Press

Press Releases

February 17th, 2012
Special Selections from the Clermont-Ferrand International Short Film Festival

January 9th, 2012
Dances Made to Order- The New York Edition: A Monthly Dose of Cool, Cheap, Convenient Culture

November 18th, 2011
FSLC and Dance Films Association announce the 40th edition of DANCE ON CAMERA, Jan 27-31, 2012

November 8th, 2011
Dance Films Association, Call for Entries: High School Student Film Competition: Capturing Motion NYC

September 14th, 2011
Produced by Dance Films Association and Presented by Solar 1, Dancing in Public

Coverage

The New York Times, on the 2010 Festival, by Alastair Macaulay

Another multimedia artist is the title subject of Babeth M. VanLoo’s always compelling, often ravishing 82-minute film,Meredith Monk: Inner Voice. Everything about Ms. Monk seems to lend itself to film: her odd face (she discusses here the eye peculiarities she has had from childhood and how they may have stimulated her); her readiness to talk calmly but with feeling of her passions and experiences as a citizen and as a private person; her work in music, dance, theater, film itself and site-specific ventures. This film attends to her music, especially her vocal music; but it makes clear why this is singing that it helps to see as well as hear. Her largeness of spirit becomes ever more apparent; you feel your own horizons grow as you watch and listen.
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W, on the documentary DANCING ACROSS BORDERS, by James Reginato

Anne Bass is well known as an arts patron and socialite, but on a recent afternoon, seated beneath Picasso’s The Drawing Lesson in the library of her palatial apartment on New York’s Fifth Avenue, the petite, blond 67-year-old sounds more like a tech geek than agrande dame as she gives a reporter a tutorial in sound mixing. It’s one of many new things Bass learned to do while directing her first documentary.
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Newark Star Ledger, on the 2010 Festival, by Robert Johnson

For dance lovers who also crave adventure, the Dance on Camera Festival is just the thing. Opening Friday at the Walter Reade Theatre, the international series produced by the Dance Films Association and the Film Society of Lincoln Center offers several cutting-edge programs, alternating with traditional documentaries.
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City Arts, on the 2010 Festival, by Susan Reiter

The documentaries are a particularly strong selection. Two of them profile distinctive innovators who are more than deserving of the insightful, thorough examination these films give them. Ruedi Gerber’s Breath Made Visible profiles Anna Halprin, who turns 90 this year and has been a free-spirited, profoundly influential West Coast dance figure.
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Time Out, on DOC Touring Program, Chicago, by Zach Whittenburg

“There’s a dream-like quality to dance films in general,” says Dance for the Camera curator Jan Bartoszek. You can go into the psyche and create different environments than you can onstage.  The sky’s the limit.”
Bartoszek’s love affair with dance cinema was ignited in a college media-studies class, where she saw Norman McLaren’s 1968 experiment, Pas de deux. In it, blunt side lighting and high contrast reduce two dancers to white outlines in a black void; McLaren used an optical printer to show them shedding and entering freeze-frames of their own movements. “It blew me away,” Bartoszek says.
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