Programmed as part of the AHRC-funded international research network ‘Film and the Other Arts: Intermediality, Medium Specificity, Creativity’, this special screening presents a diverse spectrum of film-dance collaborations: Hands (Adam Roberts, 1995, 4.5 mins), Maynard (Tanya Syed, 2016, 27 mins), Blue/Yellow (Adam Roberts, 1995, 17 mins), Legal Errorist (Mara Mattuschka and Chris Haring, 2005, 14 mins).
Hands, Adam Roberts, 1995, 4.5 mins
Choreographer Jonathan Burrows and I wanted to make a film that would treat only one part of the body, ignoring the whole that is the usual subject of dance. While Jonathan was excited by the beauty of a pair of hands and their particular movement possibilities, I had been intrigued by the expressive possibilities of human parts other than the face that so dominates and organises film framings. For both of us hands were important and beautiful. What kind of a film could we make? (AR)
blue/yellow, Adam Roberts, 1995, 13 mins Sylvie Guillem, the celebrated ballerina, asked Jonathan Burrows and I to make a dance film. Inevitably, being neither a dancer nor a choreographer, I felt rather removed from the choreographic process, and so decided that I should reflect this is the form of the film. I also wanted to consolidate ideas I had first tried out on a film called Very, where I had explored and made overt the very fragmentary nature of my untutored, subjective experience of dance. The aim would be to make it a task for a viewer of the film to imagine the space and the continuity of movement – so that the dance, if it exists at all, exists and is held in the mind of the viewer. (AR)
For Maynard, Tanya Syed, 2016, 27 mins
A cinematic rendition of Simon Whitehead’s live performance work ‘Studies for Maynard’. Ambiguous relationships to gravity, location and object as seen in Syed's earlier films, are explored to poignant effect. Whiteheads leaning towards pedestrian movement, and his conversation with a weathered school table moves us through a percussive and ever shifting orientation. Here the physical immediacy of performance meets the proximity of the camera’s eye and its desire to bring us closer.
Legal Errorist, Mara Mattuschka & Chris Haring, 2005, 15 mins A performance of transformation, a transformance, changes its medium and encounters a camera, which plays dance music under the secret eye of a room that bends and twists along with it. The Legal Errorist personified by the dancer Stephanie Cumming is a creature that cannot stop crashing. A cinematic adaptation of Chris Haring’s original stage performance.