Abstract:In the 1920s Soviet avant-garde film was developing alongside modern dance, and the two arts often drew on each other’s stylistic and conceptual achievements. This chapter considers approaches to the cinematic mediation of dance and expressive movement, as they were articulated by the Choreological Laboratory of the Russian State Academy of Artistic Sciences (RAKhN) and two pioneers of montage, Lev Kuleshov and Dziga Vertov. In a historicization of the techniques and instruments used for staging and representi… Show more
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