Hollis Frampton Movies

(Formerly titled "VERNAL EQUINOX," 5 minute excerpt of Part 1 on the Criterion disc) "...Frampton explores human movement in relation to the film...

Shot at a steel mill, Winter Solstice is full of outpourings of fire, of smoke, of sparks, of molten metal — all erupting against an otherwise...

A series of papers flutter in the wind.

Poetic Justice presents the viewer with an ordinary domestic scene: a stack of papers, a cup of coffee, and a potted cactus on a table. The sheets of...

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

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown...

While working at a photo lab, Frampton found that the waste at both ends of the rolls of processed film—where chemicals worked on the emulsion...

"...Frampton travels to the purported birthplace of the Eisensteinian model of cinema, the fairground, with its 'montage of attractions'...ambulating...

Short film by Hollis Frampton

Frampton on Information: "Hypothetical 'first film' for a synthetic tradition constructed from scratch on reasonable principles, given: 1) camera; 2)...

Upward shot from the ground perspective of a silo.

Scottish physicist James Clerk Maxwell's classic theory about the behavior of gas molecules is represented on-screen by a man performing a series of...

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

“This film metaphors an entire human life: birth, sex, death – the framing device is the fingers and palm of the maker’s hand,...

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

This performance piece by filmmaker Hollis Frampton, recorded in 1968 in New York City, features the voice of artist Michael Snow. Frampton would...

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

"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown...