<![CDATA[This article examines how choreographic time changes when dance is transferred from the stage to film. The discussion is grounded in the talk and workshop From Stage to Screen: Examining the Cinematic Body, held during the 28th anniversary of Institut Media Digital Emtek, and focuses on the choreographic process of Japati Kembang Kota in Shutter. Using a qualitative case-study approach, the research draws on textual readings of workshop discourse, rehearsal accounts, shooting practices, editing procedures, and limited visual observation of two choreographic sequences. The analytical framework combines film time, screendance, the cinematic body, and editing rhythm. The findings indicate that bringing dance to the screen does not merely record movement; it reorganizes duration, expressive intensity, spatial relations, and narrative function. Real time remains as embodied memory produced through rehearsal, while film time reshapes movement through shot fragmentation, repeated takes, compressed duration, and editing rhythm. The cinematic body is therefore understood as a negotiated formation between bodily continuity and audiovisual construction.]]>
Copyrights © 2026
