Generally speaking, dance is relevant to and compatible with film as both genres are composed of based on action and movement. However, dance field seems to neglect film device because it loses transience and a delicate sense of human of mounting tension with risks, which are known as important characteristics of live dance performance, through the television apparatus. Therefore, this research interrogates on combining dance and film to explore whether the perspective on realism of film emphasising dance's 'real' to project dance's 'reality' is crucial issue or there is more than that on fused dance film perspective. The purpose of this research is to provide dance field an another platform that can be the trigger to create a new experimental work and establish the identity of dance film through understanding their differences by analysing how combining dance with film can expand human experience of perception, and how it transcends the logical perspective on the dancer's body within space and time. Therefore, this research discusses firstly, realism based on semiologic perspective to argue that if the absence of dance's characteristic of transience makes dance film moot points or a potential choreographic place. Secondly, it analyses modified ontological foundation to the dancer's body through various perspective on time in dance film. Thirdly, it explores the dancer's enhanced multiple space which is experienced through unique television apparatus. In conclusion, it is explored below,Firstly, the role of camera in dance field is now beyond recording dance as archival work, it absorbs an experimental arts work that integrates with the dancer's body intimately. Therefore, the dancer's body in screen is able to expand, reduct and divagate from material limits in real life. This extraordinary body in dance film refuses the convention such as the dancer's ability, which is only able to be seen on that moment of the performance, but rather it transcends. This is the enhanced screenised dancer's body and surpasses space-time in the real world. Secondly, screen apparatus challenges the perspective of existing logical space-time through unique way of dance film and it gives some shapes that can never be seen in a live performance. Thirdly, dance film must have validity of its own rather than a subordinate concept of dance as it provides a flexible perception that the dancer's body is no longer exists only conventional regulation but it has more to be explored in dance film to give an opportunity to create new dance work. Finally, screen apparatus is able to adjust dancer's movement and effect on choreographer's choice through its filmic technique and therefore, wide spectrums of multiple space-time in dance film can enhance the dancer's epidemiological movement as a flexible medium, and have implication for the multilateral relationship between practical choreography and audiences.