This article contributes to the scholarly discussion of the relationship between cinema and dance using Giorgio Agamben’s understanding of dance as gesture. To render Agamben’s critical framework operative, however, one needs to consider his reference to the concept of phantasmata (images) taken from Domenico da Piacenza’s Renaissance treatise on choreography. Agamben returns to this treatise to support his argument that dance is concerned first and foremost with time and memory rather than space and the present. To notate dance as a sequence of moving images is not simply to make visible on screen a series of bodily movements in space. Rather, it means acknowledging that dancing is primarily a mental activity. Taking Agamben’s reflections on dance and using Maya Deren’s work on screen dance as a case-study, this article discusses how cinema and dance together prompt us to undo the economy of bodily movements, restoring the body to us transfigured.
- Giorgio Agamben
- Maya Deren
- Domenico da Piacenza
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- School of Language, Literature, Music & Visual Culture, Film & Visual Culture - Senior Lecturer
- School of Divinity, History & Philosophy, Centre for the History and Philosophy of Science, Technology and Medicine (CHPSTM)
- School of Medicine, Medical Sciences & Nutrition, Aberdeen Biomedical Imaging Centre