Translucent Being: Bill Morrison

Creation methods of the American experimental filmmaker and documentarian Bill Morrison, who uses a variety of damaged celluloid strips in his films; most often, however, those damaged by the ravages of time.

Decasia (Bill Morrison, 2002)

Thorough work with archival materials draws attention to the imprints and damages left behind over the course of time, reflecting its memory and shaping poetic images of a period whose passage not only increases the visibility of the effects of time but, at the same time, also highlights political meanings and the process of selective memory. In his experimental and compilation documentaries, Bill Morrison (born in Chicago in 1965, currently living in New York) works with found footage, combining it with contemporary music. Morrison works with leading composers and musicians to create his films, including the likes of Jóhann Jóhannsson, John Adams, Philip Glass, the Kronos Quartet, Steve Reich, Todd Reynolds, and Aleksandra Vrebalovov. In the 1980s he studied at Reed College in Portland and later graduated from Cooper Union’s School of Art in Manhattan. After his studies, he began working with the Ridge Theater in New York, for which he created short films as part of its avant-garde programs.

He has received many prestigious awards for his work; his films have been introduced at many important festivals and continue to be screened in cinemas, galleries, museums, theaters, and concert halls throughout the world. In 2003, the New York weekly The Village Voice wrote, “Morrison’s Decasia is that rare thing: a movie with avant-garde and universal appeal … Its flame-like, rolling black-and-white inspires trembling and gratitude.” The Museum of Modern Art in New York (MoMa) has eight of his works in its permanent collection, and organized an extensive retrospective exhibition for him in 2014–2015. In 2013, Morrison’s feature film Decasia (2002), created in collaboration with composer Michael Gordon, became the first twenty-first century film to be included in the U.S. Library of Congress’s National Film Registry.





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4.16DOK.REVUE
October 17, 2016


from current issue:

New releaseShooting About KunderaDocumentarian Miloslav Šmídmajer describes the process of making a documentary about Milan Kundera with the working title “Milan Kundera: From the Joke to Insignificance.” Miloslav ŠmídmajerThemeNest in the bedroomPeter Hames, well-known British film historian and author of the book The Czechoslovak New Wave sent his remembrance to Karel Vachek to our magazine.Peter HamesThemeNever stop laughingPaolo Benzi, the Italian film producer and founder of the independent film production company Okta Film, describes for dok.revue how he met famous Czech documentary filmmaker Karel Vachek, who passed away last year. Paolo Benzi is also the main tutor of the Emerging producers in Ji.hlava IDFF.Paolo BenziThemeBehold, if the river is turbulent he is not frightenedIn this English issue of dok.revue we have collected some remembrances to Karel Vachek, the respected Czech documentarist who died in December 2020 at the age of 80. One of the contributors is Olaf Möller, a well-known film theorist and critic collaborating with many renowned film magazines (Film Comment or Sight & Sound), film museums and festivals (e.g. Il Cinema Ritrovato or International Film Festival Rotterdam).Olaf MöllerThemeEvery human being should get to wear comfy shoesThe Czech documentarist Karel Vachek was a chairperson of the jury at Yamagata international documentary film festival (YIDFF) in 2009. The board member of YIDFF and the former director of this festival, Asako Fujioka, has a remembrance of him smoking his pipe and going to the mountains with Japanese poet and filmmaker Yoshimasu Gozo to recite poetry to the skies.Asako FujiokaThemeLike the dog on the beach...American film historian Alice Lovejoy writes her remembrance of Karel Vachek, the remarkable Czech documentarist to whom we dedicate this English issue of dok.revue.Alice LovejoyInterviewThe times of lifelong careers are overAn interview with documentarian Jindřich Andrš, whose film A New Shift won the Czech competition section Czech Joy at Ji.hlava IDFF2020.Vojtěch KočárníkInterviewGoing to the Polish Turf with Our Own TeamInterview with documentary filmmakers Filip Remunda and Vít Klusák about their latest joint film project Once Upon a Time in Poland that shows how religion and faith are misused in contemporary Poland for mass manipulation and political purposes. The film‘s Czech premiere was held as part of the Ji.hlava International Documentary Film Festival 2020.Kamila BoháčkováIntroductionDok.revue 1.21This issue is dedicated to the doyen of Czech documentary filmmaking Karel VachekKamila Boháčková