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Dance and the Mediated Immersive Flux in Carlos Saura’s Musical Hybrids with Live Feed

Dance and the Mediated Immersive Flux in Carlos Saura’s Musical Hybrids with Live Feed AbstractCarlos Saura’s “pure musicals,” as he calls them, are highly based on the formal properties of the image and the expressive use of light in a minimalist scenic space. Although, they have not been declared screendance pieces (as per Rosenberg 2012), which conjoin rhythmic body movements with screen-based, technologically mediated methods of rendering, they are full-fledged screendance examples, being hybrid, symbiotic, and integral (Richard James Allen, 2006). This article concentrates on Saura’s musicals from 2005 onwards – Flamenco (1995), Iberia (2005), Fados (2007), Flamenco Flamenco (2010), Argentina (Zonda, folclore argentino, 2015) and Jota de Saura (2016) – particularly the immersive mediation operated through the use of live video feed as an intermedial sensorial device. Saura’s silky, glossy, and lustrous images form an optical-haptic continuum. The twofold bodies, the digital doubles and the flesh-and-bone act as inducers of crystallization in Gilles Deleuze’s perception of modern cinema (1985), inasmuch as they interact and alternate in a cinematic flux, forming a circuit. Thus, an image of a recorded stage performance enters into a relationship with cinema, a medium already endowed with reflective features, producing the crystallization of these screendance films in all their Saurian immersivenness and sensoriality. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Acta Universitatis Sapientiae Film and Media Studies de Gruyter

Dance and the Mediated Immersive Flux in Carlos Saura’s Musical Hybrids with Live Feed

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Publisher
de Gruyter
Copyright
© 2023 Fátima Chinita, published by Sciendo
eISSN
2066-7779
DOI
10.2478/ausfm-2023-0009
Publisher site
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Abstract

AbstractCarlos Saura’s “pure musicals,” as he calls them, are highly based on the formal properties of the image and the expressive use of light in a minimalist scenic space. Although, they have not been declared screendance pieces (as per Rosenberg 2012), which conjoin rhythmic body movements with screen-based, technologically mediated methods of rendering, they are full-fledged screendance examples, being hybrid, symbiotic, and integral (Richard James Allen, 2006). This article concentrates on Saura’s musicals from 2005 onwards – Flamenco (1995), Iberia (2005), Fados (2007), Flamenco Flamenco (2010), Argentina (Zonda, folclore argentino, 2015) and Jota de Saura (2016) – particularly the immersive mediation operated through the use of live video feed as an intermedial sensorial device. Saura’s silky, glossy, and lustrous images form an optical-haptic continuum. The twofold bodies, the digital doubles and the flesh-and-bone act as inducers of crystallization in Gilles Deleuze’s perception of modern cinema (1985), inasmuch as they interact and alternate in a cinematic flux, forming a circuit. Thus, an image of a recorded stage performance enters into a relationship with cinema, a medium already endowed with reflective features, producing the crystallization of these screendance films in all their Saurian immersivenness and sensoriality.

Journal

Acta Universitatis Sapientiae Film and Media Studies – de Gruyter

Published: May 1, 2023

Keywords: screendance; pure musicals; haptic perception; live video feed; sensoriality; Carlos Saura

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