<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>Carlos 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 – <italic>Flamenco</italic> (1995), <italic>Iberia</italic> (2005), <italic>Fados</italic> (2007), <italic>Flamenco Flamenco</italic> (2010), <italic>Argentina</italic> (<italic>Zonda, folclore argentino</italic>, 2015) and <italic>Jota de Saura</italic> (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.</p>
</abstract>

Carlos 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.

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

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Carlos 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...

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

Online veröffentlicht: 23. Mai 2023

Seitenbereich: 160 - 175

DOI: https://doi.org/10.2478/ausfm-2023-0009

Schlüsselwörter
screendance, pure musicals, haptic perception, live video feed, sensoriality, Carlos Saura

© 2023 Fátima Chinita, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

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

Online veröffentlicht: 23. Mai 2023

Seitenbereich: 160 - 175

DOI: https://doi.org/10.2478/ausfm-2023-0009

Schlüsselwörterscreendance, pure musicals, haptic perception, live video feed, sensoriality, Carlos Saura

© 2023 Fátima Chinita, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Schlüsselwörter
screendance, pure musicals, haptic perception, live video feed, sensoriality, Carlos Saura