This essay investigates the collaboration between dance and choreographic practice and film/video medium in a contemporary context. By looking specifically at dance made for the camera and the proliferation of dance-film/video, critical issues will be explored that have surfaced in response to this burgeoning form. Presenting a view of avant-garde dance-related camera work as a hybrid form, the essay will explore current critical stances in relation to dance and the film/video medium. The terminology used to describe dance-related camera work will be discussed in the hope of illuminating some of the ways in which this cross-genre form can be better understood and, conversely, limited by way of nomenclature. This essay argues the symbiotic relationship that exists between dance and the camera in this aspect of the field and, therefore, the importance of a critical stance that bears in mind aesthetic and formal principles of both dance and film, and which serves the artistry of both. To further highlight these considerations, there is a brief discussion of two dance-related films that resist conventional notions and understanding of dance. Ultimately, this writing offers the possibility that a bodily presence can exist without a body, and how the camera allows the choreographer to explore this presence by extracting elements of dance through the shaping of movement and choreography in collaboration with the technology and aesthetics of the film/video medium. (Contains 2 notes.)