Think ‘dance on film’ and think Fred Astair and Ginger Rogers. Think Patrick Swayze in Dirty Dancing, the graceful leaps of Billy Elliot, Catherine Zeta Jones in Chicago, or the ballroom scene in Alexander Sokurov’s Russian Ark, where the camera glides through dancers as though itself a participant. Outside narrative demands, too, film seems a suited medium for capturing movement. It is, after all, a medium based on 24-frames-per-second movement, and one which has the potential to take the dance form into new dimensions.