{"id":1224,"date":"2004-10-31T16:00:54","date_gmt":"2004-10-31T16:00:54","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1224"},"modified":"2018-01-25T14:58:26","modified_gmt":"2018-01-25T14:58:26","slug":"nathaniel-dorsky-devotional-cinema","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/10\/31\/nathaniel-dorsky-devotional-cinema\/","title":{"rendered":"Nathaniel Dorsky: Devotional Cinema"},"content":{"rendered":"

<\/a><\/p>\n

ngg_shortcode_0_placeholder<\/p>\n

NATHANIEL DORSKY: DEVOTIONAL CINEMA
\nSunday 31 October 2004, at 4pm
\nLondon National Film Theatre NFT3<\/b><\/p>\n

A LECTURE SCREENING<\/p>\n

As an antidote to the frenetic pace and complexity of modern life, Nathaniel Dorsky\u2019s films invite an audience to connect at a precious level of intimacy, nourishing both mind and spirit. His camera is drawn towards those transient moments of wonder that often pass unnoticed in daily life: jewelled refractions of sunlight on water, dappled shadows cast along the ground.<\/p>\n

The films are photographed, non-narrative and have none of the visual trickery we might associate with the avant-garde. Dorsky\u2019s work achieves a sensitive balance between humanity, nature and the ethereal, weaving together lyrical statements in a rhythmic cadence that creates space for private reflection. The world floods through the lens, onto the screen and into our minds.<\/p>\n

In this lecture-screening of Variations<\/i> (which provided the inspiration for the \u2018most beautiful image\u2019 sequence of American Beauty<\/i>) and his new film Threnody<\/i>, Dorsky discusses the qualities of cinema that attracted him to use the medium in such a poetic way, and will read from his recently published book \u2018Devotional Cinema\u2019. This is his first public appearance in the UK.<\/p>\n

Nathaniel Dorsky, Variations, USA, 1992-98, 24 min
\nNathaniel Dorsky, Threnody, USA, 2004, 20 min<\/b><\/p>\nPROGRAMME NOTES<\/a>

<\/p>\n

NATHANIEL DORSKY: DEVOTIONAL CINEMA<\/b><\/p>\n

As an antidote to the frenetic pace and complexity of modern life, Nathaniel Dorsky\u2019s films invite an audience to connect at a precious level of intimacy, nourishing the mind and spirit. With films assembled in an almost selfless way, the viewer is given the freedom to express oneself more fully, rather than be consciously absorbed in the projections of another person. \u2018In these films the audience is the central character and, hopefully, the screen your best friend.\u2019<\/p>\n

The films are photographed, non-narrative and have none of the visual trickery we might associate with the \u2018avant-garde\u2019. Dorsky\u2019s camera is drawn towards those transient moments of wonder that often pass unnoticed in daily life: the jewelled refraction of sunlight on water, reflections from windows and dappled shadows cast along the ground. His iridescent cinematography is arranged in carefully montaged phrases that remain entirely open to the viewer\u2019s personal interpretation; no heavily coded meanings and subtexts are imposed through associations in the editing. The world floods through the lens, onto the screen and into our minds.<\/p>\n

Dorsky approaches each film as though it is a song, weaving together lyrical statements in a rhythmic cadence. His work achieves a sensitive balance between humanity, nature and the ethereal, creating space for private reflection. To accompany this screening of Variations<\/i> and his new film Threnody<\/i>, Nathaniel Dorsky will discuss the aspects of cinema that attracted him to use the medium in such a poetic way, to explore the inexpressible qualities of human life, and read from his recently published book \u2018Devotional Cinema\u2019. Though his work has been screened at major international museums, festivals and cinematheques, this is his first public appearance in the UK.<\/p>\n

Nathaniel Dorsky lives in San Francisco, where he makes a living as a professional \u2018film doctor\u2019, editing documentaries that often appear on American public television and the festival circuit. In 1967 he won an Emmy award for his photographic work on the CBS production \u2018Gaugin in Tahiti: Search for Paradise\u2019. He has been making personal films since 1964, and his works are in the permanent collections of the Museum of Modern Art (New York), Pacific Film Archives (Berkeley), Image Forum (Tokyo) and Centre Georges Pompidou (Paris). It is widely acknowledged that the \u2018most beautiful image\u2019 sequence \u2013 a plastic bag floating in the wind \u2013 from the Oscar winning feature American Beauty<\/i> was directly inspired by a similar shot from Dorsky\u2019s film Variations<\/i>.<\/p>\n

(Mark Webber)<\/p>\n

VARIATIONS
\nNathaniel Dorsky, USA, 1992-98, 16mm, colour, silent, 24 min
\n<\/b>\u2018What tender chaos, what current of luminous rhymes might cinema reveal unbridled from the daytime word? During the Bronze Age a variety of sanctuaries were built for curative purposes. One of the principal activities was transformative sleep. This montage speaks to that tradition.\u2019 (Nathaniel Dorsky)<\/p>\n

THRENODY
\nNathaniel Dorsky, USA, 2004, 16mm, colour, silent, 20 min
\n<\/b>\u2018Threnody<\/em> is the second of two devotional songs, the first being The Visitation<\/em>. It is an offering to a friend who has died.\u2019 (Nathaniel Dorsky)<\/p>\n

Back to top<\/a><\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[46],"tags":[9],"class_list":["post-1224","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2004","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1224","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1224"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1224\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}