TABLE OF CONTENTS

Amy Taubin

Nathaniel Dorsky, Hours for Jerome Part 1, 1966–70/1982, 16 mm, color, silent, 21 minutes.

“IT'S POIGNANT TO ME that the end of the celluloid era might be found in these fragile 16-mm poems,” said Nathaniel Dorsky, one of the most celebrated American avant-garde filmmakers. We were discussing the looming demise of photochemical material—i.e., film—for the recording, printing, and preserving of moving images. The “16-mm poems” are the films that Dorsky has been making for fifty-one years. Thirty-three of them are currently being presented (Sept. 28–Oct. 2) in a retrospective of his work at the Fifty-Third New York Film Festival. The program also includes five films by Jerome Hiler, Dorsky’s life partner and companion in five decades of underground filmmaking. Every work in the retrospective was shot and edited on film and is being projected on film. Hiler, who, if possible, is even more radical than Dorsky in his commitment to the photochemical, will show three

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