10 Oct DFA Digest: October 10
SUBMIT: Deadline- October 15, 2012Entry fee is free to DFA members; $30 for non-members Become a Member Visit our website for more information Dance on Camera Festival Submissions We welcome screen adaptations of stage choreographies, narratives, documentaries, abstract and experimental shorts as well as performance videos.
Co-presented by Baryshnikov Arts Center and Dance Films AssociationOctober 23, 2012 7:00pm Baryshnikov Arts Center, Jerome Robbins Theater 450 W. 37th Street New York, NY, 10018 Tickets $10.00 Please click BUY NOW or call 866 811 4111 In this poignant documentary, the life of the innovative, radical Japanese dancer and choreographer Suzushi Hanayagi is examined with performing arts legend Robert Wilson, whose 20-year collaboration with Hanayagi has been an enduring influence on his work. After losing touch and upon finding her suffering from Alzheimer’s, Wilson creates a tribute to their artistic partnership – the final collaboration between a great teacher and her renowned student. Followed by a post-screening discussion with the director Richard Rutkowski moderated by Dance on Camera Festival co-curator Liz Wolff.
Moderated Screening led by Zach MorrisOctober 24, 2012 7:30pm-10:00pm Dance New Amsterdam, Theater 280 Broadway (entrance on 35 Chambers) Interested in feedback or want to attend? Email email@example.com to screen and RSVP. FREE for DFA or DNA Members; $10 for Non-Members Dance filmmakers are encouraged to present raw footage, drafts, works-in-progress and newly finished films to their peers for artist-centered, constructive feedback. Screening opportunities are only open to DFA/DNA members, although others are encouraged to attend the lab.
Facebook Marketing for Filmmakers by Yuki Akiyama Bob Curtis- Dancing All Colors by Christoph Dostal Film in Progress- an Event with DFA by Jody Oberfelder
Presented by Volunteer Lawyers for the ArtsOctober 18, 2012 4:00pm-6:30pm VLA Auditorium 1 East 53rd Street New York, NY 10022 Visit their website VLANY to Register This class will provide an overview of the legal issues and common business arrangements used in film and television projects. In addition, option agreements for the acquisition of literary properties, distribution agreements, and a comprehensive release for reality based television programs will be discussed. We will also take a look at legal issues surrounding recent films such as Borat. Reading materials for the class will be emailed one week prior to the class.
SUBMIT: 1st Annual En Route Dance Film FestivalThe En Route Dance Film Festival will stream to a global audience—completely online—from December 13–17, 2012. During this time, we’ll celebrate the incredible work of artists in the dance for camera field at-large. A $15 tickets grants complete access to the festival. In the spirit of the holiday season, Dances Made to Order will donate $2 of every ticket sale to a very worthy organization, Free Arts for Abused Children. A cash prize will also be awarded to the Audience Choice winner. To qualify, submissions must meet the following criteria. Additional information can be found on their website.
Keynote Address by dance filmmaker and DFA Member Douglas Rosenberg “Witnessing Dance: Mediation and the Technologies of Representation”October 20-22, 2012 Register Dance/USA Members receive 40% Discount “Witnessing Dance: Mediation and the Technologies of Representation” Unashamedly utopian, this talk will address how we look, how we discuss, how we circulate and inscribe images of dancing bodies in a pluralistic world. Presenting ideas in a relational framework, Douglas Rosenberg will situate dance within a larger conversation, as a discipline within a system of discourse, signifiers and conversations about mark-making, about presence, about bearing witness to a particular kind of humanness that has the potential to speak about both democracy and egalitarianism even as it conforms to contemporary esthetics. Technology and democracy are often mentioned in the same breath (the Arab Spring and social media for instance, or the internet as a force for democratizing information) The technologies of representation (as they relate to dance) are inextricably linked to access: to the tools of media, to who controls how the results of media/dance collaborations circulate in the culture and most importantly how the technologies of representation, (film, video, moving image production) reinforce ideas about women, race, disability, beauty, and such. When dance artists translate their choreographic ideas from stage to screen, often the result is that the screen version repeats unhealthy and damaging tropes that are antithetical to inclusion, democracy, and egalitarianism. This talk will suggest models to re-articulate the possibilities of technology and dance and to create opportunities for creative and critical discourse in our dance communities that focus on the human condition.