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Stephen Dwoskin
The films of Stephen Dwoskin defy classification. While his authorship signature is the handheld camera or, in some longer films, the tripod camera's steady gaze, he has moved across many genres in more than forty years as an artist filmmaker.

His early short films, which are still influential, bear the hallmarks of the lyrical/poetic underground style, but even here there is generic cross-over which gets more pronounced over time. In Chinese Chequers the exotic and erotic flow of Ron Rice or Jack Smith meets up with Warhol's cool and disengaged eye, here given a Brakhagean intensity. Dwoskin fused these elements and made them his own. He is not however a 'mythic' filmmaker, in either the grand American tradition or that of the UK 's masters of long-form anti-narrative, such as David Larcher and Malcolm Le Grice. Instead, overarching myth is replaced by a more personal and earth-bound sense of fantasy or waking dream.

Working across the genres appeared early on, most wittily in Dirty, which mixes the rough-edged style of the underground with porn scenes of two girls on a bed. The sense of play that runs through the film is characteristic. Later, even shots of near-taboo action - from a naked woman putting on Dwoskin's (callipers) in Outside In to the violent fantasies of sex and death in Intoxicated By My Illness - are invested with glimpses of humour that undermine any attempt at high seriousness or direct realism.

Still from Dirty by Stephen Dwoskin, 1965
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