Arts Studies and Criticism

With the development of technology, in the field of performing arts, the reformation of the aesthetic system has undergone wide ranging changes. The traditional concepts about space and time have been broken, and the order of art has been deconstructed and reorganized. With such a reformation moving to the screen, live dance collides with other media, resulting in a new evolution. This complex entangled duet, which refers to the appearance of the old and new revolutions, takes place inside the movement. Within the boundaries defined by the camera lens, dance practice and image technology, forms a cross-border cooperative art work, which refers to the screen dance. As a multi-faceted contemporary art practice, screen dance includes the dynamic image of the moving body, choreography art and film art (Boulegue & Hayes 2015, p.24)^[1]. It spans the visual arts, performing arts, media science and other fields, organically integrating body and video audio-visual language, and realizing the interactive dialogue and creativity of body, image, space and time. The hybridity and interdisciplinarity of screen dance contrasts strongly with traditional theatre dance creation. The German Cologne Dance Film and Video Festival divided screen dance into stage recording, camera re-work, and screen choreography. This paper defines the scope of screen dance as works that describe new choreography practices specifically for film screens, emphasizing the special movements of dance or choreography at various levels of film production. Dance and moving images are both time-based arts, which produce new movement effects through the cooperation of the nature and quality of movements with the effects of body, venue, lens, object, camera, editing and post-production. This creates the camera choreography which constitutes the performance of dance images, which is also the main basis for defining the concept of dance images in this paper.