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We live in a post-postmodern paradigm with many faces. One of it was named digimodernism: while in postmodernism we read, watched and listened, in digimodernism we click, surf, download and use smartphones for recording. It has become an increasing issue due to the COVID-19 situation and life in physical isolation where dancers record, edit, share and promote themselves via online platforms. That is why this paper offers an insight into the historical perspectives of the diachronic development of dancefilm/videodance: a variety of film types which include dance on screen from the late 19th century until today. It makes a clear distinction between a dance film/video as documentary work and dance for camera that is choreographed and edited for the purpose of an artistic dancefilm focusing on the latter.