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NATHANIEL DORSKY EUROPEAN TOUR As an antidote to the frenetic pace and complexity of modern life, Nathaniel Dorsky\u2019s films invite an 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. The screenings in Autumn 2004 showcase his new film Threnody<\/em>, ‘an offering to a friend who has died’, and will include readings from his recently published book Devotional Cinema<\/em> (Tuumba Press, 2003).<\/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 Gaugin in Tahiti: Search for Paradise<\/em>. 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<\/em> was directly inspired by a similar shot from Dorsky\u2019s film Variations<\/em>.<\/p>\n Mark Webber<\/em><\/p>\n Nathaniel Dorsky: European Tour<\/strong><\/p>\n 13 October 2004, 8pm<\/strong> 15 October 2004, 8pm<\/strong> 21 October 2004, 6pm<\/strong> 31 October 2004, 4pm<\/strong> SPECIAL EVENT: JEROME HILER<\/strong> 9 November 2004, 6:30pm<\/strong> 11-15 November 2004<\/strong> European tour co-ordinated by Mark Webber. With thanks to the London Film Festival, Philippe-Alain Michaud, Christophe Bichon, Stuart Comer, Hannes Schupbach, Erwin van ‘t Hart, Ben Cook, Josh Siegel, Nathaniel Dorsky and Jerome Hiler.<\/p>\n","protected":false},"excerpt":{"rendered":" NATHANIEL DORSKY EUROPEAN TOUR 13 October\u201415 November 2004 European Tour As an antidote to the frenetic pace and complexity of modern life, Nathaniel Dorsky\u2019s films invite an 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 […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[155],"tags":[127],"class_list":["post-4007","post","type-post","status-publish","format-standard","hentry","category-nathaniel-dorsky","tag-nathaniel-dorsky"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4007","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=4007"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4007\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4007"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4007"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4007"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n13 October\u201415 November 2004<\/strong>
\nEuropean Tour<\/strong><\/p>\n
\n Centre Georges Pompidou, Paris, France<\/strong>
\nTHRENODY, 2004, colour, silent, 20 mins
\nALAYA, 1976-87, colour, silent, 28 mins
\nTHE VISITATION, 2002, colour, silent, 18 mins<\/p>\n
\n Centre Georges Pompidou, Paris, France<\/strong>
\nVARIATIONS , 1992-98, colour, silent, 24 mins
\nARBOR VITAE, 1999-2000, colour, silent, 28 mins
\nLOVE\u2019S REFRAIN, 2000-01, colour, silent, 23 mins<\/p>\n
\n Filmpodium, Zurich, Switzerland<\/strong>
\nTHRENODY, 2004, colour, silent, 20 mins
\nALAYA, 1976-87, colour, silent, 28 mins
\nTHE VISITATION, 2002, colour, silent, 18 mins<\/p>\n
\n London Film Festival, NFT, London, England<\/strong>
\nDevotional Cinema: A Lecture Screening<\/em>
\nTHRENODY, 2004, colour, silent, 20 mins
\nVARIATIONS , 1992-98, colour, silent, 24 mins
\n+ lecture and reading<\/p>\n
\n 8 November 2004, 7pm<\/strong>
\n Lux Salon, London, England<\/strong>
\nAn extremely rare screening of films presented by Jerome Hiler, including new and previously unseen works. <\/p>\n
\n Tate Modern, London, England<\/strong>
\nTHE VISITATION, 2002, colour, silent, 18 mins
\nALAYA, 1976-87, colour, silent, 28 mins
\nARBOR VITAE, 1999-2000, colour, silent, 28 mins<\/p>\n
\n OpFilm, de Balie, Amsterdam, Netherlands<\/strong>
\nTHRENODY, 2004, colour, silent, 20 mins
\nALAYA, 1976-87, colour, silent, 28 mins
\nTHE VISITATION, 2002, colour, silent, 18 mins<\/p>\n