#darrell wilson

Henry Oak - Breathe (in the air) by Pink Floyd

Sparrow Oak - Airhead by Honey Revenge

Lark Oak - I Was Just a Kid by Nothing But Thieves

Normal Oak - Are You Impressed by Honey Revenge

Darrell Wilson - Becoming the Bill by Atreyu

Grant Wilson - What If by SafetySuit

Lincoln Lee Wilson - From Heads Unworthy by Rise Against

Willy Stampler - Let You Down by Three Dats Grace

Ron Stampler - Used to the Darkness by Des Rocs

Terry Jr. - Ready to Fall by Rise Against

Scary Marlowe - Bugbear by Chloe Moriondo

Glen Close - What I Got by Sublime

Nick Foster/Close - Borderline by Tame Impala

Taylor Swift - Speaking Japanese by Shiny Toy Guns

NYU’s Cinema Studies Department and Undergraduate Film & TV Department present the 10th Annual Experimental Lecture with Nathaniel Dorsky, October 11th, 2019, at Anthology Film Archives.

For most of my life my films have been the marriage of external circumstances as seen through the needs of my own psyche. There is no other plan as such. Occasionally these explorations result in a film that is not quite what I would call a public film, something, perhaps, to be shown as camera original in the privacy of one’s apartment. I would like to use the rare opportunity of this lecture format to world premiere two of these intimate works as original Kodachrome, each quite different from the other. One is called Lux Perpetual II (1999-2002 / 2016, 31 min), the other is Ossuary (1995-2005 / 2016, 43 min). They are made up of out-takes from decades of shooting 16mm Kodachrome.

Since 2008, the Experimental Lecture Series has presented veteran filmmakers who immerse themselves in the world of alternative, experimental film. Our intention is to lay bare an artist’s challenges rather than their successes, to examine the gnawing, ecstatic reality of the work of making art. Our previous speakers for the Experimental Lecture Series have been Peggy Ahwesh, Craig Baldwin, Bradley Eros, Ernie Gehr, Barbara Hammer, Ken Jacobs, Jonas Mekas, Carolee Schneemann, and M.M. Serra. Programmed by Lynne Sachs and Dan Streible.

Lynne Sachs's introduction

"I am thrilled to welcome Nathaniel Dorsky today to present our 10th Annual Experimental Lecture. Nick comes to us after a decade of talks and screenings by Peggy Ahwesh, Craig Baldwin, Bradley Eros, Ernie Gehr, Barbara Hammer, Ken Jacobs, Jonas Mekas, Carolee Schneemann, and M.M. Serra. In this series, artists have explored their own process, their own investigation of the shift from discouragement to realization – the why and the how that allows them to continue. My intention has always been to ask each artist to lay bare their challenges rather than their successes, to examine the gnawing, ecstatic reality of the work of making art. I remember Barbara Hammer coming to her lecture ten years ago, “fresh” from a round of chemotherapy, with much hair on her head, of course, she draped the hall with a paper film and then picked up a  very heavy Pagent Projector and proceed to create a work of expanded cinema in which all four walls and our skin became screens. I remember Craig Baldwin’s lecture on Cinema Povera and his uncomfortability with actually talking about his own process. Bradley Eros brought in a chorus of poets and performers to accompany him as he stood in the back of the room and spoke in the darkness. Carolee Schneemann gave a lecture that was both introspective and hilarious at time minutes after she had fallen downstairs and broken her hip. MM Serra gave a wonderful lecture that included her own feminist journey exploring her embrace of the erotic image. And Jonas Mekas spoke to us for three hours, without notes or any films whatsoever – about everything from the history of underground cinema in NYC to his own approach to the camera. There were so many people we had to create an overflow hall where the audience watched Jonas on the screen. I would like to dedicate tonight’s program to Barbara, Carolee and Jonas, dear friends, and loving artists."

With additional introductions by poet Lee Ann Brown and UGFTV teacher Darrell Wilson.

Nathaniel’s lecture begins after 17 minutes and 30 seconds of introductions.  At the very first moments of Nathaniel’s speaking there are some audio dropouts, but that problem is soon corrected.

Darrell Wilson (born July 28, 1958) is an American football coach who is the defensive coordinator for the Wagner Seahawks football team. Prior to Wagner, Wilso...

Those that disagreed with the results of the O.J. Simpson trial did not, as far as I know, make public menaces of themselves.  The same cannot be said of those expressing their outrage at the decision rendered by the grand jury in the Darrell Wilson case.  They have not confined the expressions of their doubts to the living room or to the office cubicle as was the case after the O.J. Simpson trial.  They have taken to the streets, disrupted normal intercourse, and destroyed property.  That is, they have resorted to breaking the law.  All because THEY KNOW exactly what happened in Ferguson, Missouri, on August 9, 2014.

None of these people witnessed the events of August 9, of course.  Nor did they serve on the grand jury, in which circumstance they would have heard all testimony and seen all the evidence.  So to what must we attribute their omniscience?  What is their source of information?

Their “evidence” was what they had gathered via the media. What we call the media is composed of corporations whose purpose is to make money.  It is, therefore, in the interest of these corporations to stir up controversy because it increases the number of their viewers (television), listeners (radio), and readers (the traditional press) and this enables them to draw advertising money, which is the purpose of their businesses.  Thus, to the media, hype is more valuable than truth and justice.  There is little to distinguish between the National Enquirer and the New York Times.  Both carry in their blood the corporate genes one could find in the Hearst and Pulitzer enterprises, whose shenanigans conducted in the final years of the 19th Century laid down precedents still practiced today.  In fact, journalism is yellower than it was 130 years ago.

 Their minds shaped by, and their ideas finding their source in, the media, the members of the street jury are convinced they know THE TRUTH.  But truth is always the first casualty when it is not first on the agenda.  And truth is no more on the agenda of Prince Mob than of King Media.  We have the judicial system we have because we decided that a posse, a lynch mob, and a self-appointed spokesman for “the people” seldom arrive at the truth and therefore could not be trusted to render justice.

THOSE THAT KNOW THE TRUTH, however, have no time for the engine of civilized justice to do its work.  They have no time for reasoned argument.  They have no time for reasoned assessment.  They have no time for reasonable doubt.  Why should they wait for these dilatory tactics?  THEY KNOW THE TRUTH and THOSE THAT KNOW THE TRUTH cannot be deceived by facts.  So suspects are tried in the media.  Talking hair-dos become prosecuting attorneys (or defense attorneys if the search for advertising dollars leads them in that direction) and street hooligans replace juries.  The freedom of the press and the freedom of assembly trump the rights of a man to a fair trial.