Meryl Murman
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Research

Research at the intersection of Movement and Moving Pictures:

I strive to make dances that are films and films that are dances. I do this through experiments at the intersection of cinema and performance with the moving body as my central instrument.

I also search for ways to preserve - in a cinematic context - the risk and games of chance that
exist in the improvisation and interactivity of live performance.

I am curious about finding new systems for creating the reproducible image, particularly ones that rely more on corporeal literacy than visual. Through experiments I am constantly searching for processes that break the mold of the male gaze, subjectivity and affirmation by engaging the body.

I call this practice Kinesthetic Cinema. KC is a wholistic cinema practice that is created from the body through kinesthetic response, where the act of capturing, editing or even lighting the film can be created through physical actions and reactions in real time. This results in a cinema where the POV does not begin nor end with the gaze. The prime language used is tactile. It is a somatic and embodied practice, process and experience.

Finally, through my creative projects, I am interested in disrupting popular notions of virtuosity in dance and cinematic movement, specifically in regards to the spectacle of the male body in action and a fluid dominant gaze enabled by the apparatus of a seamless edit.

Photo credit: Nick Shamblott
Dancer: Ryan Masson

 Photo: Nick Shamblott Dancer: Ryan Masson

Photo: Nick Shamblott
Dancer: Ryan Masson

 

I strive to make dances that are films and films that are dances. I do this through experiments at the intersection of cinema and performance with the moving body as my central instrument.

I also search for ways to preserve - in a cinematic context - the risk and games of chance that exist in the improvisation and interactivity of live performance.

I am curious about finding new systems for creating the reproducible image, particularly ones that rely more on corporeal literacy than visual. Through experiments I am constantly searching for processes that break the mold of the male gaze, subjectivity and affirmation by engaging the body.

I call this practice Kinesthetic Cinema. KC is a holistic cinema practice that is created from the body through kinesthetic response, where the act of capturing, editing or even lighting the film can be created through physical actions and reactions in real time. This results in a cinema where the POV does not begin nor end with the gaze. The prime language used is tactile. It is a somatic and embodied practice, process and experience.

 Photo: Nick Shamblott  Performer:  Ryan Masson From the film  ways of forgetting

Photo: Nick Shamblott
Performer: Ryan Masson
From the film ways of forgetting

Finally, through my creative projects, I am interested in disrupting popular notions of virtuosity in dance and cinematic movement, specifically in regards to the spectacle of the male body in action and a fluid dominant gaze enabled by the apparatus of a seamless edit.