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orkota_2011_en

VIEWS: 5 PAGES: 2

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									The most humorous 1 minute 2011
UŽUMBURA | UŽUMBURA
Directed by: Ondřej Krejčí
Choreographer: Ondřej Krejčí
Cinematographer: Ondřej Krejčí, Sabina Novotná
Film Editor: Ondřej Krejčí
Cast: Kateřina Blažková, Markéta Kuttnerová, Ondřej Krejčí, Pavla Vařáková
Perfect use of the formal frames set by the 1-minute-film concept. Great idea and realization with regards to both filmes tools as well as movement-wise.
Better picture quality would certainly enhance the level of concept realization.

The most aesthetic 1 minute 2011
Múltán(c) | Dance of the Past
Directed by: Kovács Tímea
Choreographer: Andreea Belu & Kovács Tímea
Cinematographer: Biró Boróka
Film Editor: Alexandru-Alin Dumitru
Music: Lajkó Félix
Cast: Alex Călin, Cezar Grumăzescu, Idris Clate, Kovács Tímea
This film well matches the aesthetic traditions of dance films. Credible presence needs deepening for the female dancer which is a very important value
worth adopting especially with a motion picture using very short distance close-ups.

The best choreographed 1 minute 2011
Dollface | Dollface
Directed by: Halász Júlia, Rubi Anna
Choreographer: Kulcsár Noémi
Cinematographer: Halász Júlia, Mecseki Csaba
Cast: Rubi Anna, Feledi János
The motion of the camera and that of the dancers produces spectacular interaction. It is suggested to search for further realization methods.

The best choreographed 1 minute 2011
BodyTexture | BodyTexture
Directed by: Patrick Jurányi
Choreographer: Patrick Jurányi
Cinematographer: Patrick Jurányi
Film Editor: Patrick Jurányi
Music: Nándor Weisz
Producer: Gergő Gutléber
Cast: Xénia Imely,Sandra Bársony,Viktória Joó, Gergely Csanád Kováts,,Attila Füzi,Dávid Krizsai,
Producer: RadicalDanceProject
A special, detailed visual form. At the beginning close cuts make the piece look much more dynamic whereas the totals used in the second part do not
support tightness of dramaturgy.
JURY’S CONCISE OPINION ON EACH OF THE SHORT FILMS:

1. Empty street: Exciting, dynamic cut. Intensification of the connection between the scenery and the movements is
encouraged.

2. The walk: The basic idea of the movement concept is coherent both in movement invention and camera motion. Tighter
dramaturgy is required for a 1-minute-long piece.

3. Pszichedelikus élmény: A very characteristic piece whereas the main concept could have been worked out more
extremely. Structural precision (a well over-thought ending) is a must with even a topic of this nature.

4. Body Texture: A special, detailed visual form. At the beginning close cuts make the piece look much more dynamic
whereas the totals used in the second part do not support tightness of dramaturgy.

5. Time Dance: The main idea and the colour environment used jointly are obvious but a much more powerful
implementation is necessary for both the visual display of a topic, as well as movement language-wise.

6. Ninlil: Strive for quality is spectacular. Well over-thought dramaturgy. However, musical score works against the piece.

7. Felnőttem: This film can be assessed not in the relation of body-dance-picture as described in the original announcement
but in that of text-sound-body. Monochromic motion picture concept is very exciting. Setting off from movement as starting
point and the exploration of the text-movement discussion still needs to be discovered.

8. Uzumbura: Perfect use of the formal frames set by the 1-minute-film concept. Great idea and realization with regards to
both filmes tools as well as movement-wise. Better picture quality would certainly enhance the level of concept realization.

9. Karnevál: The dramaturgy and realization of the dance film is very well over-thought. The motion picture tools used for
realization are much stronger than the level of dancing skills.

10. Dühnen: Exciting artistic imagery. The dynamics of the dramaturgy still needs to be thought over.

11. Exit: Choice of location and main concept serves as a fine basis. Refinement and working out of the choreography in
more detail would certainly enhance the values of the concept. Motion of the camera needs further development with regards
to the movements of the dancer, especially when a film is but a long cut.

12. INSIDE: Jury failed to evaluate the piece in the body-dance-picture relation since the exploitation of the potentials lying in
motion picture tools is mostly missing. On the other hand the manner of arousing attention is an effect that works rather well.

13. Dance of the past: This film well matches the aesthetic traditions of dance films. Credible presence needs deepening for
the female dancer which is a very important value worth adopting especially with a motion picture using very short distance
close-ups.

14. Doll Face: The motion of the camera and that of the dancers produces spectacular interaction. It is suggested to search
for further realization methods.

15. Meztelen vacsora: Does not fulfil the requirements set by the announcement (longer than 1 minute!!!)

16. Sejtés: Given the fixed position of the camera the role of érzékeltetés of movement needs to be done by the other
consisting elements (movement of dancers, cutting, etc.) of motion picture.

								
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