Do dance film festivals further the art of dance on camera?

[Deirdre Towers]

With limited resources, how should a dance film service organization best focus their efforts on nurturing the dance filmmaker? Do dance film festivals actually help the dance filmmaker? When DFA's Festival started in 1971, it formed a community, brought the user, producer, and filmmaker together. But now with over 5,000 film festivals and dance film festivals sprouting up everywhere, multiple options to screen your work on-line, what impact does a screening have on a filmmaker's career.  The "rejected" entrant rarely goes to the film festival they applied to.  So dance film screenings are not educating the new filmmaker.

 

How could time/energy/attention be directed in another way, to further the art of dance on camera?

To my mind, when 6/8s of the entrants are not chosen for any film festival, maybe there is a better way to nurture those 6/8s rather than saying "Thanks..better luck next time."

 

Could one do the same annual call for entries but instead of competing just for a screening(s) at various venues and a cash prize, maybe additional choices could be added, such as the following:

 

1) One on one consultations with: 

a. editor

b. cinematographer

c. choreographer

d. producer

e) idea/script advisor

 

2) Closed screening with feedback from the above

 

3) Introductions to:

TenduTv producer Marc Kirschner

Dance-tech.net guru Marlon :)

Wizkid of your choice....

 

4) Workshop with 10 at a time

 

But all the above would cost money. How much? Maybe the entrant could decide to chosen for tier 1 - screenings & cash - $35, Tier 2 - consultation - $60, or 3 - workshop -$75.

 

Hmmm...

 

[Deirdre Towers]

Thanks Jeannette for your comments. We have offered feedback to entrants. And often it's the entrants who were closest to being in the festival that ask. Meaning only 2 or 3 people.

[Jeannette Ginslov]

Great ideas. You are right. Rejection is a very hard thing to deal with and leaves the maker vulnerable and weakened. They may also have spent money entering the Festival/ competition and are left with the feeling of dropping their film entirely before they have even begun. 

I also think better feedback from the Festival selection committee  would be helpful, for the "rejects". 

 

Perhaps one could also have  Screendance Lab scenario where the "rejects" have their work screened and critiqued or failing that, have works screened in their beginning stages so that the maker gets feedback from MK, MBS or Wizkid & audience as to how to continue with the work.

 

Jeannette