1 10 12 https://www.archive.sfcinematheque.org/files/original/c41b43ed8bd36778b74e59c63eb091f4.png 9cb10950d3ef7b8b3236d17b7dd7f182 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000146" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bolinas Film Society presents Gunvor Nelson Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Advertisement for a program of Gunvor Nelson's films presented by the Bolinas Film Society in the Bolinas Hearsay News. Creator An entity primarily responsible for making the resource Bolinas Hearsay News; Bolinas Film Society Date A point or period of time associated with an event in the lifecycle of the resource 1984-05-23 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyright status unknown. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. This work is accessible for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. [Insert name of Library/Archive] attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to [insert email address at Library/Archive], digitized works can be removed from public view if there are rights issues that need to be resolved. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Clipping Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_BolinasFilmSociety https://www.archive.sfcinematheque.org/files/original/f83bfe0888e6868852a73ef8bb45aba7.png 55c052a0fdd8144bd3278a8c2904a198 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000137" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Chick Strand Recollections article Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource "Chick Strand's Recollections of Canyon Cinema's Early Beginnings with Added Commentary from Chick Callenbach." Transcribed conversation between Chick Strand and Ernest (Chick) Callenbach, Gunvor Nelson and Diane [Kitchen?]. Date unknown. Mildred "Chick" Strand (December 3, 1931 - July 11, 2009) was an experimental filmmaker who contributed to the movement of women's experimental cinema in the early 1960s-1970s. Chick Strand studied anthropology at the University of California, Berkeley, and in the early 1960s organized film happenings with Bruce Baillie. In 1961, Strand established the Canyon CinemaNews, a monthly filmmakers' journal which became a focal point for the West Coast independent film movement and a precursor to the filmmakers' collective called Canyon Cinema founded by others, including Baillie, in 1967. Creator An entity primarily responsible for making the resource Strand, Chick; Nelson, Gunvor; Callenbach, Chick (Ernest); Diane [Kitchen?] Date A point or period of time associated with an event in the lifecycle of the resource 1980~ Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyright status unknown. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. This work is accessible for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. [Insert name of Library/Archive] attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to [insert email address at Library/Archive], digitized works can be removed from public view if there are rights issues that need to be resolved. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Document Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_CStrand_Recollections https://www.archive.sfcinematheque.org/files/original/673790f29bee3d33b6f3ea7dd6539c63.png 5eae4a4fe31dca8d0ce4a37a556f9443 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000153" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dorothy Wiley written account of meeting Gunvor Nelson Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Account written by Doroothy Wiley of her memories meeting Gunvor Nelson and making the film Schmeerguntz together. Written for the San Francisco Cinematheque program, "Gunvor Nelson: A Life in Film." Creator An entity primarily responsible for making the resource Wiley, Dorothy Date A point or period of time associated with an event in the lifecycle of the resource 1992-10-23 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyrighted. Rights are owned by the San Francisco Cinematheque. Copyright Holder has given Institution permission to provide access to the digitized work online. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the Copyright Holder. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Document Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_WileyDocument https://www.archive.sfcinematheque.org/files/original/4dcb9550b6f6418ef6974ef6719e9362.png 9deabf0c308792dfeac2a237760f15c4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000149" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson and Dorothy Wiley article Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Article written about the creative partnership between Gunvor Nelson and Dorothy Wiley and their film Before Need in the Marin Independent Journal. Creator An entity primarily responsible for making the resource Liberatore, Paul; Marin Independent Journal Date A point or period of time associated with an event in the lifecycle of the resource 1979 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyright status unknown. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. This work is accessible for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. [Insert name of Library/Archive] attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to [insert email address at Library/Archive], digitized works can be removed from public view if there are rights issues that need to be resolved. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Article Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_MarinIndependentJournal https://www.archive.sfcinematheque.org/files/original/1ffd47ee52e17d103a0fcc6229df590d.png 1d5083fafe3f144a770da45a26d80fc8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000148" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource James Irwin review of Gunvor Nelson program at the San Francisco Cinematheque Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource A review written by James Irwin on a program of Gunvor Nelson's films that was presented by the San Francisco Cinematheque. The review was written for the Cinematograph. Creator An entity primarily responsible for making the resource San Francisco Cinematheque; Irwin, James Date A point or period of time associated with an event in the lifecycle of the resource 1985-10-20 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyrighted. Rights are owned by the San Francisco Cinematheque. Copyright Holder has given Institution permission to provide access to the digitized work online. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the Copyright Holder. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Document Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_JIrwinReview https://www.archive.sfcinematheque.org/files/original/5452de60fda9b40920afd38fb3306790.png ada5a5de1ccaab2346484cb8a4dd9644 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000151" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Letter to Steve Anker from Gunvor Nelson Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Letter written by Gunvor Nelson to Steve Anker and Susan Thackery after Nelson moved back to her home country Sweeden. Creator An entity primarily responsible for making the resource Nelson, Gunvor Date A point or period of time associated with an event in the lifecycle of the resource 1992-12-15 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyrighted. Rights are owned by the San Francisco Cinematheque. Copyright Holder has given Institution permission to provide access to the digitized work online. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the Copyright Holder. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Letter Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_SAnkerCorrespondence_01 https://www.archive.sfcinematheque.org/files/original/fd10a4b687ab4de33a60b50c84b6b94c.png 9f3aade2c3b21bb1727217fda37d326b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000227" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Notes on films by Warren Sonbert and and Gunvor Nelson Subject The topic of the resource Experimental films, Art Description An account of the resource Notes on Warren Sonbert's Friendly Witness and Gunvor Nelson's Natural Features. Author unknown. Warren Sonbert (June 26, 1947 - May 31, 1995) was an experimental filmmaker whose work began in New York in the mid-1960s, and continued in San Francisco throughout the second half of his life. Sonbert taught filmmaking at the San Francisco Art Institute, the School of the Art Institute of Chicago, and Bard College at various times, and regularly reviewed classical recordings and opera, as well as film, for periodicals including The Advocate and the Bay Area Reporter. He died of complications from AIDS at his home in San Francisco in 1995. Swedish artist and experimental filmmaker Gunvor Grundel Nelson was born in 1931 in Kristinehamn, Sweden. Some of her most widely known works were created while she lived in the Bay Area in the mid-1960s and early 1970s, where she became well established among other artists in the avant-garde film circles. Creator An entity primarily responsible for making the resource Sonbert, Warren; Nelson, Gunvor Date A point or period of time associated with an event in the lifecycle of the resource 1989 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyright status unknown. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. This work is accessible for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. [Insert name of Library/Archive] attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to [insert email address at Library/Archive], digitized works can be removed from public view if there are rights issues that need to be resolved. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Document Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_Sonbert_notes2 https://www.archive.sfcinematheque.org/files/original/e52d94891afeec9261ada8fa2ba3c81c.png 77086f7200869f50ddd0c7e1e1c483e3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000152" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Postcard to Steve Anker from Gunvor Nelson Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Postcard written by Gunvor Nelson to Steve Anker. Creator An entity primarily responsible for making the resource Nelson, Gunvor Date A point or period of time associated with an event in the lifecycle of the resource 1991-12-28 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyrighted. Rights are owned by the San Francisco Cinematheque. Copyright Holder has given Institution permission to provide access to the digitized work online. Transmission or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the Copyright Holder. In addition, the reproduction of some materials may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Postcard Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_SAnkerCorrespondence_02 https://www.archive.sfcinematheque.org/files/original/23dabd6b3c3da2df56f14963e6b9a563.png 33a2361e58286cf2314cdfc6ced87c21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000150" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The New Cinema Seminar Gunvor Nelson poster Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Poster advertising a program of Gunvor Nelson's films Kirsa Nichola, Schmeerguntz, Fog Pumas, and My Name is Oona, presented by the New Cinema Seminar. Creator An entity primarily responsible for making the resource The New Cinema Seminar Date A point or period of time associated with an event in the lifecycle of the resource 1970~ Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyright status unknown. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. This work is accessible for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. [Insert name of Library/Archive] attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to [insert email address at Library/Archive], digitized works can be removed from public view if there are rights issues that need to be resolved. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Poster Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_NewCinemaSeminarPoster https://www.archive.sfcinematheque.org/files/original/b5d36ba96c970fe16ec28e5e85f0e0bf.png 4e263c1499f058b60bdeec9fde915863 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Gunvor Nelson Artist File Subject The topic of the resource Gunvor Nelson Description An account of the resource Gunvor Nelson (1931–2025) was one of the most highly acclaimed filmmakers in American avant-garde film. Born in Stockholm, Sweden, Nelson grew up Kristinehamn and moved to northern California in 1953 to study art and art history. Nelson began making films in the early 1960s, releasing her first two films—Schmeerguntz (1966) and Fog Pumas (1967)—Both collaborations with Dorothy Wiley—eventually creating over twenty-five films and digital video works, described by Steve Anker as “one of the great bodies of independent work in the history of the medium.” An uncompromising filmmaker, Nelson regards her own works as “personal films,” a recurring element of which is the connection with her own life and experiences. The early films are based around the experiences of a younger woman, culminating in My Name Is Oona (1969), an expressive portrait of her daughter and Moons Pool (1973), an existentially expressive underwater journey which centres on her own body. With Trollstenen (1976), she began a series of films about Kristinehamn and her family. Typically for Nelson, elements which are local and private fuse together with the general and universal. Nelson’s family and generational study Red Shift (1984), and her painfully sensitive portrayal of her dying mother in Time Being (1991) are regarded as the high points of her family and hometown productions. Nelson moved back to Kristinehamn in 1993, a homecoming already hinted at in her rhythmically edited collage film Frame Line (1983). Having returned to Sweden she quickly moved on to digital video and was rediscovered in Swedish art circles, resulting in a number of awards and retrospectives both at home and abroad. During Nelson’s life in northern California (1953–1993), she was a central figure in the regional art and filmmaking and, with her husband Robert Nelson, played a key role in the development of <a href="http://www.canyoncinema.com">Canyon Cinema</a> and screened regularly with San Francisco Cinematheque. Nelson also influenced generations of filmmakers in her role as a teacher at the San Francisco Art Institute (1970-1992). In 2019, Nelson’s My Name Is Oona was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" (Artist bio adapted from <a href="https://www.filmform.com/artists/1305-gunvor-nelson/">Filmform</a>) Cinematheque’s digital collection, the Gunvor Nelson Artist File contains twelve items, dated 1970–1992, documenting Nelson’s life and career, including promotional ephemera, program reviews, program notes, correspondence and writings by Chick Strand, James Irwin, Dorothy Wiley and Nelson herself. The twelve items in this digital collection were selected for digitization from Cinematheque’s larger artist file on Nelson. This digital collection was created in partnership with <a href="https://californiarevealed.org/">California Revealed</a>. Creator An entity primarily responsible for making the resource Gunvor Nelson; Bolinas Hearsay News; Bolinas Film Society; San Francisco Cinematheque; James Irwin; Paul Liberatorel; Marin Independent Journal; The New Cinema Seminar; and Dorothy Wiley. Date A point or period of time associated with an event in the lifecycle of the resource c.1970-1992 Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Rights to these materials are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law. For materials created or co-created by others, reasonable effort has been made to determine authorship and in cases in which this was determined, these creators have been identified. We seek more information on all materials in this collection so if you feel that you are the author or creator of any item in this collection, please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a> to discuss proper attribution. Permission to use material: To request material from Cinematheque’s online collections for use in publications (including use in books, periodicals, films, exhibitions, websites and other uses), please contact Cinematheque staff at <a href="mailto:sfc@sfcinematheque.org">sfc@sfcinematheque.org</a>. Note that further copyright clearance may be needed in order to use material in this manner and would therefore require negotiation with rights holders as well as from Cinematheque for such use. Associated access fees may apply to requests for use of material from Cinematheque’s Archives. Language A language of the resource English Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Local URL The URL of the local directory containing all assets of the website <iframe width="1000" height="700" src="https://archive.org/embed/casfc_000147" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"></iframe> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two New Films by Gunvor Nelson flyer Subject The topic of the resource Experimental films; Feminist films; Art Description An account of the resource Flyer for a screening of Red Shift and Frame Line by Gunvor Nelson. The screenings were held at San Francisco Cinematheque and Pacific Film Archive. Creator An entity primarily responsible for making the resource Nelson, Gunvor Date A point or period of time associated with an event in the lifecycle of the resource 1984~ Contributor An entity responsible for making contributions to the resource Digitization made possible through support provided by California Revealed and the California State Library. Rights Information about rights held in and over the resource Copyright status unknown. This work may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, its reproduction may be restricted by terms of gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. This work is accessible for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. [Insert name of Library/Archive] attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to [insert email address at Library/Archive], digitized works can be removed from public view if there are rights issues that need to be resolved. Type The nature or genre of the resource Text Format The file format, physical medium, or dimensions of the resource Flyer Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SFC-AF_GNelson_Flyer_01