Jerome Hiler Movies, TV Shows, and Filmography
Jerome Hiler
Directing
Biography
Jerome Hiler began his creative life as a painter and was a student of Natalia Pohrebinska at Pratt Institute. Within a few years, Mr. Hiler became enthralled with the visual and poetic possibilities of 16mm experimental film. In particular, his encounter with the films of Marie Menken, Gregory Markopoulos and Stan Brakhage deeply affected his own artistic path. It completely changed the focus of his creative energies and led to decades of work as a filmmaker. For most of his life, Mr. Hiler only screened his work among his circle of friends. However, from 1995 on, his work has been seen more publicly. He has shown his films at London's LUX film series, the San Francisco Film Festival, many seasons at the New York Film Festival, the London Film Festival and was selected by the Whitney Museum of American Art to participate in the 2012 Biennial for a week of screenings. Throughout his career, Mr. Hiler has also worked on feature films and documentaries. In the documentary field, he has worked either as photographer, editor or director and, occasionally, all three. Mr Hiler also works in the field of stained glass, which he considers a sister-art to film. Under the title CINEMA BEFORE 1300, he has presented slide lectures on medieval glass, culled from his extensive collection of photographs on the subject at the Yerba Buena Center for the Arts, Princeton University and The Art Gallery of Toronto. Mr. Hiler brought his love of classical music together with film in working as co-director on MUSIC MAKES A CITY.
Filmography Movies
Acting
Cinema Before 1300
More than eight hundred years ago, a confluence of technological, philosophical, and financial upswellings converged to create the most advanced form of mass media the world had known: stained glass. Jerome Hiler’s passion for medieval stained glass impacted his filmmaking practice and led to a fascinating evolving lecture, “Cinema Before 1300”
New Shores
NEW SHORES is a sister film to IN THE STONE HOUSE in many ways. Like the latter film, it consists of earlier footage edited in recent years. It could be seen as a sequel to IN THE STONE HOUSE especially since it begins with a cross-country journey to the West Coast, where I settled, and concludes with a visit, in 1987, to the “stone house” in rural New Jersey. Even though there is some sort of time line that can be imagined, the film stands on its own. It is simply a series of episodes that touch upon facets of living in a new area with new weather, new people, new identities and stubborn old fears. The Bolex camera goes to work across landscapes and living areas, workplaces and gatherings. A dance of images: can beauty partner with dread and death? It’s a film of the coexistences that percolate beneath the surface of ordinary events. A film of useless hopes and baseless fears.
Intimations
The fourth of the “cinematic songs,” followed by two new works “made by someone closer to passing on, by someone whose sense of life and sense of cinema have become inseparable in a very real way.”
Hours for Jerome
The recording of the daily events of Dorsky and his partner, artist Jerome Hiler, around Lake Owassa in New Jersey and in Manhattan. The two parts of the films revolve around the four seasons with the first part revolving around spring through summer, while the second part revolves around fall through winter.
Divided Loyalties
Warren Sonbert described Divided Loyalties as a film 'about art vs. industry and their various crossovers.' According to film critic Amy Taubin, "There is a clear analogy between the filmmaker and the dancers, acrobats and skilled workers who make up so much of his subject matter." -- Jon Gartenberg. Preserved by the Academy Film Archive in partnership with Estate Project for Artists with AIDS in 1998.
Letter to D.H. in Paris
Stoned people, music, movement, fields.
Holiday
Experimental short subject preserved by the Academy Film Archive, in partnership with Estate Project for Artists with AIDS, in 1998.
Production
Music Makes a City: A Louisville Orchestra Story
In 1948, a small, struggling, semi-professional orchestra in Louisville, Kentucky began a novel project to commission new works from contemporary composers around the world.
Cinema Before 1300
More than eight hundred years ago, a confluence of technological, philosophical, and financial upswellings converged to create the most advanced form of mass media the world had known: stained glass. Jerome Hiler’s passion for medieval stained glass impacted his filmmaking practice and led to a fascinating evolving lecture, “Cinema Before 1300”
Misplacement
“Misplacement” focuses on a social event — it looks like a funeral — with an implied but withheld story. The people Mr. Hiler films are familiar and yet elusive, animated by light and gone too soon.
Words of Mercury
Words of Mercury is a silent film projected at 18fps. It has many layers of super-impositions which were all shot in the camera. It moves from a stark wintery world and slowly develops into a place of overgrowth and richness that is almost suffocating and re-invites death.
Library
Initially titled "Books for all". A moving institutional commission in which the filmmakers lovingly portray New Jersey's public library system.
Bagatelle II
“With Bagatelle II, I seem to have come full circle by returning to the so-called polyvalent style of my earliest film endeavors from 50 years ago. The film actually includes material from all the intervening decades. It’s both up to the moment yet life-spanning, with a thread of deep affection for the special characteristics of 16mm film.” —Jerome Hiler
Target Rock
Commissioned by Frederick Eberstadt
Music Makes a City: A Louisville Orchestra Story
In 1948, a small, struggling, semi-professional orchestra in Louisville, Kentucky began a novel project to commission new works from contemporary composers around the world.
Music Makes a City: A Louisville Orchestra Story
In 1948, a small, struggling, semi-professional orchestra in Louisville, Kentucky began a novel project to commission new works from contemporary composers around the world.
New Shores
NEW SHORES is a sister film to IN THE STONE HOUSE in many ways. Like the latter film, it consists of earlier footage edited in recent years. It could be seen as a sequel to IN THE STONE HOUSE especially since it begins with a cross-country journey to the West Coast, where I settled, and concludes with a visit, in 1987, to the “stone house” in rural New Jersey. Even though there is some sort of time line that can be imagined, the film stands on its own. It is simply a series of episodes that touch upon facets of living in a new area with new weather, new people, new identities and stubborn old fears. The Bolex camera goes to work across landscapes and living areas, workplaces and gatherings. A dance of images: can beauty partner with dread and death? It’s a film of the coexistences that percolate beneath the surface of ordinary events. A film of useless hopes and baseless fears.
Gallery
