Movilizaciones de la mirada: Cine y danza

Abstract

The relationships between cinema and dance have been traditionally established on a representational concept consisting of the staging of the body in movement, as the musical genre or dance cinema (Branningan 2010; Rosenberg 2012). However, cinema is not only a form of representation, but «a form that thinks and a thought that forms» (Godard 1999), a way of articulating through film expression a thought that reconstructs the body in movement as the imaginary object of dance, and as a gesture that is established between the way of looking, thinking and being affected by the images of dance (Didi-Huberman 2023). Choreographing the look consists precisely in the realization of that gesture that unfolds, like a pas de deux, the relationship between the image and the viewer through the mobilization of the gaze, a filmic gesture insistently explored by a large group of choreographers in the expanded field of dance.