Over the years, screendance has generated flurries of interest within the scholarly dance community, only to watch that interest wane again and again with shifting academic trends. The past decade, however, has seen a slow-churning energy that may result in a more sustainable conversation around dance onscreen, much of which has been fueled by screendance artists and programmers themselves. A number of volumes of interest to academia have emerged as screendance artists have made homes for themselves in university settings. For makers of dance onscreen, Katrina McPherson's Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen (2006) and Karen Pearlman's Cutting Rhythms: Shaping the Film Edit (2009) are especially noteworthy. After Sherril Dodds's important historical and analytical book Dance on Screen: Genres and Media from Hollywood to Experimental Art (2001), however, screendance scholarship was not positioned to capitalize and build on Dodds's provocation. Liz Aggiss and Billy Cowie's edited collection Anarchic Dance (2006) offers a wonderful model for gathering together the creative work of a team of artists and scholarly writing about their work, but like Envisioning Dance on Film and Video (2002), a collection that was pulled together under Judy Mitoma's direction, the tone is somewhat self-congratulatory and the analysis is tepid. Finally, two books have come out that will stand alongside Dodds's to re-ignite conversations in the screendance field and in Dance Studies generally, and will do so in a generative and critical way: Douglas Rosenberg's Screendance: Inscribing the Ephemeral Image (2012) and Erin Brannigan's Dancefilm: Choreography and the Moving Image (2011).