Nathaniel Dorsky
Müdür
86
Filmler
0
TV Programları
Raised in New York on a steady diet of Westerns and Disney True-Life Adventures, Nathaniel Dorsky started shooting 8mm movies at the age of eleven. In 1963, when he had just turned 20, he made Ingreen, a boldly symbolic psychodrama about a young man’s sexual coming of age. At that film’s premiere, he met soon-to-be fellow filmmaker Jerome Hiler, who would become his partner in life and a major inspiration for his work. (“We were filming for one another,” Hiler recently said.) In 1971 the two moved to San Francisco, where they’ve lived ever since. Around the same time, Dorsky entered a decade-long creative silence. He returned in 1982 with Hours for Jerome, a 55-minute feature compiled from footage shot between 1966 and 1970. Like all of Dorsky’s subsequent work, it’s a kind of cinematic lyric poem, entirely silent and rooted in a centuries-old tradition of devotional art (in this case, medieval illuminated manuscripts and prayer books).
The rest of the Eighties found Dorsky experimenting with new forms and materials: 1987’s Alaya was made up entirely of footage of shifting sand, and 1983’s Ariel, which had a rare public screening at this year’s New York Film Festival, is a beautiful hand-processed film full of thin, tremulous vertical lines and see-sawing horizontals. It was with 1996’s Triste—edited from over 20 years’ worth of footage—that Dorsky, as he once put it, fully arrived at “the level of cinema language that I have been working towards.” Since then, he’s made 16 luminous, description-defying short films, each with their own distinct tones and shadings. In films like Compline (09), August and After (12), and his two most recent titles, Spring and Song, Dorsky creates what he’s often called a “floating world,” in which street scenes, household interiors, meadows, rivers and forests are transformed into playgrounds for light, color and shadow. In a field often dominated by frenetic cutting and/or prolonged stasis, Dorsky’s films unfurl gradually but steadily in a kind of hushed suspension. They’re often attempts to do with light and texture what, in his book Devotional Cinema, Dorsky praised Mozart for having done in key changes and melodic lines: to “wed [a] style to the human metabolism in every detail".
Kamera Arkası
Monumental: David Brower's Fight for Wild America
Editör
Revenge of the Cheerleaders
Productor, Dir. de Fotografía, Historia, Guionista
The Life and Times of Allen Ginsberg
Editör
Wayfinders: A Pacific Odyssey
Editör
Library
Müdür
Hours for Jerome
Müdür
Alaya
Müdür
Ember Days
Yönetmen, Görüntü Yönetmeni, Editör
What Happened to Kerouac?
Editör, Ortak Yapımcı
Kodachrome Dailies from the Time of Song and Solitude (Reel 1)
Müdür
Death of a Poet
Müdür
Dönüş
Müdür
Music Makes a City: A Louisville Orchestra Story
Editör
Kara Koyun Oğlan
Yardımcı Editör
Koda
Müdür
Temple Sleep
Müdür
Caracole (for Izcali)
Yönetmen, Görüntü Yönetmeni, Editör
Fool’s Spring (Two Personal Gifts)
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Compline
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Intimations
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William
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Renga
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Threnody
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Caracole (for Cecilia)
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Elohim
Müdür
Saraband
Müdür
Night Waltz: The Music of Paul Bowles
Editör, Görüntü Yönetmeni
Sonbahar
Müdür
Ode
Müdür
Abaton
Müdür
Aktör / Aktris olarak
Günlükler, Notlar ve Taslaklar
öz
Library
Hours for Jerome
Word Is Out: Stories of Some of Our Lives
öz
Tatil
Carriage Trade
kendisi
Bölünmüş Sadakatler
Kendisi
Nathaniel Dorsky: Bir Röportaj
öz
Rembrandt gülüyor
Daniel
Letter to D.H. in Paris
Kendisi
New Shores
Interview with Nathaniel Dorsky
Kendisi