account of an original, passionate form.

Dancing Body, Social Class, and Utopian Vision in Dance Films

우미성 문학과영상학회 2014 문학과영상 Vol.15 No.2

This article is an attempt to analyze dominant patterns and beliefs embedded in the dance films as a genre different from musicals and music videos. The dance films regard the human body as a cultural and social subject, focusing on how the dancing body becomes a means to cross the boundaries and obstacles in society. I attempt to read the optimistic closure of the narrative in dance movies made in Hollywood as a utopian vision derived from Western art philosophy. Most of the dance films tell stories of a teenager growing up to overcome obstacles and predicaments based upon the traditional Western concept of body and art in which the body as nature must be trained to be a cultural subject. One of the dominant plot devices is the topic of social class or class mobility. These films’ views of reality arise through the concept of the human being as a bodily being and, furthermore, that the body can be trained and developed through inscribing memories, pains, and personal experiences. Without offering complicated philosophy, dance films challenge the typical hierarchy in aesthetics and differences in highbrow and lowbrow culture by incorporating different styles of dance, which also serves as a metaphor for social class. These films are based upon the utopian vision of the human body growing out of identity crisis, human relations, class difference, and economic predicament. The dance films typically end by evoking moral and ethical understanding about the other and delineating idealistic harmonious coexistence through dissolving all the conflicts and overcoming the predicament. From the audience’s perspective, watching well-choreographed dance sequences at the end of these movies as a metaphor for social harmony between different genders, races, and classes can have cathartic and therapeutic values. The seemingly shallow and predictable ending of the dance films can provide viewing pleasure to the audiences with stories firmly grounded in the belief of the importance of human beings struggling to develop their resources and capacity.