Doug Fox

If you have made a film or video that pays homage to Busby Berkeley, here's a unique opportunity to have your work screened at the Dance On Camera Festival: Kriota
Willberg, a choreographer, dance filmmaker, and former guest curator of Kinetic Cinema is seeking clips from film, video, or digital media directly
influenced by the camera work, staging, or choreographic styles of
Busby Berkeley. As a part of the Dance On Camera Festival,
in the lobby of Lincoln Center's Walter Reade Theater, January 2009,
Kriota Willberg is presenting a short program on the impact of
Berkeley's penchant for crazy camera moves, sex, elaborate staging,
geometry, and stream-of-consciousness editing style on the work of
mainstream, independent, and fringe media. There is no budget, no
stipend for the use of your media in this presentation (admission is
free), but your clip will be credited to you, a part of the festival,
and seen at Lincoln Center. Clips can feature dancing, fights,
inanimate objects, animation, live action, stop motion, you name it.
The more unusual, the better. Copyright for media should be held by
you. I'd also welcome your contribution of found clips that are known
to be in public domain. Please contact kriota@earthlink.net Here's one of my favorite Berkeley homage pieces, the Chemical Brother's video "Let Forever Be" directed by Michel Gondry.

If you have made a film or video that pays homage to Busby Berkeley, here's a unique opportunity to have your work screened at the Dance On Camera Festival: Kriota
Willberg, a choreographer, dance filmmaker, and former guest curator of Kinetic Cinema is seeking clips from film, video, or digital media directly
influenced by the camera work, staging, or choreographic styles of
Busby Berkeley. As a part of the Dance On Camera Festival,
in the lobby of Lincoln Center's Walter Reade Theater, January 2009,
Kriota Willberg is presenting a short program on the impact of
Berkeley's penchant for crazy camera moves, sex, elaborate staging,
geometry, and stream-of-consciousness editing style on the work of
mainstream, independent, and fringe media. There is no budget, no
stipend for the use of your media in this presentation (admission is
free), but your clip will be credited to you, a part of the festival,
and seen at Lincoln Center. Clips can feature dancing, fights,
inanimate objects, animation, live action, stop motion, you name it.
The more unusual, the better. Copyright for media should be held by
you. I'd also welcome your contribution of found clips that are known
to be in public domain. Please contact kriota@earthlink.net Here's one of my favorite Berkeley homage pieces, the Chemical Brother's video "Let Forever Be" directed by Michel Gondry.

Unfortunately, due to difficulties finding space, there will be no Kinetic Cinema screening in November (normally it would be on the first Monday of the month). To make up for it, we will be back on the first of December with a fantastic double program with the sister dance/film duo Sasha and Kerrie Welsh and myself, featuring new works-in-progress, live dance, rare films, and more! Stay tuned for more up-dates. Everyone's got the pre-election jitters, and while it may be hard to think about anything past November 4th, there are some other things to look forward to next month including the following dance film and media events. First, it was hinted on Tendu.tv's blog (an excellent source of dance/media/tech information by the way), that Tendu.tv will launch its dance channel on Tidal TV potentially as early as next week, airing Battleworks' "Overture" performed at the Joyce. Other programs coming to the channel will be Jonah Bokaer's "The Invention of Minus One", performed at Abrons Arts Center last year, and Episode 1 of "Dance Tech" - a long form program based on the social network Dance-tech.net created by Marlon Barrios Solano. While the official launch date is not confirmed, I've already gone ahead and registered on Tidal TV's website, so I can be ready to stream Tendu.tv's channel as soon as it arrives. With the recent technological breakthroughs in broadband video, the media playing field has been leveled somewhat, giving dance-makers opportunities to enter the mass broadcasting industry. I'm really excited to see what happens as Tendu.tv and other dance channels develop. Will they be able to cross over onto regular TV? Will the audience demand for dance programming grow? How will it impact attendance for live performance and live screenings? I'll be writing more about all these issues as events unfold! Another screening event coming up in New York this month is a program of dance on camera presented by the Dance Films Association at the New Museum of Co

Unfortunately, due to difficulties finding space, there will be no Kinetic Cinema screening in November (normally it would be on the first Monday of the month). To make up for it, we will be back on the first of December with a fantastic double program with the sister dance/film duo Sasha and Kerrie Welsh and myself, featuring new works-in-progress, live dance, rare films, and more! Stay tuned for more up-dates. Everyone's got the pre-election jitters, and while it may be hard to think about anything past November 4th, there are some other things to look forward to next month including the following dance film and media events. First, it was hinted on Tendu.tv's blog (an excellent source of dance/media/tech information by the way), that Tendu.tv will launch its dance channel on Tidal TV potentially as early as next week, airing Battleworks' "Overture" performed at the Joyce. Other programs coming to the channel will be Jonah Bokaer's "The Invention of Minus One", performed at Abrons Arts Center last year, and Episode 1 of "Dance Tech" - a long form program based on the social network Dance-tech.net created by Marlon Barrios Solano. While the official launch date is not confirmed, I've already gone ahead and registered on Tidal TV's website, so I can be ready to stream Tendu.tv's channel as soon as it arrives. With the recent technological breakthroughs in broadband video, the media playing field has been leveled somewhat, giving dance-makers opportunities to enter the mass broadcasting industry. I'm really excited to see what happens as Tendu.tv and other dance channels develop. Will they be able to cross over onto regular TV? Will the audience demand for dance programming grow? How will it impact attendance for live performance and live screenings? I'll be writing more about all these issues as events unfold! Another screening event coming up in New York this month is a program of dance on camera presented by the Dance Films Association at the New Museum of Co

I've written quite a few posts on this blog about the United State's one and only major supporter of videodance, EMPAC (Experimental Media and Performing Arts Center) at the Rensselaer Polytechnic Institute (RPI) in Troy, NY. After two years of construction, on October 3rd EMPAC officially opened the doors of their new magnificent state-of-the-art media and performing arts center, and celebrated with two weekends of non-stop performances, screenings, installations and special events. I was lucky enough to be able spend the day on Saturday Oct 4th, seeing this amazing facility for myself. I traveled with a fellow dance filmmaker, Sabine Klaus (aka CreationEditor on dance-tech.net) who was visiting from Scotland. We took in the sights and Sabine recorded much of what she saw on video to create the 25 min vlog post below. Many thanks to Sabine for letting me share it with you here. The building is a work of art in itself. Designed by the London-based architecture firm, Grimshaw, it is built into the side of a hill overlooking downtown Troy with views of Albany beyond. With its modern glass and steel exterior, and curvey wood interior it looks like both a starship landing dock, and a giant pickle barrel. It was a bit confusing to find one's way around the multitude of theaters, studios and galleries, but by the end of the day I'd gotten my bearings. In 2007, with the support of a $1 million gift from the Jaffe Fund for
Experimental Media and Performing Arts, EMPAC launched the DANCE MOViES Commission which supports the creation of several new experimental dance films by artists from the Americas each year. The premiere screening of the first DANCE MOViES Commission films took place in the huge Concert Hall space on a gigantic screen. I don't know enough to speak about the great acoustical and technical attributes of this space, but it was awesome to see dance films blown up so big with so much visual and sonic impact! I thought the pieces that showed off the capa

I've written quite a few posts on this blog about the United State's one and only major supporter of videodance, EMPAC (Experimental Media and Performing Arts Center) at the Rensselaer Polytechnic Institute (RPI) in Troy, NY. After two years of construction, on October 3rd EMPAC officially opened the doors of their new magnificent state-of-the-art media and performing arts center, and celebrated with two weekends of non-stop performances, screenings, installations and special events. I was lucky enough to be able spend the day on Saturday Oct 4th, seeing this amazing facility for myself. I traveled with a fellow dance filmmaker, Sabine Klaus (aka CreationEditor on dance-tech.net) who was visiting from Scotland. We took in the sights and Sabine recorded much of what she saw on video to create the 25 min vlog post below. Many thanks to Sabine for letting me share it with you here. The building is a work of art in itself. Designed by the London-based architecture firm, Grimshaw, it is built into the side of a hill overlooking downtown Troy with views of Albany beyond. With its modern glass and steel exterior, and curvey wood interior it looks like both a starship landing dock, and a giant pickle barrel. It was a bit confusing to find one's way around the multitude of theaters, studios and galleries, but by the end of the day I'd gotten my bearings. In 2007, with the support of a $1 million gift from the Jaffe Fund for
Experimental Media and Performing Arts, EMPAC launched the DANCE MOViES Commission which supports the creation of several new experimental dance films by artists from the Americas each year. The premiere screening of the first DANCE MOViES Commission films took place in the huge Concert Hall space on a gigantic screen. I don't know enough to speak about the great acoustical and technical attributes of this space, but it was awesome to see dance films blown up so big with so much visual and sonic impact! I thought the pieces that showed off the capa

"Moondust," an animated United Airlines TV commercial from Ishu Patel:



See other clip's on Patel's website.

Heidi Kumao's kinetic sculpture "Protest" (2005):

Erica Russell's Triangle (1994):



Description from Erica Russell's Website:

Triangle is a film in which the passions of young lovers and another woman are expressed in paint and dance. It makes powerful use of music and artwork styles that range from classical drawing to pure abstraction. Charlie Hart's sound track uses African and Brazilian musicians and themes.

The artist uses pencil, brush painting, chalk, cut paper and air-brush.

Also watch her "Feet Of Song." (1989)

Clip from Marjane Satrapi's animated film "Persepolis."



Here graphic novels, on which film is closely based, on Amazon.

iPod Shuffle TV commercial:

The Serpentine Dance (1899) from the Lumière Brothers:

Wall-E the robot from Disney performs a breakdance number:

Dancers: Remi Harris, Matt Sweeney, Donna Costello, Kyleigh Sackandy, Zachary Pace, production still from Fünf 'n' Twist, directed by Anna Brady Nuse. Photo: Penelope RoussetzkiFor the last three weeks I've been completely consumed by my videodance project, Fünf 'n' Twist. Last Thursday and Friday we shot all the prom scenes of the video, and it marked my first time directing (and producing) an indoor shoot.Kerrie Welsh & J Why, on set of Fünf 'n' Twist. Photo: Susanna Christians Through a monumental eff

Dancers: Remi Harris, Matt Sweeney, Donna Costello, Kyleigh Sackandy, Zachary Pace, production still from Fünf 'n' Twist, directed by Anna Brady Nuse. Photo: Penelope RoussetzkiFor the last three weeks I've been completely consumed by my videodance project, Fünf 'n' Twist. Last Thursday and Friday we shot all the prom scenes of the video, and it marked my first time directing (and producing) an indoor shoot.Kerrie Welsh & J Why, on set of Fünf 'n' Twist. Photo: Susanna Christians Through a monumental eff

Designer and musician Eric Gunther collaborates with choreographer and dancer Emily Beattie in "Affected Structures," in which the narrator "deconstructs a dancer's movements as she performs, using anatomical terms of motion":

Affected Structures from eric gunther on Vimeo.

Excerpts from West Coast Contact Improvisational Festival Video Lab 2008:

Cedar Lake Contemporary Ballet's Project 52 featuring one-minute dance videos once a week. Video with dancer Ana-Maria:

Steve Paxton discusses "Magnesium," the first contact improvisation work [via Quodlibet]: