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Cinematic IntermedialityTheory and Practice$
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Kim Knowles and Marion Schmid

Print publication date: 2021

Print ISBN-13: 9781474446341

Published to Edinburgh Scholarship Online: September 2021

DOI: 10.3366/edinburgh/9781474446341.001.0001

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What Does a Dance Filmmaker See?

What Does a Dance Filmmaker See?

(p.167) Chapter 11 What Does a Dance Filmmaker See?
Cinematic Intermediality

Adam Roberts

Edinburgh University Press

In this chapter, filmmaker Adam Roberts discusses three of his films, Hands (1995), blue yellow (1995) and Pieces of the Quiet Dance (2006). Meditating on the intimate relationship between the filmmaker and dancers in movement, he touches upon recurrent influences or concerns in his work, including carved funerary objects (‘stelae’), still life versus portraiture, and the forest glade as a cleared space (a space made and filled with light). In his films, he explains, the body of the filmed dancer is apprehended as a storehouse of infinite potential, a gesture into the past and the future. To film the human figure, he asserts, is to unveil a body in all its virtuality, in a celebration of the moment of discovery.

Keywords:   dance film, Hands, blue yellow, Pieces of the Quiet Dance, Jonathan Burrows, Sylvie Guillem, Adam Roberts

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