Robert Nelson

A continuous dissolve of 87 male and female nudes. "The film's fascination lies with the suspense of that magic moment, halfway between two persons, when the dissolve technique produces composite figures, oftentimes hermaphroditic, that inspires awe for the mystery of the human form." - B. Ruby Rich, Chicago Art Institute

A ‘film wake’. Though celebratory in mood, it has a mournful subtext… death and dying. We dedicated it to Dr. Sam West, departed friend and patron of the arts, trusting that his ghost would approve our hi-jinx and seeming irreverence. Preserved by the Academy Film Archive in 2002.

A feature-length documentary directed by Dorothy Wiley and Gunvor Nelson about five working San Francisco artists: William T. Wiley, Robert Hudson, William Allan, William Geis and Robert Nelson-- A profile of five friends and their creative processes.

“When Picasso died I wanted to make the first post-mortem documentary, as I knew would happen anyway, and cheaply. The film took four hours to finish from camera to print and cost a little under $5." Preserved by the Academy Film Archive in 2008.

The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time. —Andy Ditzler. Preserved by the Academy Film Archive in 2002.

George visits underground filmmaker Robert Nelson in Milwaukee, and they brave the cold on Lake Michigan.

A black-and-white travel journal, in which the themes of memories and their relationship to the past suddenly catch up and rush away from us. The film is based on a series of portraits of American artists, all of whom belong to a young and politicized generation, presented in static tableaus from their studios, films and home environments.

"Even when we know the game is an illusion, the experience of Bleu Shut is entirely a pleasure: the ‘game’ is fun, the Nelson/Wiley debates, infectiously funny; and Nelson’s choice of imagery, quirky and amusing. Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life." –Scott MacDonald

A ‘film wake’. Though celebratory in mood, it has a mournful subtext… death and dying. We dedicated it to Dr. Sam West, departed friend and patron of the arts, trusting that his ghost would approve our hi-jinx and seeming irreverence. Preserved by the Academy Film Archive in 2002.

[1970/2003, color, 7.5 min] Experimental short film preserved by the Academy Film Archive in 2007.

Experimental filmmaker Robert Nelson brings his characteristic wit to this restaging of the famous “play rehearsal” scene from Hamlet, breaking down the barriers between film, theatre, performance, and creation. “Hamlet Act demonstrates what can be done when a film text is made to oppose a theatrical text, creating a new synthesis. . . Hamlet, caught in the web of psychological forces, is seen through his position between film/video/theatre, as a metaphor for contemporary technology.

A chaotic film featuring the Grateful Dead. The songs that are included are Sitting on Top of the World, Good Morning Little Schoolgirl, Cold Rain and Snow, and something that might be Viola Lee Blues. Preserved by the Academy Film Archive in 2007.

"Special Warning is like a poem more than a narrative or story. It suggests states of isolation, barrenness, sexual guilt and sin, but even these punishing afflictions can have a humorous aspect when accompanied by horns." (Robert Nelson)

The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time. —Andy Ditzler. Preserved by the Academy Film Archive in 2002.

“In their starkly minimal film, The Awful Backlash, directors Robert Nelson and William Allan, focus solely on a pair of hands as they begin to unravel what appears to be a tangled fishing line. Any further evidence of the title’s confusing ‘awfulness’ – other than the literal disentanglement of the line remains, however, tentative, left as it were, literally, at a loose end. The viewer knows nothing of the incident that led to this backlash or entanglement; nor of the directors’ initial motive for the title indeed not of any other attempt at blending an additional storyline beyond what is seen. There is, perhaps, one link with a reverse reaction – a sense of gradual recovery taking place, as the thread unfolds from a position of multiplicity back to a singular line.” (Pamela Kember, Rethinking Refunctioning, ‘Awful Backlash’ catalogue, May 2000) Preserved by the Academy Film Archive in 2005.

"Nelson experiments with presenting his viewer with the two sides of every subject in a dense visual masterwork of stark superimpositions." (Mark Toscano) "An experiment in group portraiture in which we are simultaneously seeing opposite sides of the sitters# heads. Probably not a solution for every group portrait, but a distinctive result has been achieved here nonetheless." (Q.A. Standish)

Shooting in 1966 without script, story, or any narrative preconception, Nelson and Wiley created a masterwork of ‘60s independent cinema. The Great Blondino follows an anachronistically attired young fellow as he navigates a beguiling, sometimes troubling world with a curiosity that opens us wide to the filmmakers’ inspired, freeform vision. In many ways, the wonder of Blondino may echo the excitement of invention and exploration that Nelson and Wiley experienced in the making of the film. Utterly exuberant and freed from rote cinematic restriction, it embodies an artistic rigor and direction that also prevents it from ever seeming too unhinged. An incredible feat of tightrope walking. —Mark Toscano. Preserved by the Academy Film Archive in 2009.

A kinetic film sketch designed to involve the viewers muscles. The rocky seaside cliffs near Stinson Beach, California, hold the wrecked carcass of a #52 pickup that is a rusting monument to Hot Leatherette. Preserved by the Academy Film Archive in 2005.

A film by Robert Nelson

A film by Robert Nelson

"I'm definitely not interested in passing along intellectual information about California. There's plenty of that everywhere. I'm trying to get at some feeling state." (Robert Nelson, from A Critical Cinema (1988), by Scott MacDonald, interviewed 1981-82)

The first part of what was intended to be a three-part experimental travelog for Nelson’s home state of California, this film covers the Mexican border, Death Valley, and Hollywood/Los Angeles.

Recurrent themes of violence, sex and TV commercials. Preserved by the Academy Film Archive in 2004.

Hauling Toto Big is a dense and ecstatic work of fragmented narratives, dream states, chaos and serenity… a culmination of Nelson’s cinematic interests. Winner of the Grand Prize at the 1998 Ann Arbor Film Festival.

A film by Robert Nelson

A film by Robert Nelson

Made by Robert Nelson and William Allan in cooperation with KQED-TV San Francisco. Starring an ensemble cast that includes Bill Gourley, Bruce Nauman, Nelson, Allan, and a host of others. "War is Hell is such a delicate blending of cinematic cliches, extremely realistic views of war (the effects on the individuals), and vaudeville blackouts, that I still cannot understand how they have managed to make it work and work so well." (from a letter received by a TV station that showed War is Hell)

A film by Robert Nelson. Preserved by the Academy Film Archive in 2011.

Nelson sets minimal, repetitive imagery against a looping recording of his daughter Oona, which goes gradually from sweet to curious to mysterious to cacophonous as the loops overlap each other. Since its premiere alongside The Great Blondino and other shorts in April 1967, the film has rarely been seen. It stands out as a more textural piece from Nelson, which, rather than retreating into pure abstraction or bland trippiness, subtly transmits an undercurrent of its ominous source material. —Mark Toscano. Preserved by the Academy Film Archive in 2010.

Commissioned by the San Francisco Mime Troupe as a short to be screened during intermission for its rather infamous 1965 Minstrel Show (Civil Rights from the Cracker Barrel), which assaulted racial stereotypes by wildly exaggerating them. Scored by Steve Reich. Preserved by the Academy Film Archive in 2007.

Commissioned by the San Francisco Mime Troupe as a short to be screened during intermission for its rather infamous 1965 Minstrel Show (Civil Rights from the Cracker Barrel), which assaulted racial stereotypes by wildly exaggerating them. Scored by Steve Reich. Preserved by the Academy Film Archive in 2007.