In his landmark 2011 film Pina, director Wim Wenders not only raised the visibility of the late choreographer Pina Bausch, he also made what is likely the highest-visibility case in years for what a camera can do when a visionary artist focuses it on dance. When filmmakersshoot works from intimate proximities and multiple points of view oruse new technologies and editing techniques, they can interrogate and open up dance works and the creative process in ways that conventional viewings cannot.
Each summer, dance scholar and video artist Douglas Rosenberg curates an international festival of new film works about dance at the American Dance Festival. Screenings range from documentaries about the greats of yesteryear to experimental adaptations of new works. The slate for the festival's four different programs through Sunday at White Lecture Hall and Nasher Museum of Art includesworks from Pakistan, Germany, Indonesia and the United Kingdom. Admission is free; the full schedule of films is at americandancefestival.org/projects/screendance.html. —Byron Woods