Tag Archives: cinema

British dancefilm in Brussels festival

I spent a couple of days in Brussels, where I attended the 6th International Dancefilm Festival L’Art Difficile de Filmer La Danse, which runs 4-7 October at the Cinematek, Danscentrumjette and Argos. The artistic directors are Stefanie Bodien and Wolfgang Kolb, who run the festival together with Roxane Huilmand.

This festival always has one day where it focuses on a particular country, and this time it showed a selection of historical and contemporary British films. Roxane Huilmand and Wolfgang Kolb visited the UK earlier this year where they viewed films at the Lux and the BFI, and met with Gitta Wigro and others. The final selection and curation of the screenings was done by Wolfgang Kolb and Stefanie Bodien, who invited Simon Whitehead to perform at the opening night and asked me to give an overview of dance film in the UK and to introduce the films.

The list of films is included below. It was a great pleasure seeing this selection of films that began with Mime Dance, a 2min film by Ms Mary Montgomery from 1928,  and proceeded via Len Lye’s work for the British, General Post Office (GPO) from the 1930’s and a film by the Rambert Dance Company from the 1970s to work from artists of the London Filmmaker’s Coop, to the more familiar screendance by Peter Anderson, Miranda Pennell and Lloyd Newson, to visual artist Mark Lecky’s Fiorucci Made Me Hardcore (1999), and finished gloriously with Charles Atlas and Michael Clark’s collaboration Hail the New Puritain (1986). The films were organised into four programmes which we watched one after the other, from 3pm to about 10.30pm. It was a feast and most engaging selection and we left hungry for more!

There were some unusual or even controversial works, in particular Dirty (1971), Steven Dwoskin, in which the camera scrutinises two female bodies not unlike most of his other work. A deliberately rough soundtrack and grainy image interfered with the visual consumption of the images to some extend, but more than any other work this film raises questions as to the cinematic gaze and our visual pleasure. Within the 20 or so films and historical narrative, this work was useful though to challenge our spectating. Another intriguing work was Imprint (1974), by Clive Meyer & John Chesworth and the Rambert Dance Company. The 70’s really did take the viewer on a journey and examined the film frame in spectacular ways. I had not seen this film and I found it spellbinding. A film like Boy (1995) by Peter Anderson and Rosemary Lee, perhaps demonstrates the excellence of the area of British TV screendance, and a few other projects could have been included here. But time was limited and finishing the screening with the exhuberant and fantastic Atlas/ Clark collaboration was a brilliant choice in that it embedded dancefilm in a wider cultural context, in this case post-punk London, and played with numerous registers of human frailty and extravagant performance.

Once again I am reminded how important curation is and how much it can open films to new readings and contexts. This programme would be worth taking on tour, to other festivals and other continents. Any takers?

Claudia Kappenberg (Image above: What People Do, Andrew Bar McKay 1981)

List of screened films: 

Memories of Mirrors Ursula Mayer 4’ 9

Mime Dance by Miss Mary Montgomery 2’ 9

Rainbow Dance Len Lye 4’ 9

Between Two Worlds Guy L. Côté 19’ 9

Imprint Clive Meyer & John Chesworth 45’ 9

 

Mantra Jeanette Iljon 6’ 10

Dirty Steven Dwoskin 14’ 10

What People Do Andrew Barr McKay 22’ 10

Falling Under Nicola Baldwin 15’ 10

Pointillist Dance David Leister 14’ 10

 

Dance House n° 2 Tim Albery 6’ 11

Dance House n° 3 Peter Mumford 6’ 11

Boy Peter Anderson/ Rosemary Lee 5’ 11

Lounge Miranda Pennell 7’ 11

Fiorruci Made Me Hardcore Mark Leckey 15’ 11

The Cost Of Living Lloyd Newson 34’ 11

 

Hail the New Puritan Charles Atlas/ Michael Clark 85’ 12

 

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Report from Panorama British Screendance

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I am following up on my last post about this event/ panorama in Bordeaux 11th May 2017: to make this happen, Camille Auburtin worked with three partners, the Cinéma Jean Eustache de Pessac in Bordeaux, who hosted the screening and lecture, the Université Populaire du Cinéma of Bordeaux (UNIPOP), and the independent association Cinéréseaux. It was an interesting forum as it brought together several different audiences of all ages, from young and mature filmmakers who work with dancers and screendance to those who had never heard of screendance/ video dance, but have a general interest in cinema and experimental work.

The films looked great on a massive screen in this 400 seater cinema, and were discussed in the context of experimental cinema’s rich history.

For a blog post on the event see: https://www.facebook.com/milleAub/posts/10155222269177246?match=Y2FtaWxsYXU%3D

 

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All This Can Happen @ The White Cube London 6/10/2016

hat-sceneFilm on Sunday: Artist’s Choice

All This Can Happen: Chosen by Antony Gormley

White Cube Auditorium, Bermondsey
144 – 152 Bermondsey Street
London
SE1 3TQ

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Steve Farrer: Film Screening

DeLaWarr_loops_frameline

De La Warr Pavilion, Bexhill UK, Saturday 20 February 2pm
Auditorium Tickets: £5, £4 DLWP members and concessions

A programme of experimental films by Steve Farrer made between the mid-seventies and the present; a particular emphasis is made on new abstract works exploring methods of creating levels of structure by the use of simple machines and notation. The screening will be followed by a Q&A with the artist. Film likely to contain nudity/sexual images.

Also s installation in Gallery 2:

This exhibition, shown as an immersive installation, is a new commission by Steve Farrer. Best known for his work related to the notions around expanded cinema – which offers an alternative perspective in filmmaking by reinterpreting the given conditions of the cinematic medium – Farrer’s work opens up questions around the spectator’s construction of time/space relations and activates the live context of watching.

Shot in the De La Warr Pavilion’s auditorium, the principle sequence is based on mesmerizing and dream-like scene, The Kingdom of the Shades, from the French choreographer Marius Petipa’s La Bayadère, first performed in 1877. The long and slow repeated-arabesque sequence involves the entire corps de ballet, dancing one by one, in formal articulation across the stage in perfect accumulated unison. The orientation grids of the sequence are revisited in Farrer’s work; the massed ranks of the corps replicated in the multiple exposure of a single performer’s gesture, repeated and looped through the camera and projector. The work interrogates an accepted cinematic experience, giving it a new perspective and engaging the speculation of the audience.

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Jury decision for the Leeds International Screendance Competition

Andy Wood: You’ll never guess what…. Ha! I am sworn to secrecy by our expert jury yesterday! You have to come to the screening to find out who has won the £500 and which runner ups have been specially commended by Claudia Kappenberg, Silvina Szperling & Marisa Hayes.

For all details go to: 28th Leeds Internetional Film Festival

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ICA Artists’ Film Biennial 2014: Dance Transmissions

Selected by Vivian Ziherl + Q&A

Curator Vivian Ziherl has selected a programme of films for the Artists’ Film Biennial that deal with themes of dance in translation to moving image, about figures and gestures transposed across media. Yet their images bear the trace of cinema’s imprint within the bodies of modern dance itself. Unspoken texts tremble in the interference patterns between these media, perhaps issuing Cocteau’s enticement of a concealed drama, ‘the plague, the gold, the gongs’.

The screening is followed by a Q&A with artist Shahryar Nashat and programme curator Vivian Ziherl.

 

…Would anyone be interested to send us a review of the screeening for publication on this blog?!

If so please email: C.Kappenberg@brighton.ac.uk

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Embrace your foolishness

“By avoiding dancing, Shakespeare’s Jacques refuses the embrace of his own foolishness,” writes  in the Guardian in a review on dance on the big screen. And I would add that this aspect of dancing is gaining a new currency at a time when life is increasingly measured, standardised and accounted for. Read the full article;

The glorious folly of dance on film

From Singin’ in the Rain to The Full Monty and Strictly Ballroom, dance films celebrate our human capacity for improvised, limitless joy.
Michael Newton, The Guardian, Saturday 28 June 2014
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Valie Export screening at the ICA, London

Artists’ Film Club: VALIE EXPORT 15 Mar 2014 – 16 Mar 2014 at the ICA

Artist and Filmmaker VALIE EXPORT’s career spans five decades, and comprises numerous ground-breaking works of a provocational and often controversial nature. This weekend series of screenings draws together a significant cross section of her moving image works produced between 1966 and the present.

VALIE EXPORT will be present for the duration of the event for introductions and a Q&A.

Supported by Collection Native Informant

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