Air Over New Skin

Dance film utilizing tulle & industrial fans. The devolution of the elevated balletic movement to the grounded modern echoes the exposure and vulnerability of shedding old paradigms to build a new ideology.

  • Megan Bradberry
    Director
    To Wonder at the World Above the Erosion
  • Whit Sanguinetti
    Producer
  • Abreeza Thomas
    Key Cast
  • Megan Bradberry
    Key Cast
  • Kyle Churchwell
    Filmographer
  • Katie Ginn
    Camera
    To Wonder at the World Above the Erosion
  • Tae Young
    Musical Composition
  • Claire Sanguinetti
    Props
  • Project Type:
    Other
  • Genres:
    Dance for camera, Dance for film, Film dance, Screendance
  • Runtime:
    5 minutes 30 seconds
  • Completion Date:
    April 6, 2021
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Film Color:
    Black & White and Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • FROSTBITE International Indie Fest
    Colorado Springs, Colorado
    United States
    May 2, 2021
    North American Premier
    Official Selection, Finalist
Director Biography - Megan Bradberry

Megan Bradberry is the Artistic Director for Mississippi Dance Leader Alliance. She earned her BFA in Dance Performance and Choreography from the University of Southern Mississippi as well as her BS in Psychology from Mississippi State University. She teaches ballet and contemporary/modern classes at Hattiesburg Ballroom & Beyond and holds her certification in Elementary Labanotation. Megan enjoys making dances for film as well as for the stage, and in 2019 her film To Wonder at the World Above the Erosion was selected for the Dunedin International Film Festival, FestivalSouth Film Expo, and as a preshow exhibit for COAST DANCEfest. She debuted her latest film Imprinted at MDLA’s Celebration of Mississippi Dance Filmmakers in November, and she has also shot a new film that is in production.

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Director Statement

As a dance filmmaker, I invite my audience closer to the dancer’s perspective, combining visual points of view, soundscapes, and layering textures on film to create a sensory experience for the viewer. I often film using a single handheld camera so that I can easily weave around my dancers and capture multiple angles. The dancers’ breath, as well as sounds make from their costumes or the terrain, are integral in grounding the tactile explorations shown on the film. Likewise, the color and pigmentation of the finished cut are of great importance during my editing process. Music is usually the last element considered, not because I lack a connection to music, but so any preoccupation with a song will not lead the direction of the filming or editing.
I am often inspired to choreograph by the books I read or favorite paintings, and I gravitate towards dancers who are willing to collaborate rather than simply be told what to do or how to look. Rather than have carbon copies in my work, I invite dancers to put their own character into the movement, which I frequently have them write themselves provided it fits a mood or quality that I am seeking to display. The camera helps me reveal the relationship between my dancers and their environment at the pace that I want the audience to witness it. While I strive to convey concepts of humanity that we all experience, I aim to transcend literalism to explore human emotions and experiences in a space beyond the mundane, where the authenticity and depth of humanness is no longer restrained.