http://www.dance-tech.net/video/kampa2

The first video I viewed was called KAMPA and it was directed by Lucie Mirkova. The dancer's movement was very interesting in this video. Most of the mobility of the movement came from the upper limbs, head, and torso. The dancer only used her legs to bend and walk a few steps. The majority of the movement was in consistent contact with the concrete wall. The dancer's attachment to the wall  created a feeling of longing and/or connection. The dancer also chose not to look directly into the camera. This made her movement more internal and personal.

The different camera angle choices made it seem like the viewer was only an observer. For the most part, the camera remained distant from the dancer, creating space between the audience and the performer. The editing effect that used still shots that left a "mirage-like" image were also intriguing because it looked like the performer was moving around and through herself. However, the most interesting effect in the video had to be the lighting. The lighting created large shadows which made the movement seem bigger than what it was. 

http://www.dance-tech.net/video/muan-60secondsdancedk

The second video I viewed was called Muan and was filmed by Shumpei Nemoto. The movement in this video was unusual and chaotic. Unlike KAMPA, this clip had camera angles that were very close and invasive. The closeups on the performer's face, invite the audience to take a closer look as to what the performer is thinking/feeling/experiencing. The editor decided to end the film with a similar shot that the performer started the film with. There was also the use of speed in the editing process. Many of the shots were played very quickly, right after another, sometimes creating a blur of images. These editing choices insinuated the idea that we are viewing the dancer's reaction to something that is going on in his mind. 

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