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81.

Emperor Jones [electronic resource]

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A highly theatrical dance work based on Eugene O'Neill's play, "Emperor Jones" was choreographed in 1956 by José Limón. The cast is led by Clay Taliaferro and Edward DeSoto. The first film is an edited version with close-ups and the second is a record version of the same performance showing the entire stage.
Online
1972
82.

Introduction to Emperor Jones [electronic resource]

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A highly theatrical dance work based on Eugene O'Neill's play, "Emperor Jones" was choreographed in 1956 by José Limón. The cast is led by Clay Taliaferro and Edward DeSoto.
Online
1972
83.

Lucas Hoving (Excerpts From "Growing Up in Public") [electronic resource]: Speaking of Dance

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As a principal dancer in José Limón's Company, Lucas Hoving originated roles in "The Moors Pavane", "Emperor Jones", and other important works. This tape includes footage from Mr. Hoving's "Growing Up In Public", performed at the American Dance Festival in 1989, along with teaching footage and personal recollections of his life in dance.
Online
1989
84.

A Moment in Love [electronic resource]

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Ms. Clarke's dance films, though rarely seen, are seminal in the history of dance for the camera. The tape features: Dance in the Sun (1953), with Daniel Nagrin In Paris Parks (1954) Bullfight (1955) Moment in Love (1956) both with Anna Sokolow A Visual Diary (1980) with Blondell Cummings. Shirley Clarke began her career as a dancer, having studied and performed with Martha Graham, Anna Sokolow, and Hanya Holm. Her background as a dancer is evident in her body of film and video work, in her use of a wandering, improvisational camera and the sense of movement that pervades even her earliest black & white films. Dancing propelled her into filmmaking and eventually to an Academy Award for her film Robert Frost: A Lover's Quarrel With The World, the 1962 documentary commissioned by Presi [...]
Online
1998
85.

A Visual Diary [electronic resource]

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Ms. Clarke's dance films, though rarely seen, are seminal in the history of dance for the camera. The tape features: Dance in the Sun (1953), with Daniel Nagrin In Paris Parks (1954) Bullfight (1955) Moment in Love (1956) both with Anna Sokolow A Visual Diary (1980) with Blondell Cummings. Shirley Clarke began her career as a dancer, having studied and performed with Martha Graham, Anna Sokolow, and Hanya Holm. Her background as a dancer is evident in her body of film and video work, in her use of a wandering, improvisational camera and the sense of movement that pervades even her earliest black & white films. Dancing propelled her into filmmaking and eventually to an Academy Award for her film Robert Frost: A Lover's Quarrel With The World, the 1962 documentary commissioned by Presi [...]
Online
1998
86.

Bullfight [electronic resource]

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Ms. Clarke's dance films, though rarely seen, are seminal in the history of dance for the camera. The tape features: Dance in the Sun (1953), with Daniel Nagrin In Paris Parks (1954) Bullfight (1955) Moment in Love (1956) both with Anna Sokolow A Visual Diary (1980) with Blondell Cummings. Shirley Clarke began her career as a dancer, having studied and performed with Martha Graham, Anna Sokolow, and Hanya Holm. Her background as a dancer is evident in her body of film and video work, in her use of a wandering, improvisational camera and the sense of movement that pervades even her earliest black & white films. Dancing propelled her into filmmaking and eventually led to an Academy Award for her film Robert Frost: A Lover's Quarrel with the World, the 1962 documentary commissioned by [...]
Online
1955
87.

Dance in the Sun [electronic resource]

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Ms. Clarke's dance films, though rarely seen, are seminal in the history of dance for the camera. The tape features: Dance in the Sun (1953), with Daniel Nagrin In Paris Parks (1954) Bullfight (1955) Moment in Love (1956) both with Anna Sokolow A Visual Diary (1980) with Blondell Cummings. Shirley Clarke began her career as a dancer, having studied and performed with Martha Graham, Anna Sokolow, and Hanya Holm. Her background as a dancer is evident in her body of film and video work, in her use of a wandering, improvisational camera and the sense of movement that pervades even her earliest black & white films. Dancing propelled her into filmmaking and eventually to an Academy Award for her film Robert Frost: A Lover's Quarrel With The World, the 1962 documentary commissioned by Presi [...]
Online
1998
88.

De L'eau [electronic resource]

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One of two video/dance collaborations by Douglas Rosenberg and choreographer Li Chiao-Ping. Epic (The Land Within) uses text, landscape imagery, and performance by members of the Dziga Vertov Performance Group to present an expressionistic dance possible only for the camera. De L'Eau, choreographed by Li Chiao-Ping for herself and a male dancer takes place in an abandoned swimming pool. This piece is athletic, risky, and elegant.
Online
1995
89.

Down Time Jaz [electronic resource]

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Based in Sydney, Australia, Karen Pearlman and Richard James Allen have been making dance films since 1985. They formed The Physical TV Company in 1997. This collection features three of their over 20 works for the camera: Rubberman Accepts The Nobel Prize (2001). A superhero who speaks only the language of dance makes an outrageous, graceful, and rambunctious physical acceptance speech. Down Time Jaz (2003) is a physical-digital dance about a family using real bodies and digital media to choreograph the impossible.
Online
2006
90.

Epic (the Land Within) [electronic resource]

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One of two video/dance collaborations by Douglas Rosenberg and choreographer Li Chiao-Ping. Epic (The Land Within) uses text, landscape imagery, and performance by members of the Dziga Vertov Performance Group to present an expressionistic dance possible only for the camera. De' L'Eau, choreographed by Li Chiao-Ping for herself and a male dancer takes place in an abandoned swimming pool. This piece is athletic, risky, and elegant.
Online
1995
91.

Dances for Television [electronic resource]: Hope

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A suite of dances made for television from award-winning director Douglas Rosenburg, this project is based on the work of renowned choreographers Sean Curran, Li Chiao-Ping, and Amy Sue Rosen.
Online
2002
92.

In Paris Parks [electronic resource]

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Ms. Clarke's dance films, though rarely seen, are seminal in the history of dance for the camera. The tape features: Dance in the Sun (1953), with Daniel Nagrin In Paris Parks (1954) Bullfight (1955) Moment in Love (1956) both with Anna Sokolow A Visual Diary (1980) with Blondell Cummings. Shirley Clarke began her career as a dancer, having studied and performed with Martha Graham, Anna Sokolow, and Hanya Holm. Her background as a dancer is evident in her body of film and video work, in her use of a wandering, improvisational camera and the sense of movement that pervades even her earliest black & white films. Dancing propelled her into filmmaking and eventually to an Academy Award for her film Robert Frost: A Lover's Quarrel With The World, the 1962 documentary commissioned by Presi [...]
Online
1998
93.

Moon Gates [electronic resource]

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Painter and teacher, sculptor of monumental kinetic forms, Doris Chase is best known as a pioneer in the field of Dance for the Camera. Beginning in the 1970s, she produced more than fifty videos now regarded as key works in the history of video art. This collection features her most important works.
Online
1974
94.

No Surrender [electronic resource]

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Based in Sydney, Australia, Karen Pearlman and Richard James Allen have been making dance films since 1985. They formed The Physical TV Company in 1997. This collection features three of their over 20 works for the camera: Rubberman Accepts The Nobel Prize (2001). A superhero who speaks only the language of dance makes an outrageous, graceful, and rambunctious physical acceptance speech. No Surrender (2002) is about a young Indigenous woman is invaded, terrorized, and physically attacked by an unseen intruder wielding a camera.
Online
2006
95.

Dances for Television [electronic resource]: Odyssey

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A suite of dances made for television from award-winning director Douglas Rosenberg, this project is based on the work of renowned choreographers Sean Curran, Li Chiao-Ping, and Amy Sue Rosen.
Online
2002
96.

Dances for Television [electronic resource]: Real Boy

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A suite of dances made for television from award-winning director Douglas Rosenberg, this project is based on the work of renowned choreographers Sean Curran, Li Chiao-Ping, and Amy Sue Rosen.
Online
2002
97.

Dances for Television [electronic resource]: Residue

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A suite of dances made for television from award-winning director Douglas Rosenberg, this project is based on the work of renowned choreographers Sean Curran, Li Chiao-Ping, and Amy Sue Rosen.
Online
2002
98.

Rocking Orange [electronic resource]

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Painter and teacher, sculptor of monumental kinetic forms, Doris Chase is best known as a pioneer in the field of Dance for the Camera. Beginning in the 1970s, she produced more than fifty videos now regarded as key works in the history of video art. This collection features her most important works.
Online
1975
99.

Rubberman Accepts the Nobel Prize [electronic resource]

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Based in Sydney, Australia, Karen Pearlman and Richard James Allen have been making dance films since 1985. They formed The Physical TV Company in 1997. This collection features three of their over 20 works for the camera: Rubberman Accepts The Nobel Prize (2001). A superhero who speaks only the language of dance makes an outrageous, graceful, and rambunctious physical acceptance speech.
Online
2006
100.

Tall Arches [electronic resource]

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Painter and teacher, sculptor of monumental kinetic forms, Doris Chase is best known as a pioneer in the field of Dance for the Camera. Beginning in the 1970s, she produced more than fifty videos now regarded as key works in the history of video art. This collection features her most important works.
Online
1973