Stephen Dwoskin (1939-2012) by Jim Hoberman in Blouin Artinfo

"Returning from holiday, I got word that the American avant-garde filmmaker Steve Dwoskin had died June 28 in London, his home for nearly five decades. Dwoskin, a trained graphic artist before he picked up a camera, was a filmmaker for whom the underground movies of the early ‘60s proved a life-changing influence and whose own work would have a decisive effect on the British film theorists of the early ‘70s. A true believer in the liberating power of the medium, he was also the author of an impassioned, programmatically cosmopolitan, personal history of avant-garde cinema, “Film Is: The International Free Cinema,” first published in 1975..."


Sous le ciel de Dwoskin. À propos de The Sun and the Moon by Philippe Gandrieux

Trafic #76, Winter 2010, P.O.L.


Stephen Dwoskin : praise for a quest. Another’s body as one’s presence. by Gloria Morano

Since the 1960s, Stephen Dwoskin has obsessively examined the relationship between the feminine body and the masculine perception. He uncovers the most disparate rituals, the performances that are both extraordinary and minimalist, the least-shared intimacy, the infinite series of possible abstractions. For almost fifty years, Dwoskin’s work has continually disturbed, even scandalized. It has been accused of misogyny or pornography and, at the same time, has profoundly affected viewers, upset them, and
undermined their approach to the body being filmed.

Asleep, Me, myself and I, Dirty, Intoxicated by my illness, Phone Strip


Oblivion de Stephen Dwoskin : la défonce de l’infini by François Albera

Dwoskin a « adapté » Ma Mère de Georges Bataille — « mixée » avec le Docteur Faustroll d’Alfred Jarry — dans Further and Particular ; voici qu’avec Oblivion (2005), il adapterait Le Con d’Irène d’Aragon. Peut-être. Relevons plutôt que dans ce film, le dernier qu’il a réalisé à ce jour, une femme assez austère tient dans ses mains une édition à jaquette noire de ce livre2 : qu’elle le lit. Comme Brigitte Bardot dans Le Mépris ou Belmondo dans Pierrot le fou lisaient, dans leur bain, qui le Fritz Lang de Moullet qui L’Histoire de l’art d’Elie Faure.



Notes on trying to kiss the Moon an autobiography by Stephen Dwoskin by Ros Mitchelmore - 1994

If you ask a film maker to produce his autobiography he will invariably think of writing the book, but not
if he, believing that visual images are more potent than words, uses the camera and film making as an
intimate and integral form of self and shared expression. For Stephen Dwoskin, the film camera
becomes an extension of self in a way that few, ...

Trying to kiss the moon


Stephen Dwoskin: the poetry of �hinderedness" by François Albera

Dwoskin's films of the 1960s and 1970s are the work of a human camera, with a prosthetically assisted gaze, which is hindered (behindert) not in the politically correct sense of the expression ‘physically challenged’ ...

Asleep, Alone, Naissant, Soliloquy, Take Me, Moment, Trixi, Jesus Blood, Chinese Checkers, Me Myself and I, Tod und Teufel


The hungry cinema of Stephen Dwoskin by Adrian Martin - 2007 QUATERLY

The first strinking impression created by the five DVD set Stephen DWOSKIN (Les Films du Renard) is the immense variety of modes and forms with which the director works.

Outside In, Dyn Amo, Lost Dreams, Dirty, Take Me, Dear Frances, Dad, Tod und Teufel, Trying to kiss the Moon, Intoxicated by my illness, Behindert, Pain is...


Times for by Hans - VARIETY

"Times for" was to be shown at the last Edinburgh festival but, allegdly for reasons of obscenity, was not given the greenlight.

Times For


Film is by Scott Hammen - 1975 AFTER IMAGES

My own feelings about both Sitney's and Mekas's books are very positive, but Dwoskin has something unprecedented to offer...