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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-10390\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/gunvornelson_0.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-10390-fjOvzUfZ_ec\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/gunvornelson_0.jpg?itok=Ll1hEeL9\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003ESwedish filmmaker \u003Cstrong\u003EGunvor Grundel Nelson\u003C\/strong\u003E was born in 1931 in Stockholm, Sweden. Now living in Kristinehamn, Sweden. She has worked as an experimental filmmaker since the 1960s. Some of her most widely known works were created while she lived in the Bay Area in the mid-1960s and early 1970s, where she became well established among other artists in the avant-garde film circles of the 60s and to the present \u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref1_3ifpulr\u0022 title=\u0022(Gill, 28)\u0022 href=\u0022#footnote1_3ifpulr\u0022\u003E1\u003C\/a\u003E.As of 2006 she has to her credit twenty films, five videos, and one video installation \u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref2_nhjrtlp\u0022 title=\u0022(Holmlund, 67)\u0022 href=\u0022#footnote2_nhjrtlp\u0022\u003E2\u003C\/a\u003E.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Education\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EShe obtained a Master of Arts degree from Mills College in Oakland, California.\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref3_kdltbsi\u0022 title=\u0022http:\/\/mediaartists.org\/content.php?sec=artist\u0026amp;sub=detail\u0026amp;artist_id=30\u0022 href=\u0022#footnote3_kdltbsi\u0022\u003E3\u003C\/a\u003E Her teaching experience includes the San Francisco Art Institute from 1970 to 1992, after which 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, one-woman shows, and she has been the recipient of several awards and grants. Some of these awards include: a Guggenheim Fellowship, two National Endowment for the Arts grants, as well as a Rockefeller Foundation grant (Holmlund, 84). Nelson\u0027s 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 \u003Cem\u003EPlayboy\u003C\/em\u003E editors to Pauline Kael. This increase in national press coverage of her films was in part due to the notable \u003Cem\u003ETake-Off\u003C\/em\u003E, a memorable satire on the performance of the striptease \u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref4_eble4fa\u0022 title=\u0022(Gill, 28)\u0022 href=\u0022#footnote4_eble4fa\u0022\u003E4\u003C\/a\u003E.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Films\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EIn 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 \u2014 particularly in relation to female beauty and power. Her talents for editing what is often dreamlike imagery, combined with fine attention to the effects of language and sound on the moving image, serve to enhance the consistent aesthetic of her experimental films.\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref5_ktqohit\u0022 title=\u0022http:\/\/moma.org\/exhibitions\/film\/2006\/Gunvor_Nelson.html\u0022 href=\u0022#footnote5_ktqohit\u0022\u003E5\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003ENelson often creates what she termed \u201cpersonal films\u201d rather than \u201cexperimental\u201d or \u201cavant-garde\u201d films; on this matter she says:\u003C\/p\u003E\n\u003Cblockquote\u003E\u003Cp\u003E\u0027Everyone seemed unsure of what to call it. It is difficult. Are you really so \u0027avant-garde\u0027? Experimental films sounds like something incomplete. I have made both surrealistic and expressionistic films, but I prefer the term \u0027personal film\u0027. That is what it is about. Even if many don\u0027t 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 \u0027personal film\u0027 since it stems from one person. When 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 capacity to describe what we are really doing.\u0027 \u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref6_5aunehz\u0022 title=\u0022(Sundholm, 167)\u0022 href=\u0022#footnote6_5aunehz\u0022\u003E6\u003C\/a\u003E.\u003C\/p\u003E\u003C\/blockquote\u003E\n\u003Cp\u003EHer depictions of women\u0027s 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\u0027s portrayal of women (Sundholm, 4) yet she denies any specifically \u0027feminist\u0027 agenda behind her art-making. Instead, she creates \u0027feminist\u0027 works in the broader sense of the term, they seek to find a more universal resonance as they address the personal and: \u0027what is original, instinctive, and natural in womankind\u0027.\u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref7_yrdixue\u0022 title=\u0022http:\/\/www.jstor.org\/pss\/1211771\u0022 href=\u0022#footnote7_yrdixue\u0022\u003E7\u003C\/a\u003E Nelson also prefers not to be referred to as a \u0027woman\u0027 artist but simply an \u0027artist\u0027.\u003C\/p\u003E\n\u003Cp\u003ENelson\u0027s 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 \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/work\/schmeerguntz\u0022\u003ESchmeerguntz\u003C\/a\u003E\u003C\/em\u003E, a collaborative effort with Dorothy Wiley. Nelson said:\u003C\/p\u003E\n\u003Cblockquote\u003E\u003Cp\u003E\u0027I discovered how beautiful things \u003Cem\u003Elook\u003C\/em\u003E 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 \u003Cem\u003Ebecause\u003C\/em\u003E it\u0027s selected.\u0027 \u003Ca class=\u0022see-footnote\u0022 id=\u0022footnoteref8_66w52as\u0022 title=\u0022(Holmlund, 78)\u0022 href=\u0022#footnote8_66w52as\u0022\u003E8\u003C\/a\u003E.\u003C\/p\u003E\u003C\/blockquote\u003E\n\u003Cp\u003EHer 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 images and sound.\u003C\/p\u003E\n\u003Cp\u003EGunvor Nelson\u0027s films are distributed by \u003Ca class=\u0022wikilink\u0022 href=\u0022\/site\/en\/wiki\/article\/canyon-cinema\u0022\u003ECanyon Cinema\u003C\/a\u003E and \u003Ca href=\u0022\/site\/en\/wiki\/article\/filmform\u0022\u003EFilmform\u003C\/a\u003E. A selection has been \u003Ca href=\u0022\/site\/en\/dvd\/gunvor-nelson-departures\u0022\u003Epublished\u003C\/a\u003E on DVD by Re:voir.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003E Awards \u003C\/strong\u003E\u003C\/p\u003E\n\u003Cul\u003E\n\u003Cli\u003EGuggenheim Fellowship, 1973\u003C\/li\u003E\n\u003Cli\u003EAmerican Association of University Women Fellowship, 1974\u003C\/li\u003E\n\u003Cli\u003ENational Endowment for the Arts, 1975 and 1982\u003C\/li\u003E\n\u003Cli\u003EAmerican Film Institute, 1977\u003C\/li\u003E\n\u003Cli\u003EFilmverkstanFellowship, 1981 and 1987\u003C\/li\u003E\n\u003Cli\u003EKonstnarsnamden, 1982, 1990, and 1994\u003C\/li\u003E\n\u003Cli\u003ESwedish Short Film Fund, 1985\u003C\/li\u003E\n\u003Cli\u003ESan Francisco Arts Commission Award, 1986\u003C\/li\u003E\n\u003Cli\u003EWestern States Regional Media Arts Fellowship, 1987 and 1988\u003C\/li\u003E\n\u003Cli\u003EMarin Arts Council, 1988\u003C\/li\u003E\n\u003Cli\u003ERockefeller Foundation, 1990.\u003C\/li\u003E\n\u003C\/ul\u003E\n\u003Cul class=\u0022footnotes\u0022\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote1_3ifpulr\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref1_3ifpulr\u0022\u003E1.\u003C\/a\u003E (Gill, 28)\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote2_nhjrtlp\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref2_nhjrtlp\u0022\u003E2.\u003C\/a\u003E (Holmlund, 67)\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote3_kdltbsi\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref3_kdltbsi\u0022\u003E3.\u003C\/a\u003E \u003Ca href=\u0022http:\/\/mediaartists.org\/content.php?sec=artist\u0026amp;sub=detail\u0026amp;artist_id=30\u0022\u003Ehttp:\/\/mediaartists.org\/content.php?sec=artist\u0026amp;sub=detail\u0026amp;artist_id=30\u003C\/a\u003E\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote4_eble4fa\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref4_eble4fa\u0022\u003E4.\u003C\/a\u003E (Gill, 28)\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote5_ktqohit\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref5_ktqohit\u0022\u003E5.\u003C\/a\u003E \u003Ca href=\u0022http:\/\/moma.org\/exhibitions\/film\/2006\/Gunvor_Nelson.html\u0022\u003Ehttp:\/\/moma.org\/exhibitions\/film\/2006\/Gunvor_Nelson.html\u003C\/a\u003E\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote6_5aunehz\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref6_5aunehz\u0022\u003E6.\u003C\/a\u003E (Sundholm, 167)\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote7_yrdixue\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref7_yrdixue\u0022\u003E7.\u003C\/a\u003E \u003Ca href=\u0022http:\/\/www.jstor.org\/pss\/1211771\u0022\u003Ehttp:\/\/www.jstor.org\/pss\/1211771\u003C\/a\u003E\u003C\/li\u003E\n\u003Cli class=\u0022footnote\u0022 id=\u0022footnote8_66w52as\u0022\u003E\u003Ca class=\u0022footnote-label\u0022 href=\u0022#footnoteref8_66w52as\u0022\u003E8.\u003C\/a\u003E (Holmlund, 78)\u003C\/li\u003E\n\u003C\/ul\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003ESweden\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}