出版社：Brunel University, Department of Performing Arts
摘要：There can be little question that digital technology holds out as yet undreamed of opportunities for dance, and especially for contemporary dance. It is not, for example, like film, which did so much for drama and comparatively little for dance. Film transformed drama because of the way the technology was exploited. Once narrative film took firm hold and a cinema industry began emerging, dance on screen was generally forced into musicals. The exception to this was the narrative about dancers' lives, of which The Red Shoes (1948) was not only the first but the best of the genre, which includes such egregious works as White Nights (1985) or The Turning Point (1977) as a means of justifying the inclusion of long sequences of excellent dancing, mostly ballet. Contemporary dance, even after the arrival of television, has had to make do with theatre dances transformed into television events, or short inserts of the style Channel 4 and the Arts Council have been keen to commission since the mid nineties.
