It was easy to miss the publication earlier this year of experimental filmmaker Nathaniel Dorsky’s second book, a volume of photographs entitled Eclogues: Letters and Correspondence. Printed privately by Dorsky as a gift for friends, Eclogues was self-distributed by its author, by hand and mail, as though it was itself one of the eponymous letters. A smaller printing was simultaneously made available as a limited edition, for sale through his New York gallery. Although almost wordless—save its title, dedication, and colophon pages—Eclogues’ unnumbered sequence of images speak revealingly to central ideas of Dorsky’s filmmaking. In many ways it is also a fitting work of art for this time of plague.
Those who know and admire Dorsky’s 16mm films will recognize a profound “correspondence” between Eclogues and his cinema, beginning with…
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Cinema Scope (Digital) - 1 Issue, Issue 85 - Winter 2021