FILM (35)

BIONICA AV CALL FOR ENTRIES

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BIONICA AUDIOVISUAL IS A PROJECT BY BIONICA WOMEN, ART, TECHNOLOGY AND SOCIETY FROM BARCELONA-SPAIN. 

BIONICA purpose of bionica is to vindicate thinking, production and and the artistic and technological practices carried out by women. 

In this first version of BIÒNICA are interested in exhibiting a diversity of audiovisual proposals from all over the world. 

The call extends to all artists regardless of their gender who deal with issues related to women and enthusiasts of film, dance film, video or documentary.


Biònica Audiovisual will be held online, based on the website www.bionicas.net as well as an online presentation in the context of Biònica women, art, technology and society found remotely from the city of Barcelona between 27 and December 30, 2021.

DEADLINE :  D-2Oth 

SUBMIT HERE

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A sensual, fluid, hypnotic exploration of a “human sculpture”: the bodies of five dancers pass, cross, follow, intertwine with each other. A video of dance, adaptation of choreographer Gilles Jobin’s “The Moebius Strip”.

The Moebius Strip, created at the Théâtre de la Ville in Paris during the spring of 2001 became one of his most emblematic pieces. “On the stage, viewed as a white painting, bodies are thrown like splashes of colors, mixed as tint areas and given rhythm by the shades of the clothes” (Rosita Boisseau). This creation evokes his father’s paintings, Arthur Jobin, which alternate between geometrical rigor and intensive vibration of juxtaposed colors.

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.

Dance film 26 minutes / choreography THE MOEBIUS STRIP recorded in december 2001 at the Arsenic, Lausanne.
Premiered 8 mai 2001, Théâtre de la Ville Les Abbesses, Paris (France)
Choreography : Gilles Jobin
Dancers : Christine Bombal, Jean-Pierre Bonomo, Vinciane Gombrowicz, Gilles Jobin, Lola Rubio
Music : Franz Treichler
Light design : Daniel Demont

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6th-7th Februry 2016 Ackerstadt Palast Berlin

Connecting Fingers (Theatre Dance Performance -45 Minutes- English):
An encounter with some refugees.
In attempting to connect with their stories, dancers will lead us on a second journey.

https://www.facebook.com/connectingfingers

The Birthday - Short Film (16 Minutes, Mandarin/English with german subtitles) Berlin Premiere

Two taiwanese girls, Ron and May, are living in Berlin. As Ron’s birthday approaches, the different love that they feel for each other places them in front of a meaningful change.

Nomination Best Cinematography ShanghaiPride 2015 -
14 Festivals Official Selection
More info: https://www.facebook.com/thebirthdayshortfilm

http://ackerstadtpalast.de/Events/The-Birthday-Connecting-Fingers-Kurzfilm-Tanztheater-Performance

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When I dance at Rollout Dance FIlm Festival in the World Competition

After the opening with Mr Gaga,

When I dance will have a Premiere in Macao
Rollout Dance Film Festival/ World Competition 18th December 2016 Icentre Macao

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www.whenidancefilm.com

http://www.rolloutmacao.com/programme_rollout.html

https://pontofinalmacau.wordpress.com/2016/12/13/danca-e-video-num-festival-que-congrega-producao-filmica-global/

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re:PLAY 2013 in Imphal, Manipur

12249541700?profile=originalThe screening of the two part film OLYMPIA directed by Leni Riefenstahl in 1936 made the women in re:PLAY 1913's audience to acknowledge the power of the female gaze. How often do we see evidence of that? Riefenstahl's exquisite framing of superb bodies in action, rhythmic editing, and the surreal dance film at the close of the diving sequence makes OLYMPIA a natural for a sports and dance film festival. Since Manipur had not largely been affected by the atrocities of WWII, the students openly studied the merits of this masterpiece without fear of condoning the motivations of its producer, Hitler. Sadly, this FESTIVAL OF BEAUTY, as the second part of the film is called, had no impact on the monster, nor has there been another film on an equivalent scale that celebrates the glories of athleticism and young graceful bodies united in a peaceful purpose.

 

New York based Somi Roy founded the film festival and workshop re:PLAY three years ago at the invitation of  the Governor of Imphal, Manipur. Known for its prowess in sports and dance, Manipur theoretically has an audience ready to embrace a sports and dance film festival, the only one in the world. When he first got the invitation, Somi asked me to curate the festival as we had gotten to know each other when Joanna Ney and I showed in Dance On Camera Festival, ISHANOU, a trance inducing feature written by Somi's mother that is still the only Manipur film to have been invited to Cannes.

For the first time, my schedule allowed me to attend the festival in 2013, lead the discussions and workshop on film appreciation and criticism12249542681?profile=original which opened every day with a dance class. Never having been to Asia or India, I was unsure what to expect of the audience, students, the country, facilities. A stop in Delhi had a dizzying affect so that flying into Imphal, Manipur which is surrounded by mountains was a relief and promised more green, less people, less smog, more calm. Indeed it offers more green, but as much stimulation! The festival screenings for the public were delayed to a date still to be set because a Naga guerilla assaulted a Manipuri film actress, whereas the screenings for the 100 workshop participants and the workshops continued as scheduled.

In my workshop, I was instructed by Somi to spur the growth of criticism in a culture where everyone is an artist and no one a critic. Besides exploring the various ways we could work to instigate a critical forum for the nurturing of Manipur films, we watched and discussed 5 videos made by the students: a martial arts feature, documentary short on a reformed terrorist, amusing commercial and short documentary, and a short travelogue on Andro, made on a lark.  I found this unambitious film by Nelson Elangbam so appealing, I won a trip with him to see this mountain village12249543093?profile=original that makes a vodka that I found tastier than Ketel One. And I am a Ketel One fan! 

The offerings this year beside OLYMPIA included LATCHO DROM, Tony Gatlif's tale of the gypsies in 9 countries, a program of Dutch filmmaker Clara van Gool's shorts, THE LAST TIGHTROPE DANCER OF ARMENIA, MAO'S LAST DANCER, and DANCE OF DARKNESS, chosen because Somi had indicated the people of Manipur are eager to learn more about the dance from their Asian neighbors.

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DANCE OF DARKNESS, shown at right, is one such poetic documentary on the Japanese art Butoh by Edin Velez created in 1989, provoked, disturbed, and intrigued the students. One woman warned that the film should not be shown, without warning families that the images could be disturbing to children.

Quite apart from the Bollywood style, and the violence of Butoh is the traditional dance of Manipur, more of a Tibetan-Burmese culture than Indian. Among my students was a dancer on her way to earn a Phd who informed me that you have to move a figure eight around your heart when you dance the traditional Manipurean dance. "That way, your dance will be graceful." 

In addition to my workshop, Iben Trino-Molenkamp and Alexandra Viets led their own workshops so that all the students joined for the screenings and fruitful discussions. Somi who knows how to sustain an atmosphere of intense investigation and awareness is to be applauded for his leadership of this fascinating festival.

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Sticking to the essentials: Peter Kubelka

12249534863?profile=originalI just spent 4 rewarding hours in the company of Peter Kubelka, courtesy of the filmmaker Martina Kudlacek. He is a Viennese man absolutely sold on his own ideas, so eager to share them, and so charmed by their endless possibilities, that we must dispend any skepticism. Martina Kudlacek, who made the 2002 documentary IN THE MIRROR OF MAYA DEREN, begins her film with Kubelka with a nervous hand. The camera movement simultaneously makes us feel the vulnerable presence of the listener and illustrates Kubelka’s comment about our restless eyes. After that wary start, we settle in for an extended visit with Kudelka, a "metric artist," musician, gourmand, collector of objects, a visual artist with the spirit of an adventurous scientist.

 

Born in 1934 in Vienna, Kubelka did not see any movies, except propaganda films, until his late teens. He discovered the cinema essentials - silence/sound, black/white - as a child when he caught a promotion film about a new pudding. He had followed a herd of women into a dark hushed room with all eyes focused on an enormous white screen. It was an ecstatic experience for him that seemed to shape his life.  Cooking loomed large in his family. The process of choosing, cutting, stirring the elements, and staying alert to minute changes is akin to filmmaking. As a young filmmaker who came to NYC to join Jonas Mekas and other experimental filmmakers in the opening of Anthology Film Archives, he convinced Channel 13 to give him a cooking show in 1970,  an ingenious platform for a downtown artist. “When the butter starts to hiss, it’s protesting,” he reveals when we see him cooking and then eating his breaded veal at the end of Kudlacek's documentary.

 

“Everything is a dance, everything dances,” says this legend among the Avant Gardists. But, he adds, film does not move. Our mind sees the motion between 2 static images. He points out the importance of recognizing repetition and metaphor. “Metaphor is so important in all the arts.”

 

12249535055?profile=originalHe won’t have his films shown in a digital form. Too much is lost. For his first commission for a restaurant in Vienna, he scandolously shot only 2 minutes of film – all he could afford. With 2 dancers, and only 2 lightbulbs, he created their silhouette in black and white,  added some red for accent, the beer logo. A style was born.

He demonstrates how his arm is the length of 24 frames, 1 second of film, an easy way to measure/cut his films which must always look well nailed as a unit on the wall.

For more on this fascinating artist, see his installation of MOMUMENT in NY Film Festival, and http://www.sixpackfilm.com/en/catalogue/show/1957

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Reflections...

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In 1994, I looked out at the sparse Dance on Camera Festival audience at Anthology Film Archives and asked anyone whether they had any suggestions for building the festival. Margaret Williams, the brilliant British director of OUTSIDE IN, came out of the dark from the back of the house, to shake my hand but within that handshake was the affirmation that DOCF indeed needed help.

It was my first year to take on the volunteer job of running the festival, then in its 21st edition. Susan Braun, the founder of DFA, was still stalwartly taking the tickets at the door, but she was beginning to show her 70 plus years. At that time, DOCF only got a listing in the NY Times, never a review, nor a photo. It was known as the dance world's best kept secret. 

Help came in the very next year when I moved the Festival uptown to The Lighthouse, a corporate but elegant rental space down the street from Bloomingdales. Much to our amazement, Joanna Ney, then the Special Events producer for the Film Society of Lincoln Center (FSLC), came to the festival and invited us to bring the festival over to Lincoln Center. Susan Braun died soon after that. Victor Lipari, DFA's executive director at the time, working part-time and, unbeknownst to us - dying, secured the first contract. Pale and wan, he came to the Walter Reade for the first screening there to cheer us on, but he passed soon after as well.

Rescued after the two decades of self-producing, DFA's Festival began to hit its stride. The innovations of the Internet, also new at that time, turned around all the efforts of arts administrators. Dance film festivals were popping up all over Europe, Australia and Canada for the first time. Unthinkable how much work Susan Braun had to do to keep DFA going without computers, without e-mail!

That first year at the Walter Reade Theatre, DOCF 1996 had only one program that repeated once Saturday and Sunday afternoons. The FSLC was definitely unsure that DOCF was a wise investment. Ten years later, we were begging the Film Society to limit the festival to 3 weekends! This year, we have brought the festival down to 20 programs over 5 days in three venues - Walter Reade Theatre, Elinor Bunin Munroe Film Center, and the Frieda and Roy Furman Gallery in the Walter Reade Theatre.

And already 40 theatres have signed up for the 2012 simulcast of Bob Hercules: JOFFREY: MAVERICKS OF AMERICAN DANCE on January 28, courtesy of Emerging Pictures. Quite a bounce from the 200 seats in Anthology DOCF played to in 1994!

Thank you Joanna! and the FSLC for the steadfast, ever growing support of Dance on Camera Festival. Thank you Susan for your pioneer spirit! Thank you dance filmmakers for making the art we love to celebrate! And thank you Jon Reiss for forging the connection to Emerging Pictures.

It was my first year to take on the volunteer job of running the festival, then in its 21st edition. Susan Braun, the founder of DFA, was still stalwartly taking the tickets at the door, but she was beginning to show her 70 plus years. At that time, DOCF only get a listing in the NY Times, never a review, nor a photo. It was known as the dance world's best kept secret. 

Help came in the very next year when I moved the Festival uptown to The Lighthouse, a corporate but elegant rental space down the street from Bloomingdales. Much to our amazement, Joanna Ney, then the Special Events producer for the Film Society of Lincoln Center (FSLC), came to the festival and invited us to bring the festival over to Lincoln Center. Susan Braun died soon after that. Victor Lipari, DFA's executive director at the time, working part-time and, unbeknownst to us - dying, secured the first contract. Pale and wan, he came to the Walter Reade for the first screening there to cheer us on, but he passed soon after as well.

Rescued after the two decades of self-producing, DFA's Festival began to hit its stride. The innovations of the Internet, also new at that time, turned around all the efforts of arts administrators. Dance film festivals were popping up all over Europe, Australia and Canada for the first time. Unthinkable how much work Susan Braun had to do to keep DFA going without computers, without e-mail!

That first year at the Walter Reade Theatre, DOCF 1996 had only one program that repeated once Saturday and Sunday afternoons. The FSLC was definitely unsure that DOCF was a wise investment. Ten years later, we were begging the Film Society to limit the festival to 3 weekends! This year, we have brought the festival down to 20 programs over 5 days in three venues - Walter Reade Theatre, Elinor Bunin Munroe Film Center, and the Frieda and Roy Furman Gallery in the Walter Reade Theatre.

And already 40 theatres have signed up for the 2012 simulcast of Bob Hercules: JOFFREY: MAVERICKS OF AMERICAN DANCE on January 28, courtesy of Emerging Pictures. Quite a bounce from the 200 seats in Anthology DOCF played to in 1994!

Thank you Joanna! and the FSLC for the steadfast, ever growing support of Dance on Camera Festival. Thank you Susan for your pioneer spirit! Thank you dance filmmakers for making the art we love to celebrate! And thank you Jon Reiss for forging the connection to Emerging Pictures.

Photo from Adriano Cirulli's FALLING to be shown Dance on Camera Festival 2012, Jan 27-31.

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Congratulations to Student Dance Filmmakers

The Departments of Modern Dance and Film & Media Arts are pleased to announce the jury selections for the Student Dance for the Camera Program for the 8th International Dance for the Camera Festival and Workshop with Katrina McPherson.

We would like to thank students from around the globe for their submissions and congratulate the selected filmmakers. This is the first year a Jury's Choice Cash Award has been offered.

JURY STATEMENT
The $200 award goes to the Workshop "Cámaras danzantes (Dancing Cameras)" taught by Silvina Szperling at Escuela Internacional Cine y TV in Cuba, in collaboration with Festival DVDanza Habana, directed by Roxana de los Ríos, during March-April 2011. With over 80 submissions from around the world the collection of student dance films made during a workshop in Havana, Cuba with Silvina Szperling from Argentina, are particularly compelling. It is to the sponsors of this workshop that we award our cash prize, as a way of supporting their efforts. By the simplest of means, these student filmmakers immediately transport us to their worlds, and a great spirit of humanity is evident in every film.

JURIED STUDENT PROGRAM – Thursday, September 15, Marriott Center for Dance
University of Utah

Panal
Tristana Castilla (Spain)
Escuela Internacional Cine y TV, Cuba
 
Volatile Three
Kayleigh Atkinson
De Montfort University, Leicester, UK
 
Whirligig
James Gould and Kristen Lucas
University of North Carolina at Greensboro, US
 
The Breath We Left
Tara Rynders
Atlantic Center for the Arts, Florida, US
 
Lola
Anna Potapova
Okatankino, Russia
 
Lost Horizon
Tanja London
University of Utah, US
 
Parallax Error
Anne C. Moore
California Institute of the Arts, US
 
Hare
Eugenia Silveira
Universidad de Republica, Uruguay
 
Lights Flicker in the Subterranea
David Bird and Hunter McCurry
Oberlin College, US
 
Vivir es Vivir
Luis Ernesto Donas
Escuela Internacional Cine y TV, Cuba
 
Carry on Anyways
Remy Fernandez-O’Brien and Nicole Parma
Brown University, US
 
The Wait of Gravity
Renata Sheppard
University of Illinois at Urbana-Champaign, US
 
Shadowed
Hamish Anderson
Bournemouth University, UK
 
Stranger Dances
Sabrina Cavins
University of Colorado at Boulder, US
 
Blood in the Northwest: The Burden of Skin
Mollie Wolf
University of Colorado at Boulder, US
 
Danción
Jerman Catalan (Chile)
Escuela Internacional Cine y TV, Cuba
 
Honorable Mentions (Lobby Screening)

Entre Nous
Blair Brown
Loyola Marymount University, US
 
Gray #2 Boundary
Jenilyn Brown
California State University, Long Beach, US
 
Submissions from Escuela Internacional Cine y TV – Cuba
Instructor, Silvina Szperling -Argentina
 
Ejercicio
Jerman Catalan - Chile
 
Espacio
Tristana Castilla - Spain
 
#1
Luvyen Mederos - Cuba
 
Simona
Luis Ernesto Doñas - Cuba
 
Lo Siento
Jerman Catalan
 
Yogurt
Felipe López – Colombia

Jury members included Marta Renzi, Choreographer and Dance Filmmaker from New York, Robert Schaller, Filmmaker and Director of the Handmade Film Institute from Boulder, Colorado, Michael Trent, Artistic Director and Resident Choreographer of Toronto’s Dancemakers and the Centre for Creation, Wyn Pottratz, Graduate Student in the Department of Modern Dance pursuing a Graduate Certificate in Screendance, and Danielle Short, Graduate Student in the Department of Film & Media Arts, also pursuing a Graduate Certificate in Screendance. (For jury bios go to: www.dance.utah.edu/danceforcamerafest/StudentCompetitions.html) For more information on the entire Festival and Workshops, please go to www.dance.utah.edu/danceforcamerafest/


Ellen Bromberg
Associate Professor, Department of Modern Dance
Director, The International Dance for the Camera Festival
Director, Graduate Certificate in Screendance
University of Utah
330 S. 1500 East, Rm. 106
Salt Lake City, UT 84112
Personal Office – 801/587-9807
Dance Office – 801/581-7327
Fax - 801/581-5442
e.bromberg@utah.edu

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Goody Hallett

Goody Hallet Dance from zena bibler on Vimeo.

Maria Hallett was a pirate's girlfriend. Her parents wouldn't let her marry Black Sam Bellamy because he had no money. He became a famous pirate, collected a ship full of gold, and sailed back to her hometown in Wellfleet, Massachusetts. On April 17th, The Whydah struck one of Wellfleet's famous sandbars and sunk, killing most of the crew. Legend has it that Hallett used to visit the shore every night watching for Black Sam’s return. Some say she actually witnessed the famous Whydah shipwreck, and cried out as her true love drowned; others say she spent her later days as a witch, condemning ships that passed through her harbor.

Filmed and danced near Uncle Tim's Bridge in Wellfleet, Massachusetts.

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Award Winning Scottish Dance Filmmaker and Author, Katrina McPherson, who will be in residence at the University ofUtah's International Dance for the Camera Festival in September. 12249506092?profile=originalShe will conduct two workshops, a weekend workshop plus screenings of her award-winning work, September 15-17th, followed by a week long intensive, September 19-24th. It is possible to register for either one or both workshops. For more information go to:

http://www.dance.utah.edu/danceforcamerafest/

or contact Ellen Bromberg, e.bromberg@utah.edu

 

 

 

 

 

 

 

 

 

 

Photo Credit:Gao Yan and Song Wenjia/Beijing Dance Academy

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12249504078?profile=original|FESTIVAL VIDEODANZABA - NOVEMBER 22 to 27, 2011

 

Call for entries: videodance, documentaries 

DEADLINE: MAY 16, 2011
Call for papers: MAY 30, 2011

 

The International Festival VideoDanzaBA opens its call for

videos and papers

for its thirteenth edition, to be held November 2011.

Entries must be registered online at www.VideoDanzaBA.com.ar

 

Videos have to be delivered until May 16, 2011 to:

FESTIVAL INTERNACIONAL VIDEODANZABA

CENTRO DE INVESTIGACION CINEMATOGRAFICA

Benjamín Matienzo 2571 (C1426 DAU) Buenos Aires – Argentina

 

Jury for videos: Rodrigo Alonso, Diego Terotola, Silvina Szperling

International Symposium of Videodance Coordinator: Susana Temperley

 

We are waiting for your piece!

                     
                 
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Chámame awarded in Amsterdam: Cinedans/IMZ

12249457684?profile=originalAnother well deserved award: Best dance film at dancescreen 2010 in category C2 "screen choreography", subcategory "shorts up to 15 min".

See the whole award lis here: http://cinedans.nl/dancescreen

We make a toast and thank the Jury, and the co-organizers Cinedans (Amsterdam) and IMZ (Viena).

We dedicate it to the team and to the family of videodance.

Cheers!

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2011 NEWPORT BEACH FILM FESTIVAL - CALL FOR ENTRIES

ATTENTION SCREENDANCE ARTISTS AND FILMMAKERS!

Celebrating its 12th year, the NEWPORT BEACH FILM FESTIVAL is open for submissions from innovative filmmakers and artists from around the world, who specialize in the exploration of body, dance, and movement through the medium of film and video. All movement-based genres are accepted, such as videodance, animation and documentary.

Selected films will be showcased in a special program focused on dance and will also be eligible for Jury, Audience, and Festival Awards. Please take advantage of this grand opportunity to screen your work in front of thousands of film fans and industry professionals!

The Festival will be running from April 28 to May 5, 2011 and screened in Newport Beach, CA.

For more information on our festival and the submissions process, please visit our official website: www.NewportBeachFilmFest.com

or submit now using this link:

https://www.withoutabox.com/login/1249

Early Deadline - October 22, 2010

Thanksgiving Special - November 19, 2010

Standard Deadline - December 17, 2010

Final Deadline - January 24, 2011

SUBMIT NOW AND SAVE!

THANK YOU AND BEST OF LUCK!

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moves10:   Framing Motion

moves10: Framing Motion will hit the region from 21-25 April with more than 30 screenings, 16 screen-based installations, 4 interactive video performances, debates and workshops spilling out to over 50 venues across the North West and the UK.

Catch moves online, on site, on screens, indoors and outdoors!
Please find moves festival guide, schedule and registration forms for festival passes at www.movementonscreen.org.uk.

TICKET INFO:

moves full festival pass: £ 55/45
EARLY BIRDS! moves full festival pass: £ 45/35 (deadline 9 April 2010, 5pm)
moves combi pass (full festival pass + Kinesthetic Empathy conference): £ 85 (deadline 16 April 2010, 5pm)
To book tickets for individual events please check moves festival guide and contact moves partner venues: the Bluecoat, Picturehouses at FACT, the Contemporary Urban Centre (CUC) and LJMU Arts & Design Academy.

OPPORTUNITIES AT MOVES10:

- Interactive Scenography LAB by Santi Vilanova ( Telenoika, Spain), an inspiring and creative taking place during the course of the festival (22-24 April). Places are limited. Please book tickets in advance.
- moves filmmaking LAB : be part of a team and join an exciting 7 day filmmaking challenge!
- You still want to get involved? There are some volunteering opportunities still available. Check moves website for details!
- Are you a dancer? moves is looking for contemporary dancers to support Goran Vejvoda's piece Sayat Nova Revisited, coming all the way from France, to be performed during the festival.

Visit www.movementonscreen.org.uk for full programme details and see you at moves10: Framing Motion, 21-25 April 2010, Liverpool!

The moves festival team.
moves10 image strip
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CALL FOR SUBMISSIONS

The “Dance Camera Istanbul” 3rd International Dance Film Festival will be held in Istanbul, Turkey in 2010 winter, focusing on video dance, dance on camera, dance photography and dance film screenings. Dance for camera is a fusion art form combining choreography and filmmaking. “Dance Camera Istanbul” annually showcases international dance films, camera re-works and experimental movement-based films by contemporary video artists and choreographers from student to professional level. There is no restriction on the subject.

The festival supports films which investigate the ongoing search for movement and spaces, both in and out of bodies.

The aim of the festival is to build a community for both dancers and filmmakers to come together, to present and promote both local and cutting edge international works, to share ideas, and to provide a collaborative experience for dancers and filmmakers as they work together to produce the final product.

“Dance Camera Istanbul” also focuses on increasing attention and awareness of the collaborations between dance, film, visual arts and music as well as the different mediums and forms of dance. The goals of “Dance Camera Istanbul” are to offer a proper venue in which to screen and share the works, to encourage and educate student dance filmmakers, to spread the knowledge of dance for camera, and to deepen the understanding of Turkish and international dance film practices through panels, practical workshops, discussions and screenings.


We are seeking enthusiastic individuals and groups who are strongly focused (or want to focus) on dance for camera work, video or multimedia installation collaborations. Examples include video dance, dance documentary, adaptation of a stage work or site specific creation, any kind of artistic and experimental work with kinesthetic energy and rhythmic design, and choreographic works that are created specifically for the lens of the camera and include a well- planned editing process. We invite you to be part of the “Dance Camera Istanbul Festival” family. Accepted works will be screened in various venues in Istanbul, throughout Turkey and at the sister event Cinematic Lounge Series. In attendance will be Turkish and international dancers, filmmakers, musicians, photographers, artists and students, as well as both national and international audiences. During the festival, we will organize discussions between the artists, filmmakers and audience after the screenings.


Dance Film Workshops and Lectures/Panels

The workshops will be directed by acclaimed national and international dance and video artists, filmmakers and choreographers who will introduce different approaches to camera, dance and movement as well as providing information about video dance history, archives and links for further research. The workshops will take place at several dance studios and stages as well as access to indoor and outdoor spaces for filming. During the festival month, there will be national and international lectures serious on the dance camera work and the related fields. If you are interested in honoring us with your presence and lecture, please contact with us in regards to your possible topic. It would be our pleasure to start and organize a growing artistic environment and relationship.


Partners and Sponsors

“Dance Camera Istanbul” collaborates with several cultural institutions for visual artists, choreographers, performers and with many other highly appreciated contributors. Our sponsors and partners will be announced in the near future.
Please do not hesitate to contact us for further information and sponsorship opportunities.

We are looking forward to welcome you all...

Thank you!


Dance Camera Istanbul Festival Director

Onur Topal – Sümer
onur.topalsumer@dancecamera-istanbul.org

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Early Deadline: December 16, 2009Final Deadline: January 15, 2010Celebrating our 9th annual dance film festival, Dance Camera West welcomes dance media in any dance style or genre. Categories include: screendance, movement based film, short films, features, documentary, installations, and interactive dance media.Dance Camera West’s June 2010 festival will feature an international selection of dance media and special screening events throughout the month at prominent Los Angeles venues such as Walt Disney Concert Hall’s REDCAT Theatre, Hammer Museum, American Cinematheque, Cheviot Hills Recreation Center, and several new venues to be announced.We look forward to seeing your new work!Entry forms and guidelines available at: www.dancecamerawest.org/submit.htmPlease direct questions to: festival@dancecamerawest.org
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TenduTV announces the launch of the digital Dance on Camera Festival on Hulu, at www.hulu.com/network/tendutv. The digital Dance on Camera Festival is an extension of the Dance Films Association's Dance on Camera Festival (DOCF), which it has produced annually for the last 38 years, the last 14 of which have been co-presented with the Film Society of Lincoln Center.


"This new venture presents an exciting opportunity for dance film artists to expand their audience. The bulk of today's viewers consume their media digitally. Our partnership with TenduTV widens our distribution while offering an excellent, new venue for our participating artists," said Deirdre Towers, artistic director of Dance Films Association.


"We're excited to take this first step forward towards meeting the needs of the dance field. Finally, dance audiences can begin to get the access they eagerly desire. The Dance Films Association is a great partner and we're looking forward to doing all we can to help them fulfill their mission," said Marc Kirschner, General Manager of TenduTV.


TenduTV will be adding new films on a regular basis, providing viewers with a diverse range of dance on screen. While the initial films primarily represent contemporary works from prior editions of the festival, the Dance Films Association and TenduTV will also curate focused collections of dance films. Planned themes include "Past Masters," "Africa" and "Animation."


The first six films are available now, and feature dancers from some of thedance world's most renowned companies, including Tanztheater Wuppertal, Frankfurt Ballet, the Metropolitan Opera Ballet and Armitage Gone! Dance.


These films are:

Arcus, a jury prize nominee, DOCF 2004
directed by Alla Kovgan and Jeff Silva

Arising,from DOCF 2009
directed and choreographed by Ben Dolphin

FoliesD'Espagne, a jury prize nominee, DOCF 2008
directed by PhilipBusier
choreographed by Austin McCormick

Madrugada,from DOCF 2005
directed by William Morrison
choreographed byDeborah Greenfield

Vanishing Point, DOCF 2009
directedby Patrick Lovejoy

Wiped, Jury Winner, DOCF 2002
directedand choreographed by Hans Beenhakker

TenduTV also announced the addition of Cory Greenberg to its advisory board. Ms. Greenberg is Director of Operations & Special Projects for Alvin Ailey American Dance Theater, as well as Ailey's in-house counsel. She received her undergraduate degree cum laude in Art History from Duke University and her law degree from New York University School of Law, where she was an Arthur Garfield Hays Civil Liberties Fellow and a recipient of the Vanderbilt Medal for Public Service.


About TenduTV

Founded in 2008, TenduTV seeks to deliver dance to audiences through the highest quality digital distribution network available to the art form today. Through TenduTV's platform partners, dance artists and organizations will be able to transport their vision beyond the physical theater and engage audiences through computers and 200 million digital devices including internet-enabled televisions, portable video players and mobile devices. By empowering artists to connect with audiences on a global scale, TenduTV believes that the dance field can be as strong financially as it is creatively.


About Dance Films Association, Inc.

Dance Films Association, Inc. (DFA) is dedicated to furthering the art of dance film. Connecting artists and organizations, fostering new works for new audiences, and sharing essential resources,
DFA seeks to be a catalyst for innovation in and preservation of dance on camera. DFA was founded by Susan Braun in 1956, and included Ted Shawn, the founder of Jacob's Pillow, as its charter member, as well as modern dance pioneer Jose Limon and ballerina Alicia Markova as members of its first Board of Directors. A tireless advocate, Ms. Braun devoted her life to finding, showcasing, preserving dance films and videos until her death in 1995. Today, DFA seeks to carry on her spirit of creativity and collaboration in a time of extraordinary transformation.


For more information, visit www.dancefilmsassn.org and www.tendu.tv.

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Over the past 10 months we have been creating a dance theatre work which strives to take the bboying dance form into new territory. "White Caps", a live and film performance for the Bristol Old Vic in England, aims to explore the full expressive depth that the bboying technique holds, following the journey of two young men as they embark on an epic adventure in a compassionate, exhilarating search for completeness.We documented the process we went though to create this work, which i would like to share with you. Here are links to an episode of our production podcast and the latest teaser trail we have for the work.Hope this is of interest to you.Podcast Episode 3:http://www.vimeo.com/7805344Trail:http://www.vimeo.com/8910088Thank youWilkie Branson
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