Medieval inspiration, the cinema lit like a church through stained-glass windows. The light descends and touches people.
The Visitation is a gradual unfolding, an arrival so to speak. I felt the neccessity to describe an occurrence, not one specifically of time and place, but one of revelation in one’s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts. –Nathaniel Dorsky
In a way, Nathaniel Dorsky (1943) could be seen as one of the ‘classic’ American avant-garde filmmakers, although he is a relatively late developer within this group.
Dorsky works with great care, filming on 16mm and projecting at 18 frames per second: ‘sacred speed’, as he calls it. He has not used sound since his very first films. The films are screened in silence, to focus all attention on the images: stunningly beautifully shot, silent and striking. The images do not refer to a subject the viewer is expected to recognize but stand completely alone.
Dorsky’s oeuvre consists of twenty short films, each of approx. 10 to 30 minutes. The Toronto film festival recently showed his new, lyrical films Aubade, Compline and Pastourelle (2010) in its Wavelengths programme. In his book, Devotional Cinema, published in 2004, Dorsky explains his vision of the transformative power of watching films, his influences and philosophy, related to Buddhism… read more