unspooled index


Motion Studies (2003) M.A. Dissertation on online dance

A Choreographic Sensibility (2007) PhD thesis on screendance and moving image

Collected practitioner writing on screendance and moving image (2007 onwards):

Unspooled: introduction

From 2001, I spent a frustrating two years as an M.A. Choreography student, focussing on screen-based work, with a further three writing a PhD thesis on choreographic practice for screen. Specialist written resources were scarce, scattered and hard to access, and this collection has been assembled in the hope of making life perhaps slightly easier for students and researchers in similar circumstances, and for those with an interest in the field of screendance and moving image. I have included my M.A. dissertation on online work - Motion Studies - from 2003, and PhD thesis A Choreographic Sensibility from 2007, which explores alternative production models. Both texts are hyperlinked to extensive examples of practice-as-research. A range of writing generated by participation in a Film Studies course during 2005/6, run by University of Cambridge Board of Continuing Education and Cambridge Arts Picturehouse, has also been revised and included.


Since 2007, I have contributed to a variety of publications, including Dance Theatre Journal; Film & Festivals; Film International and Filmwaves, and on a regular basis to ground-breaking Sydney-based arts magazine RealTime. All of these articles are included in Unspooled as a way of drawing together a particular body of work, at a particularly interesting time for the art form’s development. My aim has always been unapologetically to avoid the traditional role of the reviewer, and most certainly that of the ‘critic’, in order to write in as much depth as possible about work which all too rarely receives coverage. As a maker, I am interested in writing originating from a practitioner perspective, and texts from London-based independent curator Gitta Wigro, fellow British-based artists Becky Edmunds and Claudia Kappenberg and Australian artist and curator Erin Brannigan have been gathered for inclusion. Throughout, the range of writing spans the formally academic; reviews; features; first-person experience and personalised viewing response.

Additional collation points for screendance writing, established and maintained by dedicated individuals or teams, currently function as a globe-spanning network of resource bases. Those known to me at time of writing:

Douglas Rosenberg - http://www.dvpg.net/essays.html
Videodance.org.uk - http://www.videodance.org.uk
Network for Discourse and Publication in Screendance - http://artsresearch.brighton.ac.uk/research/projects/screendance
RealTime - http://www.realtimearts.net
Physical TV - http://www.physicaltv.com.au/

Chirstinn Whyte
November 2009