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In choreography where the moment between phrases is highlighted, sustained, and dispersed (instead of being reduced to the status of “transition” between ideal movements and forms), anarchic phrasing results. Such phrasing can be found in postmodern dance practices as well as social and ritual dance and challenges both the habits of human perception and the process of cinematic registration. In dancefilm, these performances present problems of visibility/legibility to the filmmaker that are often negotiated through the use of special effects that manipulate the action in space and time such as slow‐motion, multiple‐exposure, repetition, reverse‐motion, and digital postproduction techniques such as image “scratching.” The resulting films enact a dialogue between dance and film, negotiating the most challenging aspects of each discipline to create new forms of choreographic practice that belong solely to the screen arts. This chapter begins with Babette Mangolte's film of Trisha Brown's Watermotor as an exemplary model of cine‐choreography resulting from the filmic registration of challenging dancerly movement. The writings of choreographer and filmmaker Yvonne Rainer, along with French dance theorists Hubert Godard and Laurence Louppe, provide a way to think through the special quality of the profilmic material in such films and the types of cinematic movements that result.

This chapter focuses on Leni’s eight-part short film series, Rebus-Film (1925-26), and the ways that it relates to various avant-garde art movements of the 1910s and 1920s. Using Rebus-Film Nr. 1 as a starting point, the essay analyses the series’ connections to contemporaneous artistic movements such as Cubism, Futurism, and Dada and to cinematic styles and genres of the time, including Soviet montage and the ‘City Symphony’ films. To supplement this analysis, the essay draws upon reviews, trade magazine articles, and other written records from the period. This chapter sheds light on the ways that critics and audiences received the films and regarded Leni’s use of experimental aesthetic styles. While it is debatable as to whether Leni considered himself a modern art practitioner, a close reading of these short films shows that they are in dialogue with the visual avant-garde. This chapter also discusses the ways that the series fits into, and extends, Leni’s German and American careers.

Chapter 6 covers sound, offering discussions of how the television commercial has revived, fostered, and revitalized the musical and the silent film genres, integrating sound and image in particularized respects that are markedly different than most Hollywood feature films of the late 20^th and early 21st centuries. The chapter also addresses the TV the experimental, intertextual commercial that dates to the 1960s, the disruption of aural teleology in the 21^st century, and the unique (even if legally obligatory) forms of audio/visual dissonance in which beautiful images unfold while voiceover explains the dire side effects of given pharmaceuticals.

Chapter 5 covers editing, paying particular attention on Average Shot Lengths (ASLs) and the influential role that the TV commercial has played in how they have decreased in Hollywood feature filmmaking. This chapter also explores the ways in which the TV commercial has approached cutting on camera movement, or, in not using any editing, letting a single image remain onscreen for the entire running time, a practice associated with 19^th century cinema and reinvigorated for product sales. The chapter also examines the TV commercial’s ability to eschew standard Hollywood editing practices, opting for decidedly non-classical approaches, as in the exclusive use of close-ups to tell a story.

This chapter provides a historical overview of audiovisual sampling in Spain, concentrating on the contemporary works of amateur filmmaker David Domingo and visual artist Marìa Cañas. First, it provides a theoretical and historical survey of sampling within Spanish culture from the 1970s (the end of Franco’s dictatorship) to the present. Second, it interrogates its legitimacy and adequacy to articulate a detailed discourse about Spanish cultural history. The chapter maneuvers through the Spanish subcultural and avant-garde detritus to build an alternative history of cultural legacy that emphasizes the practice of sampling. Finally, it juxtaposes Domingo’s wide range of analogue sampling practices—from Super 8 films to live performances—with Marìa Cañas’s output, a cannibalistic approach to audiovisual culture through digitization.