Frameform

Hello! We're back from our summer recess which means we have more episodes to come for the rest of the 2024 year!For today's episode, Hannah sits down with Austin, Texas filmmaker Maggie Bailey, discussing her 2022 dance documentary, Moving Together. This particular doc is something I myself (Hannah), have not seen in the dance documentary mode. What made this movie really stand out from others is that the story blends a soothing balance of cinematic movement that we commonly see in screendance, but then pairing those vignettes with gentle interview voiceover. Overall, Maggie guides viewers on a weaving journey between the relationship of music and dance through the lens of 6 collaborators who approach the art form in their own way.In this interview, we learn about Maggie's technical process for making Moving Together and dive into some of the elements that make this movie extra special. –Moving Together loglineMoving Together explores the intimacy of collaboration between musicians and dancers in Flamenco, Modern, and New Orleans Second Line in both performance and class environments. As artists, we collaborate with other disciplines consistently, but what pulls us back to specific people for collaboration? 
This feature length, performative documentary investigates the relationships between Michael Wall, modern dance accompanist and composer, and Jesse Zaritt, dancer and choreographer; Olivia and Isai Chacon, a Flamenco dancer and Spanish guitarist; and New Orleans natives Michelle N. Gibson, cultural ambassador, choreographer, performer, and Thaddeus Ford, sixth generation Trumpet player. –Follow and get in touch with Maggie Baileywww.maggiembailey.com@maggiembailey @movingtogetherfilm– Got a question? Email us at frameformpodcast@gmail.com and follow us on social for updates @frameformpod on InstagramWant even more Frameform? Consider joining us on Patreon where we release bonus content :) The cost to access is less than a fancy cup of coffee.

Unless you have hit the screendance jackpot, it's highly unlikely that you are a full-time screendance maker. Carving time out to create your own work can be a bit difficult and sometimes it's intimidating to start. As Frameform goes into the summer break, we are offering creative prompts designed to help you practice creating dance films on a regular basis. These are not recipes for masterpieces, rather ideas to help you break out of familiar patterns and discover new and interesting ideas for future work regardless of budget or technical familiarity.Happy creating!–4:01- Prompt 15:28- Prompt 27:10- Prompt 38:26- Prompt 49:33- Prompt 5 This episode has been transcribed for your reading pleasure. You can find the pdf here. FILMS REFERENCEDSONDERDirector and Choreographer: Simona DeaconescuD.O.P: Tudor PanduruSound Design: Sebastian ZsemlyeBIRDSDirector: David HintonChoreographer: Yolande SmithBOOKS MENTIONED Making Video Dance by Katrina McPhersonCutting Rhythms by Karen PearlmanThe Photographer's Playbook by Jason Fulford, Gregory Halpern & Mike Slack Master Shots by Christopher KenworthyScreendance Bingo by Simon Fildes– Become a Patreon Supporter and enjoy our exclusive resources released last summer and coming up this year.  Got a question? Send us an email at frameformpodcast@gmail.com!

We love connecting with the people behind the scenes at festivals. In today's episode, we speak with Nicole Spring of the Los Angeles Dance Film Festival. We talk all about how she started the LA Dance Shorts Film Festival - now known as Los Angeles Dance Film Festival - and how this project has evolved over the years. Nicole cares deeply about serving the community through these events and has proved to be open to adapting to best do that. We're excited to share more about how LADFF has grown with her leadership and what is coming up next for this festival. We also discuss challenges and decision making from the perspective of curators and producers, and offer some tips for filmmakers. Learn and Explore More:@ladancefilmfest on IG, FB, X, Vimeo, YouTube

Most theater-goers are familiar with black boxes. We're not talking about literal boxes that are black but in a way it's not totally off the mark. Walking inside a black box theater, it's pretty bare and minimal – empty space, a place for an audience to sit, and maybe a few studio lights for dramatic lighting. These spaces may not have that grand sparkling feeling when you walk into a 200+ capacity, red curtain adorned proscenium, but it serves very much the same purpose: possibility in creativity.In this location scout round table discussion we'll be spotlighting a few films that take place in these spaces. The set may not exhibit a lot of pizazz and visual stimulation, but the concepts present big ideas that add to the narrative. Here we learn that black box theaters are meant to host possibilities, fill in the holes with imagination, and let the performance do the talking.–FILMSSTILL DANCINGAlbacete, SpainDirector & Dancer: Anton Valdbauer @deepdivedancehttps://vimeo.com/613317072Snap Into It.https://www.youtube.com/watch?v=WnjUlViflTcDirector of Photography: Devin JamiesonChoreographed, Danced and Spoken by: Jillian MeyersComposed by: Matt CadyOUTOPIASlovenia/UKhttps://vimeo.com/624750258Inspired by director Franc Kranjc Director: Helen Rollins Writers: Adrian Romero and Helen Rollins Producers: Johnny Rollins, Peter Rollins, Adrian Romero, and Lisa Kruse Young Actor: Jack BoyleHONORABLE MENTIONS A Flower - Skyla Schreter Three on Four  (excerpt) - Marty BuhlerStanding Between Two Walls - Manizha –Become a Patreon Supporter and enjoy our exclusive resources released last summer and coming up this year. Got a question? Send us an email at frameformpodcast@gmail.com!

Frameform is thrilled to collaborate with Cinedans on several episodes to commemorate the 20th edition of the Amsterdam-based festival which took place in late March 2024. Through its adventurous film programming along with its substantial professional development program, Cinedans has established itself as a destination event for anyone interested in dance film and welcomes artists from around the world to its in-person event. Cinedans celebrated its bidecennial (yes, we looked that up) with a five day jam packed event filled with film screenings, meetings, and presentations . One of these presentations was a masterclass given by Iranian-Canadian musician and film director Kavah Nabatian, who also served on the jury of the event. The episode contains a short recording from this masterclass.http://kavehnabatian.com/films/Kite Zo A trailerhttps://vimeo.com/kavehnabatian/kitezoatrailerKaveh's film “Kite Zo A- Leave The Bones” -a docu screendance that takes a powerful and dynamic journey through Haitian history and culture-was presented in association with the three stated themes of Cinedans' 2024 event, “Resistance, Resilience & Freedom”. “Grief & Reconciling the Past”, and “Rituals & Healing”. These themes coalesced in a dedicated program called “Breaking the Chains” highlighting films with postcolonial themes from different countries and historical perspectives, portraying ancestral rituals, struggles for independence, spirituality and the persistent pervasive effects of slavery.The program opened with a ceremonial invocation and was followed by a Q&A with Christian Guerematchi (“CRNI TITO- Blaq Tito Addressing the Parliament of Ghosts”) along with Gabri Christa, Honore Van Ommoren and Steven Elbers from the film Kankantri-The Silk Cotton Tree, which premiere in the program. https://christianguerematchi.comCRNI TITO trailerhttps://m.youtube.com/watch?v=b4Jsz5aOOs8Kankantri film pagehttps://www.gabrichrista.com/work/kankantriCheck out our Frameform Patreon page to access resources we have released and have coming up this summer.

Frameform is thrilled to collaborate with Cinedans on several episodes to commemorate the 20th edition of the Amsterdam-based festival which took place in late March 2024. Through its adventurous film programming along with its substantial professional development program, Cinedans has established itself as a destination event for anyone interested in dance film and welcomes artists from around the world to its in-person event. This year's edition of the festival featured a “Best of” segment where audience's could view the most popular films from the previous two decades, including three films from Iranian dance artist Tanin TorabiIf you've attended any dance film event in the last few years, you have likely seen the hypnotic film The Dérive which features Tanin moving through a Bazaar in Tehran, the capital city of Iran where dance has been banned since the country's revolution in the late 1970s. Tanin has since created two films set in Tehran, “In Plain Sight” and “Until”, the latter of which was created in the midst of the Woman Life Freedom protests in response to the murder of Mahsa Amini by Iran's morality police.Clare had the opportunity to speak with Tanin in person at Cinedans 2024, and only a few hours after this conversation took place, “Until” was awarded the Jury Award at Cinedans for Best Dance Short.Check out our Frameform Patreon page to access resources we have released and have coming up this summer.https://cinedans.nl/https://tanintorabi.art/

Audiences can be strongly divided when it comes to musicals, and the same goes for superhero flicks. Are these “theme park movies” the “death of cinema” or are they just a product of the times? In this roundtable with special guest Steven Butler, we cover many facets of movie musicals, superhero franchise films, and how they reflect the circumstances in which they are made and viewed. Also: what is on the horizon of big screen spectacles and what factors are determining our course forward?Check out our Frameform Patreon page to access resources we have released and have coming up this summer.Announcement:Available On Demand @ Dancinema Online March 1st to 31st: STEPS OF FREEDOM: The Story of Irish Dance. This doc reveals how Irish dance was shaped over centuries through interactions with many cultures as it evolved from a simple folk dance to become a global phenomenon loved by millions around the world. Enjoy Steps of Freedom during a movie night at home with Dancinema Online ( www.dancinema.co )   and bonus playlist: “Percussive & Folk Dances of the World” shorts

We're back with another season of dance and film! Be sure to download and listen to a brand new episode, on Wednesday March 15th!

That's a wrap! We reflect, share some behind the scenes perspectives and celebrate all that is Season 4 of Frameform.Thank you to the festivals and organizations we partnered with: Dance Camera West, ADF's Movies by Movers, Standard Vision, Dancinema's Capitol Dance & Cinema Festival. We'll be on tour again next season and in conversation with other festival curators, producers and featured dancefilmmakers.Thank you to everyone we interviewed this season: Gabri Christa, Bridget Murnane, David Roussève,  Samantha Shay, Nina McNeely, Caroline Haydon, Vanessa Sanchez, John Jota Leaños, Mimmo Miccolis, Carola Mamberto, Lolly Ashly, Sean Dorsey, Maggie M. Bailey, Courtney Holbrooks, Henry Isiah Graham, Chloe Ilene, Jake Kruty, Jon Rodriguez and Xavier Townsend.And a very special thanks to Maddy Leitner for her second season of production support!Check out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, Zines by Clare, and more.Dancinema's 2023 program is LIVE at Dancinema Online! Become a site member (it's free!) to browse festival archives and new selections for this season.Coming soon: Dancinema's 10 year Anthology. This is a PDF guide to all of the dancefilms we have screened to date, plus collaborations and projects. Get yours by becoming a Dancinema site member or a Frameform Patreon Subscriber!

Frameform was honored an invitation from Jennifer “Scully” Thurston (noted RogueDancer and current Artistic Director of ADF Movies by Movers)  to moderate Q&As following the shorts programs at a weekend of the summer-long dance film institution Movies by Movers at American Dance Festival in Durham, North Carolina in July of 2023.This panel moderated by Clare Schweitzer, Hannah Weber and Scully featured the following artists:Courtney Holbrooks, director of the film IsolateHenry Isiah Graham, director and performer of the film AirChloe Ilene, director and performer of The WardrobeJake Kruty, Jon Rodriguez and Xavier Townsend, co-directors and performer, respectively of Walls Come DownMaggie M. Bailey, director of the feature-length screendance documentary Moving Together Highlighted Dancefilms/Screendances:Moving Together Film PageMoving Together TrailerIsolate dir. Courtney HolbrooksWalls Come Down (excerpt) dir. Jake KrutyThe Wardrobe (still) dir. Chloe IleneCheck out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, Zines by Clare, and more.New shorts from Dancinema's 2023 program are LIVE at Dancinema Online! Become a site member (it's free!) to browse festival archives and new selections for this season. Coming soon: Dancinema 10 year Anthology. This is a PDF guide to all of the dancefilms we have screened to date, plus collaborations and projects. Get yours by becoming a Dancinema site member or a Frameform Patreon Subscriber!

Sean Dorsey is a San Francisco-based choreographer, dancer, writer, teaching artist and cultural activist. Recognized as the U.S.' first acclaimed transgender modern dance choreographer, Dorsey has toured his work to more than 30 cities across the US and abroad – and taught with his explicitly trans-positive pedagogy in more than 35 cities.In July 2023, Sean Dorsey Dance presented the North Carolina premiere of the ADF commission “The Lost Art Of Dreaming”, a life affirming experience that invites the audience to reconnect with longing, embrace expansive imagination, connect with joy and pleasure, and propel ourselves toward loving Futures. This tour stop coincided with the ADF Movies by Movers screening of the film “If Cities Could Dance |Transgender Dancer Invites Trans & Queer People to Dream Big” directed by Lindsay Gauthier which profiles Dorsey and his work. The film is currently on a festival tour and recently won an Emmy.Clare and Hannah moderated this Q&A panel following the screening of the film. On the panel were Sean Dorsey, dancers Nol Simonse, Héctor Jaime, & David Le, costume designer Krystal Harfert, and Technical Director Emily Paulson.Special thanks to ADF Movies by Movers Artistic Director Jennifer Scully Thurston for the invitation!Learn and Explore More:Highlighted Dancefilms/Screendances:If Cities Could Dance | Transgender Dancer Invites Trans & Queer People to Dream BigDir. Lindsay Gauthier The Lost Art of Dreaming (trailer) Check out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, Zines by Clare, and more.

Lighting plays a large role in cinematography. In one scenario, light is a tool to just visually see images. While in other cases, light sculpts the features in a space – illuminating the curvatures of people's bodies, faces, sharp edges on buildings and furniture. Lack of light creates deep undertones such as darkness, evil, mystery, and secrecy while heightening other attributes to a film, like sound and emotion. In all, light is not just a necessity or a need– it's a tool that serves more purpose than one thinks.  In this episode, we'll be taking a look at a few handful films that exhibit great examples of integrated lighting as a character. These films use lighting methodically, whether it be elongated shadows, different colored lighting, or even lack of visibility inside a dimly lit landscape. Consider a more thought out lighting set-up for your next film, but listen to this episode first to gather up some ideas. -- Highlighted Dancefilms/Screendances:Cornered Dir. James VernonBarbarians: Origins Director & Producer: Romain Rachline BorgeaudA Hard Day's Night Dir. Benjamin Hoffman & Mathieu Mondoulet  -- Quick ShoutoutsPas de Deux Dir. Norman McLarenThe Game Dir. James Kinney and Pierre MaraisThe Stop Dir. Liudmila Komrakova Bleu Fuchsia Dir. Marc Lesperut Feelings Dir. Charlie LucciniHypra Dir. Tim JockelPlus: TV and Movies Are Too DARK - Why Is this Happening? - video essay from The Take-- Check out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, Zines by Clare, and more.

WARNING: Some explicit language is used in this episode. We recommend using headphones if you have sensitive or young ears around.In this next installment of our partnership with Capitol Dance & Cinema Festival this season, we are featuring “Ghostly Labor”, a hybrid dancefilm/documentary that has been a hit on the festival circuit, and for good reason! We learn about the integral phases of research and collaboration throughout this production and the exciting next phases of this project. “Ghostly Labor” explores the history of labor in the US Mexico Borderlands while displaying various percussive dances, movement and musical traditions. An authentic and truly creative approach to documentary, “Ghostly Labor” is a masterpiece in its artistry, impact, and all technical elements. La Mezcla is a polyrhythmic San Francisco based dance and music ensemble rooted in Chicana, Latina and Indigenous traditions and social justice. Vanessa Sanchez is the founder and executive artistic director of La Mezcla, and a choreographer, dancer and educator. John Jota Leaños is an animator, filmmaker, artist and professor at UC Santa Cruz. Along with a team of experts in their fields, these two have crafted “Ghostly Labor” which we cover in depth in this episode. Learn and Explore More:Ghostly LaborWatch the preview | About pageLa MezclaWebsite | Social @lamezcla_sf@nessa_sanchez44 @jjleanosListen to additional interview with Clare on Dancing Through the Lens PodcastSubmit to Dancinema for the opportunity to be part of the online program, or screen as part of a theatrical event in Washington, DC and/or Vancouver, BC.DancinemaWatch On Demand  / Submit / Social @jenraydancinemaCASCADIA Dance & Cinema Festival (Vancouver, BC)Submit / Website / Social @cascadiadcfestivalCAPITOL Dance & Cinema Festival (Washington, DC)Submit / Website / Social @capitoldcfestivalCheck out our Frameform Patreon Visit our Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, Zines by Clare, and more. 

Today's episode is part one of our “Dancine-Docs” series in collaboration with Dancinema, specifically the 2022 Capitol Dance & Cinema Festival in Washington, DC.We're connecting with Mimmo Miccolis and Carola Mamberto on their dance and documentary works that celebrate Italian arts and culture. First, we discuss the short documentary “Miccolis” which covers the story of how Mimmo grew from a boy in rural Italy with a passion for dance to a worldwide success and creative force in the ballet world. Much of Mimmo's works are focused on social justice issues and can be explored on his website. He is currently a faculty member at the school and choreographer for the Washington Ballet in DC.Next, we dive into “Magnifica”. Based on the works of Goldschmied & Chiari, and commissioned by the Italian Cultural Society of DC, “Magnifica” exists in many forms. We discuss the live performance, “making of” documentary, and the short screendance that brings new form and life to the signature smoke and mirror artworks of Goldschmied & Chiari. Learn and Explore More: Mimmo MiccolisWebsite | Social @mimmo_miccolis_officialCarola MambertoWebsite | Social @carola.mamberto The Washington Ballet Website | Social @thewashingtonballetItalian Cultural Society of DCWebsite | Social @italian.cultural.society Goldschmied & Chiari @goldschmied_chiari Watch the Dancine-DocsMiccolis Doc PreviewMaking of Magnifica PreviewMaking of Magnifica Full DocMagnifica Full Screendance -Submit to Dancinema for the opportunity to be part of the online program, or screen as part of a theatrical event in Washington, DC and/or Vancouver, BC.DancinemaWatch On Demand  / Submit / Social @jenraydancinemaCASCADIA Dance & Cinema Festival (Vancouver, BC)Submit / Website / Social @cascadiadcfestivalCAPITOL Dance & Cinema Festival (Washington, DC)Submit / Website / Social @capitoldcfestival-Check out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, a Zine by Clare, and more.

We are back from a great summer break! Check out our Frameform Patreon page for 6 awesome resources we released over the past few months ranging from Technical Tips for Video Editing by Hannah, a visual guide to all things Frameform by Jen Ray, a Zine by Clare, and more.Today's episode features two interviews that are linked by the Standard Vision + Dancinema showcase in Downtown Los Angeles and their trailblazing, alternative approaches to artistry and business.First up, we speak with Caroline Haydon of SVLA about the unique and impactful work they do to offer state of the art production support for artists of all kinds, including those looking to push the boundaries of dance and cinema. From industry-leading studio resources to one-of-a-kind performance and screening opportunities, Standard Vision is on the cutting edge of how to have mainstream impact while maintaining artistic integrity. In part two of today's episode, we connect with Nina McNeely, recipient of the SVLA Artistic Achievement Award for her music video “John L'' for Black Midi. Nina's work spans from small indie productions to large scale commercial works with some of the biggest names in media. She's a prime example that, as she said in her interview, “if you stick to what you believe in, the world will catch up eventually.”Learn and Explore More: Standard Vision WebsiteSVLA Studios LA WebsiteSV + Dream OutdoorStandard Vision Social LinksIG: @standardvisionFB:@standardvisionmediaVimeo: @standardvisionLinkedIn: @standardvision-llcNina McNeely:WebsiteSocial: ID @ninamcneelyTedTalk: "Once There Was III" -- a mesmerizing blend of dance, animation and techAnother great interview: Words that Move Me Podcast with Dana WilsonSubmit to Dancinema for the opportunity to be the next SVLA Award Recipient, be part of the online program, or screen as part of a theatrical event in Washington, DC and/or Vancouver, BC.DancinemaWatch On Demand  / Submit / Social @jenraydancinemaCASCADIA Dance & Cinema Festival (Vancouver, BC)Submit / Website / Social @cascadiadcfestivalCAPITOL Dance & Cinema Festival (Washington, DC)Submit / Website / Social @capitoldcfestival

In today's episode, we welcome Lolly, a friend of the podcast and Dancinema collaborator. Dancefilm is a special mode of expression and calls for a different approach of reception. Lolly has been our liaison, guiding us to consider screendances – the way we view, feel, and discuss them – from a new perspective. Lolly's various projects intersect art, dance and somatic coaching. At Dancinema's festivals for a few years now, Lolly has led somatic meditations before screenings to help us transition from the buzzing of the outside world into a clearer mind and body space to actively receive the projects on screen. The results have been increased kinesthetic empathy and more lively, reflective conversations to follow each screening. All of us on the podcast have experienced it for ourselves, and we want to share a version of it for you at home through the podcast. Jump to 38:50  for our Somatic Meditation to play before you watch your next dancefilm, or just as a system reset whenever you need it. Mentioned in this episode: Audience as Community: Corporeal Knowledge and Empathetic Viewing - Research Essay by Karen Wood Cold Storage (2016)Dir. Thomas Freundlichhttps://www.raekallio.fi/cold-storageSomatic Coaching, Merchandise and more at www.lollypopculture.comFollow on IG @lollypopculture Submit to DancinemaFollow on IG @capitoldcfestival @cascadiadcfestival -*** JOIN OUR PATREON! *** We'll be on break this summer, and to fill in the time while we're away from your headphones, we're releasing exclusive non-audio drops that can only be accessed through our Patreon. With the price of a basic cup of coffee from your local coffee shop, you'll be able to experience some extra special perks that we've carefully put together for our super-fans, you. So what are you waiting for? Become a member today!Copy and paste the link to visit our Patreon page! >>> patreon.com/user?u=86801561-Got a question? Email us at frameformpodcast@gmail.com-Follow us @frameformpod

This episode is full of COLOR. Maybe not every color of the rainbow, but do they look very pleasing to the eye. Today's keyword for this episode will be ‘aesthetic' which is definitely the first thing that comes to my mind while watching these 3 picks.Red, yellow, green, blue, and so on can emphasize many different moods. If you're someone with synesthesia, you absolutely know the feeling of what color does to the brain when you are either listening to music or reading a story. It wasn't until 1939 when Technicolor perfected the 3 color process making its big debut in MGM's The Wizard of Oz, making it a normal thing having everything we capture and watch in a full color spectrum. Today, color is used in film to heighten the tone of a story. We associate monochromatic colors with dramas and thrillers, while saturated palettes are most often seen in comedies and stylized sets. In post production, color is seriously pushed to the boundaries with its “looks” while going above and beyond with color keying green screens, or perhaps changing the hue of someone's shirt. When they say to color outside the lines, colorists took that saying to heart.In this episode we'll be examining films that demonstrate color that satisfies our eyeballs. We question what the color means to the film and why it works. At the end of the show, Hannah lays down some key tips for correcting and grading films.–FILMSFEELINGS (2022) - FranceDir. Charlie LucciniFeaturing Louise CourantColorist - WouamGOLDFISH (2022) - UKDirector/Choreographer - Charlotte EdmondsStarring - Aishwarya Raut and Edwin LouisColor grade - The MillWake (2017) - CanadaDir. Katherine MacnaughtonChoreography- Ashley WerhunColor grade - Derek Branscombe–Follow us on Instagram @frameformpod–Got a question? Send us an email! Please reach out anytime at frameformpodcast@gmail.com

If you thought we were done with location scout episodes, boy you are incorrect. We still have a few in our back pocket! We're going into the deep deep forest to ground our roots in what nature has to offer in this episode. Let's be real. Dance films taking place in the woods is a hard production. Most we've personally seen or made are not the strongest works. To be honest, forest films have a lot of limitations. To feel totally immersed, you have to take your gear and crew far away from battery supply. Available light and weather is questionable. The dangers of poisonous plants, sharp objects, wildlife, and land preservation are a few other curveballs you may face if you plan to make a film in this environment.But what is it about the woods that makes it so desirable to shoot in? Is it the feeling of being wild and free? Is it the mystical wonder that creates curiosity? Or is the land a symbol of something way bigger that only history can tell.We'll be looking at 3 very different films that highlight the forest with 3 contrasting personalities. They exhibit the forest floor beyond a backdrop, but a character in the space. You definitely need to watch as you listen, or you may miss the feeling mist and fresh air against your face.–FILMSGrief (2022) - FranceDir. Max Gozy, Florence Peyrard, Bastien FicheChoreographers : Florence PeyrardOutside In (2011) - SwedenDir. Tove Skeidsvoll & Petrus SjövikChoreography and Dancing by Tove SkeidsvollThe Earth Will Come (2017) - GermanyDirection, Camera and Edit by Katelyn Stiles (US Indigenous artist “tribal citizen of the Sitka Tribe of Alaska and the Central Council of Tlingit and Haida Indian Tribes of Alaska.”)Dance by Kira KirschMusic composed and performed by Barnaby TreeMusic produced by Pebble MusicOTHER MENTIONSWalking to BirthIn Capsule (Upstate New York, USA) COLD CHAIN (FINLAND) Bonheur Dancinema 2020: Røtter Dancinema 2021: OUT OF RUIN (RI, USA)–Follow us on Instagram @frameformpod–Got a question? Send us an email! Please reach out anytime at frameformpodcast@gmail.com

You're probably reading the title of this episode and thinking “site-specific choreography? Aren't most screendances site-specific?” You are certainly right, listener! You must be a screendance fan!As you know, site-specific episodes have been a recurring topic on the show. As we've segmented the dropped pins over the years, we've built an understanding of what the director may be conveying through movement within the landscape. The camera allows dance audiences to go on a journey that they may not be able explore on a live proscenium stage. The beauty of these films is that they push the boundaries of what these spaces can do. Art is experimentation and experimentation allows curiosity to run wild, and yet make all sense with it in the end.In this episode, we'll be picking apart the art of creating a site-specific dance film including many questions going from the very start of location scouting– Why do you want to create a film in/on/around this location? What is the significance of this space? What can you create in this space and what are your limitations? How do you want viewers to see and understand this environment? Along with all of that, we drop some useful advice that may help future makers well prepared for their next big film shoot. Press play and find out!–Check out Studiobinder for all your planning needs!Crash course on location scouting from the folks at Aputure!5 week online course from 2014: Site specific dance / choreography Stephan Koplowitz / CalArts– Follow us on Instagram @frameformpod–Got a question? Send us an email! Please reach out anytime at frameformpodcast@gmail.com

In this episode, we are highlighting the wonderful Jennifer Scully-Thurston, also known as Rogue Dancer.  Frameform listeners may already know this friend of the podcast and fellow panelist at last year's Screendance Symposium. Enjoy this conversation with Scully and Jen Ray including experiences producing  festivals online and in person, creative approaches to curation and the pursuit of solutions instead of obstacles.  Jennifer Scully-Thurston (Scully) is a choreographer, dance filmmaker, curator, journalist, and video installation artist. She is founder and director of FilmFest by Rogue Dancer, a monthly thematic on-line event devoted to dance. She has curated and adjudicated for EnCore: Dance on Film, James River Film Festival, and Screen Dance International.Her dance films have been featured in Core Dance presents… REEL ART (commission), ADF Movies by Movers, Golden Earth Film Award (Best Female Director 2021), Direct Monthly Online Film Festival (Best Female Director 2019), DepicT! (Special Mention), and numerous other prestigious international festivals. She has been an administrator with Grasshorse (character animation studio), HOU & ATL Core Dance (performance company), and NC Arts in Action (in-school public dance program) and is currently Manager of Studio Programs and Community Engagement at the American Dance Festival.More about Rogue Dancer: We believe dance exists outside the walls of a proscenium stage.  It can exist in the wild with mischievous playfulness.  A person or organization can create work anywhere that wanders and behaves in unusual ways.  The creation and presentation of Dance Film is a great representation of these ideas.  We are dancers who have gone off grid to create work in our own way, with our own rules.–Thank you to Scully for being our first ever Frameform Fan and all of the wonderful support and engagement over the years. We are thrilled to share about your dynamic body of work and we're looking forward to having Frameform be part of ADF's Movies by Movers this season!–Listen to Season 3 Screendance Symposium Panel EpisodeWatch and Submit to FilmFest By Rogue DancerBecome a Rogue Dancer Patreon SupporterAmerican Dance Festival's Movies By Movers Follow on IG @roguedance @amerdancefest –Got a question? Email us at frameformpodcast@gmail.com–Follow us @frameformpod

In this episode, we are highlighting Gabri Christa, a core figure and throughline of Dance Camera West's events we attended earlier this season. “Gabri Christa makes work for stage, screen and everything in between. She hails from the Dutch Caribbean and lives in NYC. Christa is an Associate Professor of Professional Practice at Barnard College of Columbia University, where she teaches Screendance, Composition, Dance in Film lecture course, Contemporary Caribbean Dance and Yoga. She also directs the Movement Lab at Barnard and is the founding director of the social justice screendance festival Moving Body- Moving Image.Gabri Christa's years of filmmaking, choreographing and teaching, have created a list of filmmakers who have studied and created work with her. A dedicated educator, her focus is on encouraging using what you have, uncovering and trusting your own vision, without letting need for high end equipment stand in your way.”At DCW, Gabri offered a workshop on single-shot filmmaking that covered important fundamentals of making your creative visions a reality, no matter what your chosen format. Enjoy some clips from the workshop in this episode!  An evening was dedicated to highlighting selected works and she was presented with a much-deserved career achievement award from Dance Camera West. Congratulations! Thank you to Dance Camera West and Kelly Hargraves for inviting Frameform to be part of their 2023 season! We loved attending the festival, highlighting some of your programs, and kicking off our fourth season of the podcast with you.–Visit Gabri's website hereExplore Gabri's films hereFollow on IG @shaolinfilmsLearn more about Moving Body Moving Image Festival hereFollow on IG  @movingbodymovingimageFollow Dance Camera West–Got a question? Email us at frameformpodcast@gmail.com–Follow us @frameformpod

David Roussève is a renowned choreographer, writer, director and filmmaker, as well as a longtime board member and juror of Dance Camera West. Along with his many accomplishments as a professor at UCLA, and artistic director of the dance theater company REALITY, David has been a dance film practitioner for decades. His films, such as Bittersweet & Two Seconds after Laughter, have screened worldwide and he was involved in the UCLA Dance/Media Project, which produced the anthology Envisioning Dance on Film and Video edited by Judy Mitoma.–Visit David's website hereWatch the Two Seconds After Laughter TrailerFollow David Rousséve on IGPurchase Envisioning Dance on Film and Video edited by Judy MitomaFollow Dance Camera West–Got a question? Email us at frameformpodcast@gmail.com–Follow us @frameformpod

This week, Clare speaks with Samantha Shay, a multidisciplinary artist and founder of the international production company Source Material, who is currently in residence at Tanztheater Wuppertal Pina Bausch. Samantha outlines her unique path to dance film and shines a light on her research and engagement with Pina Bausch's work. She also discusses the process (and some funny anecdotes) of the creation of her film Mother Melancholia, a film that approaches patriarchal politics and eco-feminism through an unguarded, unsettlingly beautiful meditation.Mother Melancholia continues its festival run along with Samantha's newest work, Romance. This film is another collaboration with dancers from Tanztheater Wuppertal and will premiere at Cinedans in late March. This episode is a part of a series in collaboration with Dance Camera West, featuring interviews with 4 selected filmmakers who were screening at this year's 2023 fest.–Watch the Mother Melancholia TrailerFollow Samantha Shay on IGFollow Dance Camera West–Got a question? Email us at frameformpodcast@gmail.com–Follow us @frameformpod

Frameform is back in session and we're kicking the season off with a collaboration! Earlier this year, we joined forces with Dance Camera West, by interviewing 4 selected filmmakers who were screening at this year's 2023 fest.First in line, Hannah chats with director/producer Bridget Murnane, celebrating her first feature documentary “Bella,” a biopic championing the life of California's own, Bella Lewitzky. Murnane discusses her experience tracking, collecting, and building a story from archives, while reflecting her passion for sharing Bella's life work for art and performance. “Bella” has been quite the success so far this year and is making its rounds in the festival circuit. So be on the lookout for a screening near your neck of the woods– you don't want to miss this.–Watch the Bella TrailerKeep up with the Bella doc and subscribe to the newsletter!Follow Bridget Murnane and Bella on IG!Follow Dance Camera West–Got a question? Email us at frameformpodcast@gmail.com–Follow us @frameformpod

*CONTAINS SPOILERS* We've made it to the annual Beyond Spectacle episode which means our feature presentation today is our last viewing of the year. But before we wrap up on season 3 of Frameform, we're screening Anna Rose Holmer's 2015 indie feature, “The Fits.” A story taken place outside of Cincinnati, Ohio following 11-year-old Toni, a tomboy who struggles to fit into her new dance troupe while experiencing an epidemic of violent fits amongst the team. As we follow Toni's day to day routine– boxing with her brother, filling water canteens, and observing the next door dance team, Toni is captivated by the freedom of expression that dance offers outside of boxing. In this film, Holmer's cast completely features a playbill cast of non-actor dancers from Cincinnati's Q Kidz Dance Team after discovering their talents on YouTube.Watch the film before you download this episode, because we're full of spoilers today. ADDITIONAL READINGSScreendance Journal Article (Dis/Orientation: Rhythmic Bodies and Corporeal Orature in The Fits)How Did You Create aDirector/Actress Interview: Coming-of-Age Portrait Through DanceThe Transcendant Gaze –Thanks to all who have been tuning in all season! We appreciate our audience and your support. If you have any ideas for topics for future episodes, please let us know! We love crowd-sourced recommendations because you too are a part of this ongoing conversation! We're always available by email at frameformpodcast@gmail.com–Instagram

This week's episode is dedicated to the life, work and legacy of Simon Fildes who was an international award-winning film-maker, artist, curator and teacher.  This episode features the voices of some of Simon's many collaborators and colleagues, who share their memories and reflections on both him and his work.Simon was a pioneer in choreographic approaches to editing and his work with frequent collaborator Katrina McPherson continued to push boundaries and expectations of the hybridization of dance and film. Simon was also a leader in the screendance field, facilitating networks and conversations that connected and inspired artists through both in-person and online initiatives. He worked as a curator for many organizations and  eventually established Screen.dance Scotland which showcased the work of other artists and filmmakers to a global audience. EPISODE CONTRIBUTORS:Ellen BrombergOmari “Motion” Carter & Anna Clifford (The Motion Dance Collective)Robin GeeAbby Warilow & Lewis Gourlay (Cagoule Dance)Ben EstabrookMitchell Rose SELECT FILMS:There is a PlaceDancer: Sang JiJiaCamera: Katrina McPhersonEditor: Simon FildesSix SolosDirector/Editor: Simon FildesChoreographer: Sang JijiaCoire RuadhProduced and Directed by Simon Fildes and Katrina McPherson BONUS READING:Repetition, revelation and transformation, the loop in video dance structure.Screendance Bingo (pdf download) MUSIC:Garden Music by Kevin MacLeod | https://incompetech.com/Music promoted by https://www.chosic.com/free-music/all/Creative Commons CC BY 3.0 We would like to thank Simon's wife Wyn Pottratz for her support of this episode and continuation of Simon's legacy. –Got a question or suggestion? Email us at frameformpodcast@gmail.com–Instagram

In today's Pas de Cast, we're launching a new episode series where, rather than a specific location or film, we will be exploring how specific genres of dance intersect with cinema and technology. Ballet originated as a combination of choreographic display and social dance, and we have seen this evolve as our capacities to both choreograph and be social expand.Like a Ballet you may see In the theatre, We're splitting today's show into acts. In act one, we'll talk about a range of examples of ballet on screen, from mainstream to experimental.  In act two, will focus on how ballet has been and continues to be used as a tool beyond pure entertainment. Highlighted in this Episode:Pas de Deux (1968)Dir. Norman McLarenProd. National Film Board of Canada @onf_nfbLaurencia (2013)Dir. Ben EstabrookPOST BALLET - Waltz of the Snowflakes - on the naval baseChor. Robin Dekkers (they/them)Featuring Post:ballet and Berkeley Ballet Theater studio companyJess and Morgs collaborations with The Scottish Ballet@jessandmorgsHong Kong Ballet@hongkongballetLA Dance Project & Benjamin Millepied@ladanceproject  Features mentioned in this episode:The Red Shoes (1948)An American In Paris (1951)Singin' in the Rain (1952)Children of Theatre Street (1977)Center Stage (2000)Mao's Last Dancer (2009)The White Crow (2009)Black Swan (2010)Other Shorts mentioned in this episode:The StopThe Bailey's Nutcracker (2013)Lil Buck with Icons of Modern Art (2016) BONUS READING:Russia:How Russia uses ballet as propagandaSoviet Broadcasts of Swan Lake are basically  a political tropeBallet, propaganda and politics in the Cold WarHow Ballet Became a Political Football Between East and WestCuba:Defectors land on their feetThe Cuban National Ballet: Sixty-six years of gloryCuban National Ballet Company Thrives Thanks to Fidel CastroChina:From propaganda ballets to dance for the people --ANNOUNCEMENTS:Meet the Frameform team in person and see dance on the big screen at the 6th annual Capitol Dance & Cinema Festival in Washington, DC Oct 8 2022. Schedule and details: www.capitoldcfestival.comSocial: @capitoldcfestivalWatch “The Reality of a Dream” co-presented by Dancinema and Goh Ballet this November 1-December 31 on demand at www.dancinema.co/watchCheck out the International Screendance Calendar to browse a variety of opportunities including festivals, workshops, and residencies.  This resource is updated regularly and is always open to contributors! –Got a question or suggestion? Email us at frameformpodcast@gmail.com–Instagram

This week, Frameform welcomes Lórand Janos, a multi-hyphenate artist and the founding artistic director of Choreoscope: Barcelona Dance Film Festival. Lórand's is passionate about the world of dance film and is not afraid to ruffle feathers and break molds when it comes to Choreoscope's programming, which includes scenes from television and alternative media as well as screendance. The tenth edition of Choreoscope takes place between October 18-24. https://www.choreoscope.com/–ALSO MENTIONEDPeacemaker Opening Title SequenceIt's Always Sunny in Philadelphia-Mac's Dance SceneInShadowAndreas Hannes–Got a question? Email us at frameformpodcast@gmail.com–Instagram

Ok, you caught us again in another music video episode. We just can't get enough of the power of dance and music uniting together in the world of visual entertainment. But in the years of the early 2000s, there was a flavor of music videos that were incredibly different from years past and future. One of those outside the box artists leading the way of wildly explosive yet iconically memorable music video hits is no other than Missy Elliott– the OG. How can you forget “Lose Control,” and its bizarre digital visual effects? Missy's head being pasted onto dancers crunking the desert floor, Ciara's epic dance moves while re-defining the lindy hop, and Fat Man Scoop alone with his hyped up vocals that leaves you screaming ‘LET'S GO.'The joy of Missy Elliott and the short-lived strange era of the early 2000s was such a memorable time for MTV and VH1 premiering the latest music videos, highlighting the best of the best. Missy Eliott takes the spotlight by bringing back the classics– whether they be old or new. Her take on a visual journey is to be totally beyond the planet we're living on.Lose Control - Missy Elliott (feat. CIARA and Fat Man Scoop)Dir by Dave Meyers2005–ALSO MENTIONEDEpisode S1 EP09A Conversation with: Steven Butler–Got a question? Email us at frameformpodcast@gmail.com–Instagram

Grab your boots and your toque - we're going on another location scouting adventure and this time our destinations are snowy! Highlighting a few selections, we discuss possible themes, trends, and significance of cold places in their many manifestations. We reflect how snowy locations symbolize hibernation, silence, cycles of life, and how each of the selected works express ideas of no place, any place, snowy places, and beyond. Highlighted in this episode:Direction(s) (2015)Dir. Ena Granulo @enakurtagicgranulo @ohnoproduction The between all things (2020)Dir. Neels Castillon@nowness @neels.castillon Glace crevasse et derive (2013)A film by Chantal Caron & Albert Girard@spiraquebecANNOUNCEMENTS:Meet the Frameform team in person and see dance on the big screen at the 6th annual Capitol Dance & Cinema Festival in Washington, DC Oct 8 2022. Schedule and details: www.capitoldcfestival.comSocial: @capitoldcfestivalCheck out the International Screendance Calendar to browse a variety of opportunities including festivals, workshops, and residencies.  This resource is updated regularly and is always open to contributors! –Got a question? Email us at frameformpodcast@gmail.com–Instagram

The lights have risen and it's time for a pause. Get a stretch in and walk over to the lobby. Meeting new people at film festival intermissions is always fun– you get to learn who they are, why they came to the event, and what films interest them. Basically, we're here bringing an intermission to you! You've heard our views on a variety of dance films, but haven't really talked about why we may be so critical or how we got involved with screendance in the first place. Grab your snacks for this one before the lights flicker to get back to your seats.Frameform will be taking a brief pause from posting and will return Sept 14th 2022! Now's the time to go back and catch up on any episodes that you may have missed.This episode of Frameform was inspired by the…A Century in Cinema PodcastHosted by Arthur Veenema and Andrew Slaughter–ANNOUNCEMENTSRogue Dancer: Must B Sed Edition (Aug 2022)Aug 26 – Sept 11, 2022OnlineThere are some who believe that messages spoken through the arts are the only way to change the world. Dancers, choreographers & filmmakers, through sound, images & movement, tap into communication that is beyond words… hoping for pause, absorption and thought. And in that space, there is the potential for betterment and beauty in oneself and for the world. and then… sometimes there are words too.This month, join Rogue Dancer in celebrating works with a message, DANCE Filmmakers with something to say.–There are so many festivals accepting dance film submissions right now! Please take the time to visit the International Screendance Calendar to scroll through upcoming events and festivals happening all over the world. This resource is updated regularly and are always open to contributors!–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

In today's episode, Jen Ray discusses the documentary “How She Moves” with its co-directors, Anya Raza and Aisha Linnea. All of us Frameformers had the opportunity to see this film at Dancinema's 2021 Capitol Dance & Cinema Festival at Eaton Workshop in DC and we knew right away we wanted to share more about this important project on the podcast with the creators.About “How She Moves”: On the eve of Pakistan's 70th independence anniversary, we follow the spirited 90 year old guru Indu Mitha, as she prepares for her students' final performance before she retires. “How She Moves” pulls back the curtain on her life as one of Pakistan's few classical dance teachers. We observe her give a feminist and secular spin on classical dance, and see the transformative impact it has on her students. How She Moves, has toured 18 film festivals globally, and won 3 awards and 2 nominations.@howshemovesthedoc @aishalinneaofficial @anyarazaofficialWebsite: https://howshemovesthedoc.comTrailer: https://youtu.be/QLxRqdkoXWwDirectors' Statement:When we first heard Mrs Indu Mitha was having her final performance, we knew this was a rare moment in our history that had to be captured. At the tender age of 90, Indu's contribution to preserving ancient classical dance despite a backdrop of growing intolerance and conservatism in Pakistan, is a legacy to be celebrated. As two women filmmakers, it was a privilege to go behind the scenes into the unseen world of dance.In a conservative tight-knit society such as Pakistan, dance is a misunderstood subject, and women expressing themselves publicly is uncommon. Indu's journey as one of the few classical dance teachers in the country, challenges stereotypes about Pakistani women that abound both within the country and overseas. How She Moves reflects on the universality of storytelling through dance, and how it can be used to unite communities.We now unfortunately live in a time when women's views, lives, and bodies are a battleground in the so-called clash of civilizations. In a time when vitriol dominates and divides communities all over the world, How She Moves challenges these narratives by telling a universal story of hope and resilience.Please note this film is not an ethnographic representation, nor meant to exemplify Mrs Mitha's classical dance style, her innovative subcontinental music or themes, or the performance of her students.If you want to learn more about Indu Mitha and her dance, you can reach out to her daughter, who is also a dancer, Tehreema Mitha. @tehreema_mitha/Also mentioned in this episode:TEDTalk by Amy Cuddy: “Your body language may shape who you are”https://www.ted.com/talks/amy_cuddy_your_body_language_may_shape_who_you_are–ANNOUNCEMENTS:Want to submit your documentary for a theatrical and/or online screening? Want to see dance on the big screen and connect with other Dancinephiles?Save the date for the 6th annual Capitol Dance & Cinema Festival in Washington, DC Oct 7-9 2022Submit at www.dancinema.co/submitFollow @capitoldcfestival @cascadiadcfestivalCheck out the International Screendance Calendar to browse a variety of opportunities including festivals, workshops, and residencies.  This resource is updated regularly and is always open to contributors!–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

Something's coming, something good…. it's our West Side Story deep dive! Every season we like to pick at least one feature film to dedicate an entire episode to. This week, we're discussing the 2021 remake of West Side Story.  We cover some comparisons and context, what we did and didn't enjoy, and some key takeaways from our viewing experiences.Did we all love it? Do we all recommend it? Do any of us prefer the original 1961 release? Find out on this week's episode of Frameform. Mentioned in this episode:West Side Story (2021)Dir. Steven SpielbergChor. Justin Peck West Side Story (1961)Dir. Robert Wise & Jerome RobbinsChor. Jerome Robbins –ANNOUNCEMENT:Check out the International Screendance Calendar to browse a variety of opportunities including festivals, workshops, and residencies.  This resource is updated regularly and is always open to contributors!–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

Get ready to fly! This week, the Frameform team discusses the uses and mis-uses of drone cinematography in dance. They discuss the aesthetics of the drone camera as well as how its associations with military and surveillance affect the way the onscreen image is read. They reflect on the drone's potential as a dance partner and what differentiates flight as embodiment and flight as spectacle on film.Clare also provides a small primer for listeners interested in working with drones on their next project (READ: know your fly spaces!!)–FILMSTargeted Advertising Dir. Mitchell RoseOhio, USA@mitchellrosefilmThe Shadow Drone Project Dir. Charles LinehanLondon, UKhttps://www.charleslinehan.co.ukLying Together Dir. Corey BakerNew Zealand/Hong Kong@coreybakerdanceWanting Dir. Robin GeeVirginia/North Carolina, USA@rmgee–LINKSWomen Who DroneFAA regulated airspace mapFAA information on drone pilotingAesthetics of Drone WarfareHow Much do DJI's Security Vulnerabilities Actually Matter by Sally FrenchDrone Company DJI obscured ties to Chinese state funding, documents show by Cate Cadell–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

It's 2022 and it's time to get with the program people. PUT YOUR WORK ONLINE. Do it in a fashion that makes sense to you. Whether that be hosting your own website portfolio or starting a YouTube channel focusing on the creative process. Overall, sharing *content* online is essentially necessary in this digital age. Representing one-third of the Frameform team (Hannah here), I find that the internet is the one of the best outlets to share and explore dance film as it already embodies a niche community spanning across the globe. As the next generation navigates its ways through short-form scrollable content, the digital hemisphere is a natural homebase to display a gallery of visually stimulating homemade works. It's time to normalize dance film online by tagging films in a way that makes it easier to find. Post your  experimental shorts, narrative driven ballets, and all the bingeable storytelling that will make people want to hit that replay button. We're one short host this week, but Hannah and Clare jump in, reflecting and  looking forward to what's to come on the forecast of the screendance metaverse.–ANNOUNCEMENTSThere are so many festivals accepting dance film submissions right now! Please take the time to visit the International Screendance Calendar to scroll through upcoming events and festivals happening all over the world. This resource is updated regularly and are always open to contributors!–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

Over the last two years, screendance artists have been living, meeting, watching and practicing online. If you are in the screendance online sphere, you probably noticed the impeccably curated and presented Duet with Camera. Duet with Camera is dedicated towards sustaining the growing area of interdisciplinary practice, experimentation and collaboration in dance and cinema, with a focus in cultivating a pioneering space  for  Screendance learning, teaching, creating and researching in India.The instigator of Duet with Camera, Sumedha Bhattacharya is an accomplished artist whose own online space is a treasure trove of reflections and analysis of screendance from both micro and macro lenses. This conversation touches on a wide array of topics, including the vulnerability/power of those wielding/performing for the camera and applying screendance pedagogy to a variety of settings.–LINKShttps://www.sumedhabhattacharyya.comhttps://www.duetwithcamera.com/https://opju.academia.edu/sumedhabhttps://bidf.co.uk/sumedha-bhattacharyya/https://filmfreeway.com/choreomundusdancefilmfestivalhttps://www.mocapstreamer.live/artists-in-residenceBuilding Dancing : Dance Within the Context of Architectural Design Pedagogy by Zehra Ersoy–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

We're back with our regularly scheduled programming! In today's episode, we're back on the location scouting game by taking a closer look into dance films taking place in empty swimming pools! Like our previous episode with warehouse films, deserted swimming pools have populated the screendance world with its desaturated backdrop aesthetic. Something about the hues of blue tile and barren empty sea floor sets up a new proscenium for movers to navigate through. We break down the draw to this environment and what the film is doing differently from non-pool locations. Time to make a very dry splash with this dissected roundtable.–FILMSEmpty - dir. by Gerard MonteroBarcelona, Spain@gerard_montero_Maze - dir. By Sophie LaPhaneScotland@slaplanechoreographerSink or Swim - dir. By Jaako ToivininNetherlands–Do you have an event you'd like to share on the show? Submit your event announcement here!–Got a question? Email us at frameformpodcast@gmail.com–Instagram

 Frameform is back!! We kick off Season 3 with a recap of the Screendance Symposium, which took place at the University of Wisconsin, Madison in April of 2022. Jen and Clare reflect on being a part of a rich gathering and sharing of the screendance community and share excerpts from several presentations. First up, Autumn Mist Belk (FAD: Film-Art-Dance, now Screendance in Schools) invited Frameform to be a part of a panel entitled “Crafting a Diverse Screendance Audience” which also featured Robin Gee (Greensboro Dance Film Festival) and Jennifer Scully-Thurston (Rogue Dancer). Then, Clare shares a portion of her research into Lenwood Sloan and Lone Mountain College's Dance Film Festival (1976-1978).--Screendance State of the Art 2022 Symposium Website and Informationhttps://screendancesymposium.art.wisc.edu/Curated by Douglas Rosenberg (@rosenberg_douglas) Administrative assistance from Kel Mur (@kel.mur.art)Technical assistance & audio files from Aaron Granat (@adgranat)“Crafting a Diverse Screendance Audience” PanelCurated by Autumn Mist Belk (@autmist, @screendance_schools, @codefadcompany)Panelists:Clare SchweitzerJen RayRobin Gee (@robingee2, @gsodancefilm) Jennifer Scully Thurston (@roguedance)“Lone Mountain College's San Francisco Dance Film Festival 1976-1978”Films ReferencedClinic of Stumble & Horror Dream- Sidney Peterson & Marian Van Tuyl (available to view at BAMPFA)Tripytych -Welland Lathrop (available to view at MP+D)Four in the Afternoon- James BroughtonSix Phrases in Real Time- Deborah MangumVideola- Don Hallock and Steve BeckThermography - Richard LowenbergFurther ReadingRadical Light: Alternative Film and Video in the San Francisco Bay Area,1945–2000   Steve Anker, Kathy Geritz, and Steve Seid, editors (2010)Screendance from Film to Festival: Celebration and Curatorial Practice by Cara Hagan (2022)Specials Thanks to Bay Area Art Museum and Pacific Film Archive (@bampfa),Museum of Performance and Design San Francisco (MP+D), University of San Francisco Archives, Lenwood Sloan, Roger Ferragallo (http://www.ferragallo.com/indexnoflash.html), I- HATE-THIS-FILMThe slides that accompanied the presentation are available upon request   

We're back with SEASON 3 of FRAMEFORM! Coming to YOU, Wednesday July 6th!–Frameform is BACK in session with fresh perspectives and heated roundtables. Taking a closer look into cinematic trends through the audience's lens. And kicking back with the makers and curators who are sharing dance film beyond the video screen. Coming up this season...Jen: I watched West Side Story no fewer than 10 times and each one was a religious experience. We need to talk about it!  Hannah: Man, I forgot how Missy Elliot was just so ahead of the game when it came to music videos. The amount of attention to the choreography, the dancers, production design, it's just not the same for today's YouTube releases. Clare: Back when I got a drone I didn't realize that I have so many questions about permits and authorized airspace. When can I actually start to fly and dance with it?We've got a lot to talk about.When do you wanna start?How about every Wednesday starting July 6th.This is Season 3 of Frameform. A show about movies, moving, and everything in between – Hosted by Hannah Weber, Jen Ray, and Clare Schweitzer. Coming to you every Wednesday – wherever you get your podcasts. Starting weekly on July 6th.–OPEN CALL!Do you have an event you'd like to share on the show? Submit your event announcement here–Instagram

That's a wrap for Season 2! But before we go on break, we finally had the chance to sit down together in the same room and reflect on our podcast journey.As we look back on Season 2, we thank all the humble guests who sat with us to learn about their point of view on dance film. Furthermore, we gag and giggle on the possibilities of what's to come for seasons ahead.Thank you to all who have been listening and supporting us during the past 2 seasons. We'll see you next year!VIDEO VERSION AVAILABLE! | Watch here--Capitol Dance and Cinema FestivalOctober 2021Sign up to watch onlineFree--Got a question? Email us at frameformpodcast@gmail.com--Rixey.coInstagram

LISTENER! There is a video version of this podcast!Go watch it here: YouTube--This week, the partners chat with the amazing hosts of Frameform about season 2!--Links from discussionCapitol Dance and Cinema Festival, Saturday, October 9, 2021: LINKClare on SFDFF Dancing Through the Lens: LINKSan Fransisco Dance Film Festival, October 15-24, 2021: LINK--WebsiteInstagramYouTube

We're back with another Beyond Spectacle episode looking at dramatic fictional films that integrate dance and movement into their story.For this episode we are joined with previous Frameform guest, Nathan Scoll, who chose our destiny to dissect Disney's 1949 animated double billed feature, “The Adventures of Ichabod and Mr. Toad.”As we focus our attention to the film's second story following Ichabod Crane, we notice many recycled characters from childhood favorite films and examine the Disney aesthetic on how they use dance to support the characteristics of our glutinous cast.Follow Nathan Scoll! @thriftopia_nathanscollCatch up on our last Beyond Spectacle episode with Nathan from S1EP20--FEATUREDThe Legend of Sleepy Hollow (1949)Dir. by Jack Kinney, James Algar, Clyde GeronimiFeatured Cast : Bing CrosbyProduction Company : Walt Disney PicturesAvailable on streaming with Disney+Nathan Scoll's ShortsDance Macabre - Short FilmDance or Die - A Video Essay--ANNOUNCEMENTSCapitol Dance and Cinema FestivalEaton Center, Washington DCIn-Person - October 9, 2021Online - October 1@capitoldcfestivalUprooted Documentary @ Capitol Dance and Cinema Festival OnlineOctober 10 + 11thCatch up with the Uprooted crew from Frameform S1E5London Contemporary Dance School | MA Screendance ProgramEuston, LondonAccepting Sept 2022 applicationsA 15 month course, developing your practice on the only MA in dance filmmaking in the world! A practice-led course, embracing the hybrid nature of dance filmmaking and subjects it to critical investigation.Contact Hannah Redfearn for more questionshannah.redfearn@theplace.org.uk@theplacelondon--Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

On our last episode of Location Scout, you voted for us to cover films that were in water locations. However, fear not if you pined for the DESERT as that's where we are headed next.For quite some time, desert locations have been making its rounds in the dance film circuit. With its empty surroundings and expansive room for birds eye drone shots, this dry landscape is a great backdrop for shape shifting patterns of movement.As we buckle up with our bottles of water for our discussion, Clare talks with dance filmmaker and educator, Scotty Hardwig, looking at his piece “Our Last Aria,” and discussing the landscape of our potential futureFEATUREDClouded (2018)Dir. Will JohnstonOur Last Aria (2017)Dir. Scotty HardwigYou Wanted Rivers (2020)Dir. by Magdalena ZielinskaAlso Mentioned:World According to Briggs Nick Johnson--Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

With animation, almost anything is possible. And in this day in age, there are so many styles and forms of inventive moving design. In today's episode, we'll be exploring many modes of animated dance films.From gravity defying claymation to the expressively complex technology of 3D generated imagery-- it's amazing to see how animators are bringing their own spin to choreography for the characters they create for the screen.As we dive into this wondrous world of animation, Jen sits down with dance filmmaker, Wilkie Branson, talking about his recently completed film, Tom, as well as learning about how he gravitated towards incorporating a handmade aesthetic to his films.Follow Wilkie Branson @wilkiebransonwww.wilkiebranson.com--Tom links:Main trailerWhat is TomMaking of Tom | Part 1 | Part 2 | Part 3Making of Little DreamsCheck out Wilkie Branson's interview on The MDC Talks Podcast--FEATUREDPas de Deux (1968)Dir by Norman MacLarenSTOP MOTIONChoreography for the ScannerDir by Marian EqbalPeople in Cities - Rosie TrumpVideo essay for Women in Cities349Dir by Kristin Lauth ShaefferBookanimaDir by Shon KimYou Should be DancingDir by Elinor WyserWATER COLORReflections Dir by Morgan GruerGaku (preview only for now)Dir by Xueyan WangCLAYMATIONGroggy GruggDir by Conor Long 2D ANIMATIONÉtudeDir by Pamela MatheusROTOSCOPEStagesDir by Angela Rosales Challis3D ANIMATION2016 AICP Sponsor ReelCOMBINEDInvitation to the DanceDir by Gene KellyKING - GradesDir by Taichi KimuraEnd of The BlockBy Motion Dance CollectiveBruno Mars - That's what i LikeDir by Bruno Mars and Jonathon LiaOTHER MENTIONSSNL Disney Housewives skitEadweard Muybridge film--Got a question? Send us an email at frameformpodcast@gmail.com--RixeyInstagram

While kids and teens sometimes arise in our conversations on tech, culture, and our own experiences, we wanted to dedicate an episode to focus on what it's like working with them and watching them in the context of screendance. While there are some differences when collaborating with and teaching with this younger demographic, our conversation reveals that the extra creativity, play, and care involved all are values that translate well to working with any demographic.This episode includes an interview with Alla Kavgan, who shares about her New London Calling, which features an all adolescent cast, plus Frameform's Jen Ray shares about her collaborations with The JaM Youth Project. We also share personal insights, experiences, and offer suggestions to those planning on - or perhaps who haven't yet considered - working with kids and teens. In this episode:New London Calling - Alla Kovgan (2010)If I Ruled the World - The JaM Youth Project (2016)Bonus Recommendations: Let's Get the RhythmDancinema's “(Not) Just for Kids” PlaylistYPAD: Youth Protection Advocates in DanceFollow Alla Kovgan / Kino DanceWebsite + InstagramFollow The JaM Youth ProjectInstagram + YouTube + Vimeo-Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

Where do you watch dancefilm? On TikTok? In a theatre at a film festival? Maybe a gallery? How do we share and enlighten this form of art? How do festivals or algorithms pick which films to feature on their platforms?On today's episode, curator, writer, filmmaker, and all around great person, Cara Hagan answers such questions on showcasing work as a festival curator and researcher. Hagan, most known as the head of the Movies by Movers program at American Dance Festival, talks about her insights on curating a dynamic showcase for audiences, experimenting with creative outlets to limit disparities amongst communities, and boasting creators outside the academic screendance bubble.Follow Cara Hagan!@mindfulnessresistanceWebsiteOrder Cara's Book from McFarland Books !ARTICLESDance Magazine | 1 2Screendance JournalJuneteenth EventMinifest-Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

“One in four people in the US have a disability that impacts a major part of their life….What if the dance world reflected that statistic? (via @stanceondance)”Whether intentionally or not, the dance world often privileges certain types of bodies and abilities, which can raise a barrier to potential ideas and creation. In this episode, we cover an array of films that make visible the unique physicality of performers who are often marginalized in the dance community.We discuss the barriers inherent to presentations of screendance (both on and off the screen) and propose strategies as to how they can be/are being overcome. We also had the chance to speak with Marc Brew about his experience creating physically integrated dance for camera.*Episode transcript available upon request. Please email us for a personally emailed transcript at: frameformpodcast@gmail.comFILMSRevel in your Body (2019)Dir: Kate FisherProduced & Choreographed by Alice SheppardAudio FormatForest Floor (2019)Julie Cleves & Robbie SyngeStopgap in Stop Motion (2016)Dir: Stephen FeatherstoneAudience Feedback VideoA Portrait of Marc Brew (2015)Director/Camera/Editor: Lewis LandiniDirector/Choreographer: Jamiel LaurenceARTICLESDisabled Arts on CameraAlice Sheppard on Accessibility Arts: Article 1 | Article 2Audimance Mobile App ProjectCripping ChoreographyOTHER RECSBo Burnam - Inside (2021)-Got a question? Email us at frameformpodcast@gmail.com--Rixey.coInstagram

In this season's edition of Dancefilm Network, Jen connected with Larkin Poynton and Chris Martin to share about their collaboration Project Home @projecthomeart - a creative homegrown project building community and connectivity worldwide through movement, filmmaking, education and big ideas.We discuss the production of their dancefilm Home in Iceland, Homework educational program, Homescreen fesitval and other shared experiences of their evolving company. Thank you Chris and Larkin for a great conversation, and all you do to enrich dancefilm/screendance culture!--Watch Home, the dancefilmProjectsHomework EducationHomescreen Festival Project Home Linktree--Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

“The mediator between the head and the hands must be the heart”With its myriad manifestations of choreography through the body and filmic form as well as themes surrounding the mechanization of the human body that almost resonate more strongly today than they did almost a century ago, Fritz Lang's seminal Metropolis easily has a place in the dance film canon.This week, the Frameform team takes a deep dive into Metropolis (1927) and assesses it through a screendance/dance film lens. They contextualize the work with other film (City Symphonies, early avant-garde) and dance (cabaret, expressionist movement) movements of the time and examine how the film works not only as a time capsule of its moment, but also as an eerie foreshadowing of the evolution of film, the body and society as a whole.--FILMSMetropolis (1927)Dir. Fritz LangYoutube Link--Got a question? Email us at frameformpodcast@gmail.com--RixeyInstagram

Yes, dance film is a pretty niche mode of filmmaking-- not everyone is familiar with its artistry. But that's the point of Frameform; to spread the appreciation and practice of screendance for audiences beyond the classroom and film festival space. This week, Jen, Clare, and Hannah sit down with 3 friends outside the dance film community and find out what they know, like, and dislike about the form.--Today's guest conversations include:Jon Gann @jonganndcJack SchweitzerArthur Veenema @arthur_veenema from the A Century In Cinema Podcast--CHAPTERS00:00  Start00:56  Jen and Jon Gann18:18  Clare and Jack Schweitzer33:23  Hannah and Arthur Veenema48:17  Frameform reacts!--RixeyInstagram--Got a question? Email us at frameformpodcast@gmail.com

You voted for it, so we're talking about it!  In today's Location Scouting episode, we're focusing on dancefilms taking place in WATER locations.Just a water's range is vast from vapor to ice, so are the variety of dancefilms that involve water. As we focus on three examples, we will discuss the meaning of water and how the location plays a key role in each of these dancefilms.Of course, we also share some general wisdom for anyone looking to create their dancefilm in a watery location.--FEATUREDCygnus (2018)Dir. by Cara Hagan and Robert UehlinUath Lochans (2015)Dir. by Katrina McPherson, Simon Fildes, Marc BrewThe Stop (2018)Dir. by Liudmila Komrakova Also Mentioned:Dune (1984)Dir. by David LynchRare Birds (2015)Dir. by T.M. Rives-- ANNOUNCEMENTSFilmfest by Rogue DancerTheme: GLOBALOnline@roguedance--CHAPTERS00:00 Intro07:15 What does water evoke in art? 10:59 Cygnus18:56 Uath Lochans27:49 The Stop36:00 Some advice & final thoughts38:33 Announcement--Got a question? Email us at frameformpodcast@gmail.com--Rixey.coInstagram