Movies: Hollis Frampton

“A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.” – HF...

“A portrait of the filmmaker, Paul Sharits, in particular response to energies he generated one May afternoon in 1971.” –Hollis Frampton...

“Geometric animation made entirely by sculptural methods: cutting, punching, welding colored leader. HETERODYNE is related to some of my other work as RNA to a protein or polypeptide. It was made in abject (if blissful) ignorance of Paul Sharits’ ear...

Begins with landscape/sunset thru mist, ends with window sill....

Upward shot from the ground perspective of a silo....

This performance piece by filmmaker Hollis Frampton, recorded in 1968 in New York City, features the voice of artist Michael Snow. Frampton would place a tape deck at the front of a room, press play, and walk to the back to run a 16mm projector. Pres...

By stripping the sound from a pre-existing instructional film, Frampton conjures, with an economy of means, the everyday movements then being explored by the Judson Dance Theater. "I bought this film in a Canal Street junk shop for $1.00 and found my...

An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus....

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Filmed in a slaughterhouse in South St. Paul, MN… Frampton utilizes a shooting strategy that flattens and pictorializes a palpable space of action that includes not only cattle (now seen hanging from huge meathooks), but even on occasion, figures....

A film of multiple superimpositions, utilizing the images of Solariumagelani (Summer Solstice, Autumnal Equinox, and Winter Solstice) (1974) overlaid with the hexagonal shapes that recur throughout Frampton's Magellan cycle....

Grand Opera marks a stock-taking of Benning's work and his life, presenting a personal and artistic autobiography woven together with a series of events dealing with the historical development of the number pi, Benning's travels, and homages to Micha...

“This film metaphors an entire human life: birth, sex, death – the framing device is the fingers and palm of the maker’s hand, wherein others only attempt to read the future.” – Stan Brakhage...

"In PUBLIC DOMAIN...(Frampton) recapitulates cinema's infancy in a series of direct quotes from such notable primitive works as RECORD OF A SNEEZE (FRED OTT'S SNEEZE) and SANDOW FLEXING HIS MUSCLES, two 1894 Edison kinetoscopic shorts, as well as lit...

"No, not the United etc. but the conditions, forms in which things exist. Somewhat abstracted, a solid, a liquid and a gas: salt, milk and smoke: falling, pouring and rising are the stars of this classical film. Sheets, streaks and wisps, the protago...

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"This film is composed of different and relatively commonplace subjects, but each image is a super-imposition ('double exposure') of two similar shots of the same subject, almost in the same position. The effect is amazing: one's gaze at the image be...

Frampton on Information: "Hypothetical 'first film' for a synthetic tradition constructed from scratch on reasonable principles, given: 1) camera; 2) rawstock; 3) a single bare lightbulb. I admit to having made a number of splices."...

Short film by Hollis Frampton...

Frampton on Apparatus Sum: "A brief lyric film of death, which brings to equilibrium a single reactive image from a roomful of cadavers."...