Keywords
How to Cite
Abstract
Background: Traditional choreography uses the stage as a medium, and its core lies in the construction of narrative and emotional expression through the continuous movement of the dancer’s body in three-dimensional space. However, in screendance, the logic of choreography has undergone a fundamental shift. Objective: The purpose of this study is to reveal the cognitive conflicts and solutions between dance and film in the creative process of screendance through a practice-based approach, taking the creation of Nanyin into the Painting as a case. Methods: The research methodology is composed of two parts: literature research method and auto-ethnographic fieldwork research. Through the study of the interactive relationship between live choreography and camera scheduling during the creative process, a research chain of “problem-strategy-verification” was formed and Time-Space-Corporeal Cognitive Transformation Framework (Cultural Anchor) was further validated. Results: This research found that the cognitive conflicts between dance and film can be resolved through the Time-Space-Corporeal Cognitive Transformation Framework (Cultural Anchor): in terms of time, the rhythm and poetic image of Nanyin are used to reconcile the real-time nature of dance and the fragmentation of videos; in terms of space, architectural features and filming techniques are employed to reconcile dimensional conflicts; in terms of movement, cultural symbols are utilized to balance the continuity of the body and the selectivity of the camera. Conclusion: Time-Space-Corporeal Cognitive Transformation Framework (Cultural Anchor) demonstrates its innovative applications in culture related screendance, providing new methods for screendance makers, and revealing the cognitive transformation mechanism of the interactions among the body, technology, and culture.
References
Alsheridah, N. (2024). The resistive gaze in Kuwaiti screendance: An analysis of women’s Zar dance in Alsamt (1979) and Mohammed Ali Road (2020). The International Journal of Screendance, 14(1). URL: [https://doi.org/10.18061/ijsd.v14i1.9533](https://doi.org/10.18061/ijsd.v14i1.9533).
Anderson, C. (2022). When being becomes doing: Representing queer masculinities in screen(dance) space. The International Journal of Screendance, 13(1). URL: [https://doi.org/10.18061/ijsd.v13i1.8643](https://doi.org/10.18061/ijsd.v13i1.8643).
Arendell, T. D., & Barnes, R. (2016). Dance’s duet with the camera: Motion pictures. Palgrave Macmillan.
Backstein, K. S. (1996). Dancing images: Choreography, the cinema and culture (Unpublished doctoral dissertation). ProQuest.
Batty, C., & Kerrigan, S. (2018). Screen production research. Springer International Publishing. URL: [https://doi.org/10.1007/978-3-319-77760-3](https://doi.org/10.1007/978-3-319-77760-3).
Brannigan, E. (2011). Dancefilm: Choreography and the moving image. Oxford University Press. URL: [https://doi.org/10.1093/acprof:oso/9780195382366.001.0001](https://doi.org/10.1093/acprof:oso/9780195382366.001.0001).
Chelsea, W. (2009). Martha Graham: Dance on film: A Dancer’s World (1957). Film International, 7(5), 67. URL: [https://doi.org/10.1093/fint.7.5.67_1](https://doi.org/10.1093/fint.7.5.67_1).
Cook, J. (2006). Transformed landscapes: The choreographic displacement of location and locomotion in film. In S. Broadhurst & J. Machon (Eds.), Performance and technology (pp. 32–45). Palgrave Macmillan. URL: [https://doi.org/10.1057/9780230523238_3](https://doi.org/10.1057/9780230523238_3).
Fielding, H. A. (2015). Filming dance: Embodied syntax in Sasha Waltz’s. Paragraph, 38(1), 69–86. URL: [https://doi.org/10.3366/para.2015.0158](https://doi.org/10.3366/para.2015.0158).
Fujian Nanyin Network. (2021). Introduction to Fujian Nanyin. URL: [http://www.fjnanyin.com](http://www.fjnanyin.com).
Hilton, H. (2019). Coming into focus: Everything you need to know about dancing for the camera. Dance Magazine, 93(4), 58–60.
Zhu, L. (2024). Nanyin into the Painting. URL: [https://www.bilibili.com/video/BV1xoHfexEjc/?share_source=copy_web&vd_source=148bd90df77dcf4b4b9d0a4f5f94910e](https://www.bilibili.com/video/BV1xoHfexEjc/?share_source=copy_web&vd_source=148bd90df77dcf4b4b9d0a4f5f94910e).
Kowalczyk, M. (2018). Bodies in motion: Dance and digital technology. Transcript Verlag. URL: [https://doi.org/10.14361/9783839443666](https://doi.org/10.14361/9783839443666).
Kraus, L. (2005). Dancing the impossible: Choreography for the camera. Dance Magazine, 79(1), 79–84. URL: [https://doi.org/10.1080/00111610500058817](https://doi.org/10.1080/00111610500058817).
Manovich, L. (2001). The language of new media. MIT Press.
Mitchell, T. (2013). Moving pictures: Dance screen making as a choreographic process. Semantic Scholar.
Rosenberg, D. (2012). Screendance: Inscribing the ephemeral image. Oxford University Press. URL: [https://doi.org/10.1093/acprof:oso/9780195382373.001.0001](https://doi.org/10.1093/acprof:oso/9780195382373.001.0001).
Sikov, E. (2011). Film studies: An introduction. Columbia University Press.
Suhr, C., & Willerslev, R. (2012). Can film show the invisible? Current Anthropology, 53(3), 282–301. URL: [https://doi.org/10.1086/664920](https://doi.org/10.1086/664920).
Thomsen, A. (2017). Feature film and dance film: A match made in movement (Unpublished doctoral dissertation). ProQuest.
Vitaglione, S. M. (2016). New materials: Natural elements and the body in screendance. The International Journal of Screendance, 6, 94–105. URL: [https://doi.org/10.18061/ijsd.v6i0.4745](https://doi.org/10.18061/ijsd.v6i0.4745).
Zhuang, Z. Y., & Wang, S. (2024). Thallo Boutique Hotel Cluster: Phase 1 of Minnan Accommodation & Cultural Tourism Complex in Zhangzhou / BUZZ Zhuang Ziyu Studio. URL: [https://www.archiposition.com/items/20240402024756](https://www.archiposition.com/items/20240402024756).
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Copyright (c) 2025 The Author(s). Published by Journal of Global Arts Studies.