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                <text>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.</text>
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                  <text>&lt;p&gt;&lt;b&gt;Gunvor Nelson &lt;/b&gt;&lt;span style="font-weight: 400;"&gt;(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—&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Schmeerguntz&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; (1966) and &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Fog Pumas&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; (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 &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;My Name Is Oona&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; (1969), an expressive portrait of her daughter and &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Moons Pool &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;(1973), an existentially expressive underwater journey which centres on her own body. With&lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt; Trollstenen&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; (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 &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Red Shift &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;(1984), and her painfully sensitive portrayal of her dying mother in &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Time Being &lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;(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 &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Frame Line&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; (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 &lt;/span&gt;&lt;a href="http://www.canyoncinema.com"&gt;&lt;span style="font-weight: 400;"&gt;Canyon Cinema&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; 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 &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;My Name Is Oona&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt; was selected by the US Library of Congress for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant" &lt;/span&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;(Artist bio adapted from &lt;/span&gt;&lt;/i&gt;&lt;a href="https://www.filmform.com/artists/1305-gunvor-nelson/"&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;Filmform&lt;/span&gt;&lt;/i&gt;&lt;/a&gt;&lt;i&gt;&lt;span style="font-weight: 400;"&gt;)&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/i&gt;&lt;span style="font-weight: 400;"&gt;Cinematheque’s digital collection, the &lt;/span&gt;&lt;b&gt;&lt;i&gt;Gunvor Nelson Artist File&lt;/i&gt;&lt;/b&gt; &lt;span style="font-weight: 400;"&gt;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.&lt;br /&gt;&lt;br /&gt;This digital collection was created in partnership with &lt;/span&gt;&lt;a href="https://californiarevealed.org/"&gt;&lt;span style="font-weight: 400;"&gt;California Revealed&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;&lt;/p&gt;</text>
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                  <text>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.</text>
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                  <text>Digitization made possible through support provided by California Revealed and the California State Library.</text>
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              <description>Information about rights held in and over the resource</description>
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                  <text>&lt;span style="font-weight: 400;"&gt;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. &lt;/span&gt;&lt;span style="font-weight: 400;"&gt;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 &lt;/span&gt;&lt;a href="mailto:sfc@sfcinematheque.org"&gt;&lt;span style="font-weight: 400;"&gt;sfc@sfcinematheque.org&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; to discuss proper attribution. &lt;/span&gt;&lt;b&gt;Permission to use material:&lt;/b&gt;&lt;span style="font-weight: 400;"&gt; 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 &lt;/span&gt;&lt;a href="mailto:sfc@sfcinematheque.org"&gt;&lt;span style="font-weight: 400;"&gt;sfc@sfcinematheque.org&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;. 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.&lt;/span&gt;</text>
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              <text>&lt;iframe width="1000" height="700" src="https://archive.org/embed/casfc_000137" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;</text>
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                <text>"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.</text>
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                <text>Strand, Chick; Nelson, Gunvor; Callenbach, Chick (Ernest); Diane [Kitchen?]</text>
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                <text>Digitization made possible through support provided by California Revealed and the California State Library.</text>
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                <text>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.</text>
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                  <text>San Francisco Cinematheque Program Calendars 1965-2013</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                <elementText elementTextId="11975">
                  <text>&lt;span&gt;Rights to these publications are held by San Francisco Cinematheque. Cinematheque encourages the use of copyrighted materials in accordance with fair use, as defined by copyright law.&amp;nbsp;&lt;/span&gt;&lt;b&gt;Permission to use material:&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/b&gt;&lt;span&gt;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&amp;nbsp;&lt;/span&gt;&lt;a href="mailto:sfc@sfcinematheque.org"&gt;&lt;span&gt;sfc@sfcinematheque.org&lt;/span&gt;&lt;/a&gt;&lt;span&gt;. 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.&lt;/span&gt;</text>
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                  <text>&lt;p&gt;&lt;a href="https://www.sfcinematheque.org/"&gt;&lt;b&gt;San Francisco Cinematheque&lt;/b&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt; presents regular screenings of non-commercial and non-narrative film and video at public venues in San Francisco (and elsewhere in the San Francisco Bay Area). &lt;/span&gt;&lt;b&gt;&lt;i&gt;San Francisco Cinematheque Program Calendars 1965–2013 &lt;/i&gt;&lt;/b&gt;&lt;span style="font-weight: 400;"&gt;is a collection of digitized program calendars documenting screenings presented by San Francisco Cinematheque 1965–2013 (2013 being the last year paper calendars were published). These calendars include curatorial notes, filmmaker statements and communications to the public from Cinematheque.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;span style="font-weight: 400;"&gt;This digital collection was created in partnership with &lt;/span&gt;&lt;a href="https://californiarevealed.org/"&gt;&lt;span style="font-weight: 400;"&gt;California Revealed&lt;/span&gt;&lt;/a&gt;&lt;span style="font-weight: 400;"&gt;.&lt;/span&gt;</text>
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                  <text>San Francisco, Calif.</text>
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              <text>&lt;iframe width="1000" height="700" src="https://archive.org/embed/casfc_000100" frameborder="0" webkitallowfullscreen="webkitallowfullscreen" mozallowfullscreen="mozallowfullscreen" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;</text>
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                <text>San Francisco Cinematheque program calendar, June-July 1980</text>
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            <description>An account of the resource</description>
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                <text>Poster listing film programs offered by the San Francisco Cinematheque. Programs were held at the San Francisco Art Institute.</text>
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                <text>motion picture theater programs</text>
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                <text>Experimental films--California--San Francisco Bay Area; Motion picture programs</text>
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            <name>Language</name>
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                <text>eng</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Courtesy of San Francisco Cinematheque. This work is made accessible for purposes of education and research.&#13;
Transmission or reproduction of materials 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. &#13;
Contact the San Francisco Cinematheque archivist for more information about reproduction and permission requests.</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Digitization made possible through support provided by California Revealed and the California State Library. </text>
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