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San Francisco Cinematheque Program IV Filmmaker Gunvor Nelson in person Sunday, November 22,1992 Kristina 's Harbor & Old Digs (1992, World Premiere); 16mm, color, sound. Part 1:50 minutes. Part II: 20 minutes My new film is a collage film that combines animation, live footage and the re-photographed footage of what I filmed in Sweden in 1990. (GN) Every film I start is new and dangerous. There are no guidelines except to follow the initial feeling and also let the film itself be an interchange of direction between myself and it. A new strange country is created. —Gunvor Nelson, SF Bay Guardian , October 15, 1976 Gunvor Nelson, from "scratch" of her collaboration with Dorothy Wiley, through her dreamscapes and tender autobiographical envisionments, to the electrical synapting (albeit laboriously created) moving-thinking films of late, has proved more true to the intrinsic possibilities of film than any but a few in the history of the medium. —Stan Brakhage, 1992 I'm not going to comment on the qualities of Gunvor's films that make them so inventive and beautiful, nor on her teaching, except to say that she was a very good teacher for me, but I would like to say that one thing that Gunvor has brought to a life in film is a lot of very hard work. Bringing into film a painter's refined sensibility of color and other aesthetic concerns, she has had to overcome some daunting obstacles to get what she wants in a medium that is often hard to control. She has always had very strong preferences and opinions about what she wants, and an ability to intensely focus her energy and attention and a tenacity that will see a project through, no matter how much energy it takes. —Dorothy Wiley, 1992 There is real joy in finding that the juxtaposition of two shots can create new and unexpected meaning... this is beyond the original meaning of each shot taken separately. There are multiple layers of facts to combine and coordinate to make a film succeed as a whole. . . the integration of ideas, feelings and structure have to be investigated. What is the progression of the film... where should it start... where is the middle and how should it end... and why? When you are really immersed, you, yourself, totally interested in solving the "problems" of the film, then you forget how much work you are giving to it... then the film emerges. Usually the solution seems just right and logical. Why did I not see it before! But it did take all that interest and study and hard work. —Gunvor Nelson, from a class on film editing at SFAI With insistence and conviction, Gunvor Nelson taught me how and why to live inside my films. I know that each and every shot is a reflection of a moment in my life. I know this now, and Gunvor realized it then, when I was one of her graduate students at the San Francisco Art Institute from 1987 to 1989. 96