Shadow Drone . A Screen Dance Film. Screenings: on the opening night of Brighton Festival 2016; Light Moves festival of screendance. Limerick Ireland
Nov 2016; side.kicks festival, Munich.
- Submitting institution
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Trinity Laban Conservatoire of Music and Dance
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- Linehan1
- Type
- Q - Digital or visual media
- Publisher
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- Month
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- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
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- Criminology
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- Interdisciplinary
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- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
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- Reserve for an output with double weighting
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- Additional information
- The Shadow Drone Project (2016-2020) started as a collaboration between Linehan and aerial photographer Karolis Janulis, to create a film for screenings, installations and projected content for live choreographed performance.
The aerial viewpoint offers a cinematic perspective of dynamic patterning where shadows of people and objects are sometimes revealed to be more present than their actual form.
The project investigated the filming of planned and unplanned events in urban and natural environments questioning the extent or limit of choreographic organisation and where the boundaries lie between organised and non-organised movement.
The research examined a variety of kinetic approaches such as: prescribed choreography that was re-enacted onsite; improvised and directed movement that responded to the site; natural gestural movement captured while dancers prepared to execute their scenes; everyday, or ‘pedestrian’ activity from members of the public; virtuosic activity from members of the public, such as beach summersaults and the movements of park skateboarders; and the depiction of non-human movement such as waves and birds.
In addition, these categories often overlapped or transitioned from one to another.
A consistent visual thread was the camera’s point of view; participants had been filmed directly above to maximise the appearance of shadows and minimise the appearance of the human body. Angle and framing were used to investigate:
• The way dynamic patterning is revealed within a consistent (stable) frame;
• How the identity of this framing and viewpoint provides coherence within changeable inter-scene editing within the overall timeline;
• How the shadowing becomes in some sense the material itself: this is therefore not choreography as imminent movement but posed alternatively as the effects of movement through the intervention of light and weather conditions. The choreography as such has to shift to generate these second order effects, through first-order organisation on the body or bodies.
- Author contribution statement
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- Non-English
- No
- English abstract
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