Cinematography and choreography: "It takes two to tango"
As a practicing dancer and choreographer with a developing interest in film, the lifelong struggle (where many have gone before) to capture and accurately depict choreography on screen, intrigues me.
Who should dance the camera or the choreography? These are questions that have been pondered by choreographers and theorists for centuries, with pioneers such as Busby Berkeley and Maya Deren each finding their own answers to success.
This thesis discusses the creation and production of dance film, and the importance of movement in front of and behind the camera lens. I believe experimentation and research are the most effective methods for deciphering this choreographic code, therefore I have developed three short dance films using principles encountered in literature and cinematographic research.
Prim, Cut and Mate
This body of work is about false facades, external judgment, social stereotypes and the view through rose coloured glasses. I am interested in audiences forming opinions rather than merely observing what is presented in a mindless state. I have endeavored to push the audience to question why they have made particular conclusions, and how these conclusions reflect on them.