• Trans-
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• v.4
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• pp.37-63
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• 2018

Dance films, which started together as a combination of dance and video technology, have evolved into a new genre. Overseas, from early 1950s, experimental dance films have been produced and the dance film association is organized along with many dance film festivals are being held. However, it has not been long since the perception and creativity of the genre of dance films in Korea. Under these circumstances, holding of the 'Seoul Dance Film Festival' and experimental approaches by 'Dance Film Project' are important for the development of domestic dance films. Therefore, this paper explores the concept and development of dance films, the status and features of various overseas dance film festivals and the 'Seoul Dance Film Festival'. This paper also explores the roll and function of 'Seoul Dance Film Festival' and 'Dance Film Project', and their expected benefit along with possibilities of prosperity of domestic dance film. 'Dance Film Project' is the educational and experimental venue for producing of dance films, and the 'Seoul Dance Film Festival' is a platform for producing dance film makers, show of works, dialogue with audiences, international exchanges, and distributions. The dance film festival embodies the value of the past and current flow of the dance film and is intrinsic to the existence of a live content that can be predicted the future aspect of its roll. The two groups mutual growth and development are expected to play a positive role in the development of domestic dance films.

• Trans-
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• v.1
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• pp.45-66
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• 2016

The study uses the image technique of the movie (analysis) since there are limited analyses and data of the dance film's (cinematic) grammar. The films are limited to the Wim Vandekeybus's Blush. From the analysis of the one film, films are directed using basic movie grammars. Although the films are of the same genre, it differs from the method of using image techniques as well as the director's personal art preference. The cinematic grammars enhance the effect of the movement and it emphasizes the objectives to deliver the audience true meaning of the films. Dance film is not a simple word combination of dance and film to record new type of art; dance is used for the movie's artistic and aesthetic enhancement. To find out dance is the language and important expressive tool of the dance film, at the same time cinematic grammar enhances effect of dance and objective of the film, the study uses image technique analysis. These are the results of dance film analysis by using image techniques. Firstly, Dance film can transcend time and space. Secondly, The creative director could emphasize some part that the audience should focus on to clearly deliver the intention of the choreographer. Lastly, To popularize the dance genre. If the dance film produces with more diversified stories than the resent, it will be a part of a cultural industry and could create profits. Dance film might lose the sense of realism, which is the main characteristic of the stage art; however it could feel the beauty of the film through the mise en scene.

• Korean Architects
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• s.516
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• pp.92-93
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• 2012

• Cartoon and Animation Studies
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• s.33
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• pp.55-78
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• 2013

The issues on the representation of digital images, the uncanny is not considered aesthetically but must be overcome. It seems that the future of visual media using digital images, depends on the development and advancement of the digital technology. However, the Brothers Quay regarded as unique and experimental animators, focus their attention towards the past rather than the future. They trace back to the origin of the media, reproducing, manipulating, and representing gestures in oder to restore the shock and thrill delivered in film and animation. The Brothers Quay explore the uncanny of gestures through the mechanism of medium. They work in a wide range of genres, from animation, live action to dance film. The creaking spasms, which create the feeling that the movement does not belong to this world, and the strange gestures, reveals the flicker of the still projection and make audiences recognize gestures in the true meaning of the word. While they animate live actors and dead objects like automata, the hidden desires are revealed over screen. In this paper, focusing on the works of Brothers Quay, I tried to explore the uncanny of gesture based on Freud's and Jentsch' theory of uncanny.