ANTHOLOGY FILM ARCHIVES, 2nd Avenue and 2nd Street, NYC
Thursday January 11, 7pm, $10 ($5 for entrants, DFA members)
Come debate the challenges of setting dance within a narrative and with an agenda.
Pablo Diconca, QUEBEC, 2006, 4m
A businessman (dancer Frédéric Boivin) on an escalator transforms under the watchful eye of the guard behind the security cameras. Produced with Bravo!FACT Canada.
Helena Jonsdottir, ICELAND, 2005, 25m
The film is shot on location in the Tartu Prison. Partly inspired by the fact that since its opening in November 2001 at least four intimate relationships have developed between guards and prisoners. Despite the external framework of prison cells and concrete walls the story revolves around relationships, genuine feelings and the question of taking responsibility for your own freedom.
Richard James Allen, AUSTRALIA, 2006, 51:04m
Edited by his wife Karen Pearlman, “Thursday’s Fictions” is inspired by what Richard Wagner dreamed for Opera – the idea of a “Gesamkunstwerk” – a total or complete artwork – a shared space framed by a unified goal, theme and story which allows different art forms to work together in concert towards an immersive sensory whole. As you watch this ‘high concept’ art filmmaking, you may notice that in some ways this film is like an opera – a flamboyant pageant of color and texture, exploring grand themes, and featuring larger than life performances – but where is the singing? Perhaps it could be said that where there is drama in Thursday’s Fictions it functions like recitative in opera and where there is dance it is comparable to aria. And a bit like in opera, I would suggest that you don’t come to it so much for the story as for a richly layered sensual and sensory experience. On an even deeper, almost cellular level, every frame of the film is driven by a clear choreographic and dance sensibility. The blocking of every character, the movement potentials in the production and costume design, the fluid camera work, the recreation and creation of the dance choreography in editing, the choreographed visual effects, the highly kinesthetic sound design, the permutations of the grade, and the music composed responsively to the finished choreography.