With limited resources, how should a dance film service organization best focus their efforts on nurturing the dance filmmaker? Do dance film festivals actually help the dance filmmaker? When DFA's Festival started in 1971, it formed a community, brought the user, producer, and filmmaker together. But now with over 5,000 film festivals and dance film festivals sprouting up everywhere, multiple options to screen your work on-line, what impact does a screening have on a filmmaker's career. The "rejected" entrant rarely goes to the film festival they applied to. So dance film screenings are not educating the new filmmaker.
How could time/energy/attention be directed in another way, to further the art of dance on camera?
To my mind, when 6/8s of the entrants are not chosen for any film festival, maybe there is a better way to nurture those 6/8s rather than saying "Thanks..better luck next time."
Could one do the same annual call for entries but instead of competing just for a screening(s) at various venues and a cash prize, maybe additional choices could be added, such as the following:
1) One on one consultations with:
a. editor
b. cinematographer
c. choreographer
d. producer
e) idea/script advisor
2) Closed screening with feedback from the above
3) Introductions to:
TenduTv producer Marc Kirschner
Dance-tech.net guru Marlon :)
Wizkid of your choice....
4) Workshop with 10 at a time
But all the above would cost money. How much? Maybe the entrant could decide to chosen for tier 1 - screenings & cash - $35, Tier 2 - consultation - $60, or 3 - workshop -$75.
Hmmm...
