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187:" agenda behind her art-making. Instead, she creates "feminist" works in the broader sense of the term, they seek to find a more universal resonance as they address the personal and: "what is original, instinctive, and natural in womankind". Nelson also prefers not to be referred to as a "woman" artist but simply an "artist".
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and expressionistic films, but I prefer the term "personal film". That is what it is about. Even if many don't understand the meaning of the term. On the other hand, it can be easier to refer to them as avant-garde films. But I like the description "personal film" since it stems from one person. When
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from 1970 to 1992; she moved back to Sweden in 1993. Additional positions she has held include a year at San
Francisco State University from 1969 to 1970 and a semester in 1987 at the School of the Art Institute of Chicago. Her work has been featured in numerous European and North American festivals,
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In many of her major works she addresses subjects such as: childhood, memory, the idea of home/homeland and displacement, aging and death, and the symbolism of natural forces — particularly in relation to female beauty and power. Her talents for editing what is often dreamlike imagery, combined with
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Her fascination with materials reflected in the titling of her work likely stems from her earlier artistic background as a painter. The visual transformations she obtains in the act of filming she typically modifies through painting and animation, and then organizes through painstaking editing of
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through the camera... A melon or dirty dishes, seen with a lens in close-up were translated into something else... The camera became like binoculars; you zero in on a small area and isolate it, and it becomes more precious because it's selected." (Holmlund, 78).
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Her depictions of women's experiences and issues of identity are never overtly political in their agenda or simplistic in nature; often they explore the sensual and erotic, and critique society's portrayal of women (Sundholm, 4) yet she denies any specifically
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Holmlund, Chris. "Excavating Visual Fields, Layering
Auditory Frames: Signature, Translation, Resonance, and Gunvor Nelson’s Films." Women’s Experimental Cinema. Ed. Robin Blaetz. Duke University Press: Durham & London, 2007.
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grant (Holmlund, 84). Nelson's films were shown quietly in the underground circuit on the West and East coasts of the United States, until the mid-70s when she began to get press from sources that ranged from
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you paint, the term you choose will be described by method; mural painters for instance and so on. But when it comes to film we lack to describe what we are really doing." (Sundholm, 167).
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Sundholm, John. The
Material and the Mimetic: On Gunvor Nelson's Personal Filmmaking. Framework: The Journal of Cinema and Media 48.2 (2007) 165-173. JSTOR Bard College Library.
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Nelson's work often reveals her fascination with the visual translation and transformation of the world that a camera is capable of achieving. Commenting on her first film
79:, Sweden, where she now resides. She has worked as an experimental filmmaker since the 1960s. Some of her most widely known works were created while she lived in the
173:"Everyone seemed unsure of what to call it. It is difficult. Are you really so "avant-garde"? Experimental films sounds like something incomplete. I have made both
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circles of the 1960s and to the present (Gill, 28). As of 2006, she has to her credit 20 films, five videos, and one video installation (Holmlund, 67).
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fine attention to the effects of language and sound on the moving image, serve to enhance the consistent aesthetic of her experimental films.
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Nelson often creates what she termed "personal films" rather than "experimental" or "avant-garde" films; on this matter she says:
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one-woman shows, and she has been the recipient of several awards and grants. Some of these awards include: a
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in the mid-1960s and early 1970s, where she became well established among other artists in the
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Guggenheim
Fellowship, National Endowment for the Arts grants, Rockefeller Foundation grant
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454:"See the 25 New Additions to the National Film Registry, From Purple Rain to Clerks"
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The
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for being "culturally, historically, or aesthetically significant".
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224:(with Dorothy Wiley), 1965 (15 min.): sound, black and white; 16mm
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354:(with Dorothy Wiley), 1995 (42 min.): sound, color; 16 mm
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in
Oakland, California. Her teaching experience includes the
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Gill, June M. (Spring 1977). "The Films of Gunvor Nelson".
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June M. Gill (Spring 1977). "The Films of Gunvor Nelson".
294:* (with Dorothy Wiley), 1979 (75 min.): sound, color; 16mm
276:(with Magda), 1972 (10 min.): sound, black and white; 16mm
196:, a collaborative effort with Dorothy Wiley, Nelson said:
230:(with Dorothy Wiley), 1967 (25 min.): sound, color; 16mm
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Bevismaterial:52 Veckor (Collected
Evidence: 52 Weeks)
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131:, a memorable satire on the performance of the
336:, 1991 (8 min.): silent, black and white; 16mm
306:, 1984 (50 min.): sound, black and white; 16mm
300:, 1984 (22 min.): sound, black and white; 16mm
244:, 1969 (10 min.): sound, black and white; 16mm
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480:"Gunvor Nelson Retrospective: Personal Lens."
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95:She obtained a Master of Arts degree from
288:, 1973-76 (120 min.): sound, color; 16mm
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482:Film Exhibitions 2006. 10 October 2008
260:), 1971 (70 min.): sound, color; 16mm
637:Recipients of the Prince Eugen Medal
452:Chow, Andrew R. (11 December 2019).
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378:, 2003 (9 min.): sound, color; video
372:, 2001 (9 min.): sound, color; video
360:, 1998 (8 min.): sound, color; video
348:, 1993 (50 min.): sound, color; 16mm
342:, 1993 (20 min.): sound, color; 16mm
330:, 1990 (30 min.): sound, color; 16mm
324:, 1988 (25 min.): sound, color; 16mm
318:, 1987 (25 min.): sound, color; 16mm
312:, 1987 (28 min.): sound, color; 16mm
282:, 1973 (15 min.): sound, color; 16mm
270:), 1972 (4 min.): sound, color; 16mm
250:, 1969 (16 min.): sound, color; 16mm
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200:"I discovered how beautiful things
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143:In 2019, Gunvor's 1969 short film
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366:, 1998 (4x30 min.): installation
254:Five Artists: BillBobBillBillBob
632:Swedish experimental filmmakers
110:National Endowment for the Arts
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54:Avant-garde experimental films
46:Experimental Filmmaker, Artist
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101:San Francisco Art Institute
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268:Freude Solomon-Bartlett
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622:Swedish film directors
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155:National Film Registry
114:Rockefeller Foundation
587:Swedish Film Database
352:Before Need Redressed
316:Light Years Expanding
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112:grants, as well as a
106:Guggenheim Fellowship
73:Gunvor Grundel Nelson
25:Gunvor Grundel Nelson
16:Swedish film director
91:Education and awards
75:was born in 1931 in
37:Kristinehamn, Sweden
358:Tree-Line/Tradgrans
151:Library of Congress
419:Take-Off on Fandor
210:images and sound.
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464:11 December
310:Light Years
292:Before Need
280:Moon's Pool
214:Filmography
123:editors to
606:Categories
395:References
334:Time Being
298:Frame Line
286:Trollstene
133:striptease
304:Red Shift
228:Fog Pumas
340:Old Digs
274:Take Off
185:feminist
129:Take-Off
81:Bay Area
585:at the
553:1211771
525:Sources
514:1211771
120:Playboy
71:artist
69:Swedish
560:67-88.
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408:REVOIR
266:(with
256:(with
139:Legacy
108:, two
59:Awards
549:JSTOR
510:JSTOR
161:Films
597:Work
578:IMDb
466:2019
458:Time
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