The avant-garde scene went from the most inclusive, wild place to the most restrictive. In the afternoon, the sunlight comes down. The first time I saw this footage from Rotterdam, I cut out a quarter of it. Dorsky shows us that time is what allows the world around us to return our gaze, to love us back. This sets the stage for the second part of Colophon , which represents a return to direct natural imagery. The most famous one was in Epidaurus, which I wrote about in Devotional Cinema. There are a number of things to say about this.

Those Disney films were important early influences, especially in my twenties, when I was naming films after the seasons. Those films are very vegetable on the whole. I made Elohim , which is about an awesome sense of birth, with a burning bush quality—bushes inflamed with light, for instance—and the cycle came spontaneously out of that. And did the greenery seem exquisite? I asked myself why did I used to love to do this, and I went back to when I was ten and just taking pictures of animals in the neighbourhood. I think that anyone who has had the opportunity to see my films seated in a dark room at a well-projected screening can be witness to what I have to say.

The first time I saw this footage from Rotterdam, I cut out a quarter of it. The only idea I had about the movie was that each section would be representative of the time of year [when it was shot].

Nathaniel Dorsky

Was anyone else at the preview screening besides you? He will present two screenings in February, And then I finished that and sent that off the lab; now I xorsky it was going to be a two-part film.

An initially modest view is transformed into exuberant vision on a wave of colour or a haptic notation of figure; this exuberance in turn becomes a kind of knowing in the open montage. The overall diffusion of effect in these recent films makes the reappearance of certain Dorsky touchstones all the more substantial. For me, the screen itself has to metamorphose.


We see reflections of actual moving people and vehicles, but almost all of it is channeled through large-scale video monitors displaying ads. In that case, the snowstorm dodsky right after Stan Brakhage died. And the basic structure of the class became the structure of the book. How do you decide on the length of your shots and when you choose dorsk cut from one shot to another? So things are getting lighter and bathaniel all the time. And finally, Ode 20 min.

However there is an unusual emphasis on flatness, especially as reflected in digital signage. The first part of Colophon is decidedly urban, and as a chronicler of the designs and patterns of San Francisco life, this is not new territory for him in and of itself. How often have I fallen in love with a painting in real life and then seen a reproduction of the painting. It is like an acoustic instrument. I photographed Calyx during the rather tense twenty-one days preceding my open heart surgery to replace an aortic valve and then shipped the footage off to the lab the day before my operation.

I realized that you could make one yourself. From there, Dorsky provides a kind of master class, displaying the multitude of ways that cinema can alter our perception of things. But they have to have some resonance for me. One is struck straightaway by the opening shot of Sarabande —a shot of the sky or: More than ever for his last-chance dives into the swelling lower end of Kodachrome, the quality of projection is a basic issue of fulfillment.

The earth was so alive, the plants … everything was going wild. I am often asked via email, especially by younger people, as to why my films are not available online or in a digital format. The second in the trilogy of three sound films Ingreen and Summerwindit is less a psychodrama and more a sad sweet song of youth and death, of boyhood and manhood and our eorsky earth.

And after I sent Elohim off to the negative cutter, I went out to the garden again. Make me more uncomfortable! On Saturday March 16th at 7: Like all revolutions that go from the left to the right, it eventually becomes middle-class, so now avant-garde audiences will applaud politely after the worst dotsky of crap. The avant-garde scene went from the most inclusive, wild place to the most restrictive.


Interviews | The Inmost Leaf: An Interview with Nathaniel Dorsky

I have many films that have images from there. With the colour negative, it feels like a lesser metal. The spring that followed took on magical and celebratory qualities of energy, joy, fullness, and rebirth.

Rilke proposed a similar course towards full apprehension in his letter to a young poet: There are a number of things to say about this. It takes things a drop out of the representational.

Then I was asked to give the keynote speech at this film and religion conference they were having at Princeton. Yes, so I think you have to try hard not to shoot stuff that is emblematic—Euro-emblematic or whatever. Can you talk about the significance of these dorssky, Elohim and Abaton?

A non-fiction fantasy musing on the violence we do to the world and our histories by trying to rid them You could use so much more of my footage if it were sound because sound imbues an image with a kind of presence. Yes, very much so. But I warped that same lecture, and that time I called it devotional cinema, after those things I saw in Chicago.

So, it rained a lot starting in November, which is very early here. In reality, he was copying notes from a seminar on the Tibetan Book of the Dead. Had you shot work in the San Francisco Arboretum before?