Hollis Frampton
Hollis Frampton is known for the broad and restless intelligence he brought to the films he made, beginning in the early '60s, until his death in 1984. In addition to being an important experimental filmmaker, he was also an accomplished photographer and writer, and in the 1970s made significant contributions to the emerging field of computer science. He is considered one of the pioneers of what has come to be termed structuralism, an influential style of experimental filmmaking that uses the basic elements of cinematic language to create works that investigate film form at the expense of traditional narrative content. Along with Michael Snow and Stan Brakhage, he is one of the major figures to emerge from the New York avant-garde film community of the 1960s.
Artificial Light (1969)
Artificial Light repeats variations on a single filmic utterance twenty times. The same phrase is a series of portrait shots of a group of young New York artists talking, drinking wine, laughing, smoking, informally. The individual portrait-shots follow each other ... (more)
Artificial Light repeats variations on a single filmic utterance twenty times. The same phrase is a series of portrait shots of a group of young New York artists talking, drinking wine, laughing, smoking, informally. The individual portrait-shots follow each other ... (more)
Hapax Legomena III: Critical Mass
(1971)
A man and a woman have been living together for six months. After disappearing for two days, the man returns and acts as if nothing has happened, refusing to say where he was. (more)
A man and a woman have been living together for six months. After disappearing for two days, the man returns and acts as if nothing has happened, refusing to say where he was. (more)
Hapax Legomena IV: Travelling Matte (1971)
“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 (more)
“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 (more)
Public Domain (1972)
"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 literal pieces of ... (more)
"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 literal pieces of ... (more)
Hapax Legomena VII: Special Effects (1972)
“The frame itself, which divides what is present to consciousness from what is absolutely elsewhere, is tempered here by the breath, tremor, heartbeat of the perceiver. People this given space, if you will, with images of your own devising.” – HF (more)
“The frame itself, which divides what is present to consciousness from what is absolutely elsewhere, is tempered here by the breath, tremor, heartbeat of the perceiver. People this given space, if you will, with images of your own devising.” – HF (more)
Hapax Legomena VI: Remote Control (1972)
“A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.” – HF (more)
“A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.” – HF (more)
Hapax Legomena II: Poetic Justice
(1972)
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 paper compose a script that provides handwritten, frame-by-frame instructions for a film that unfolds only in the ... (more)
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 paper compose a script that provides handwritten, frame-by-frame instructions for a film that unfolds only in the ... (more)
Tiger Balm (1972)
"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive ... (more)
"After two years of massive didacticism in black-and-white [Hapax Legomena (1971-72)], I am surprised by Tiger Balm, lyrical, in color, a celebration of generative humors and principles, in homage to the green of England, the light of my dooryard… and consecutive ... (more)
Apparatus Sum (1972)
Frampton on Apparatus Sum: "A brief lyric film of death, which brings to equilibrium a single reactive image from a roomful of cadavers." (more)
Frampton on Apparatus Sum: "A brief lyric film of death, which brings to equilibrium a single reactive image from a roomful of cadavers." (more)
Hapax Legomena V: Ordinary Matter (1972)
"A vision of a journey, during which the eye of the mind drives headlong through Salisbury Cloister (a monument to enclosure), Brooklyn Bridge (a monument to connection), Stonehenge (a monument to the intercourse between consciousness and LIGHT)... visiting along ... (more)
"A vision of a journey, during which the eye of the mind drives headlong through Salisbury Cloister (a monument to enclosure), Brooklyn Bridge (a monument to connection), Stonehenge (a monument to the intercourse between consciousness and LIGHT)... visiting along ... (more)
Less (1973)
"Near the end of 1973, Frampton realized that he had not finished a single film over the course of a year. He promptly conceived and executed LESS, a doubly punning work in which a minimalist Frampton generates a twenty-four frame (one-second) loop of the ... (more)
"Near the end of 1973, Frampton realized that he had not finished a single film over the course of a year. He promptly conceived and executed LESS, a doubly punning work in which a minimalist Frampton generates a twenty-four frame (one-second) loop of the ... (more)
Pan 700
(1974)
A series of ghost-like vehicles drive by in this short film by Hollis Frampton. (more)
A series of ghost-like vehicles drive by in this short film by Hollis Frampton. (more)
Pan 698
(1974)
The camera pans across a field of flowers at extreme speeds in this short film by Hollis Frampton. (more)
The camera pans across a field of flowers at extreme speeds in this short film by Hollis Frampton. (more)
Pan 697
(1974)
A butchered cow is decapitated in this short film by Hollis Frampton. (more)
A butchered cow is decapitated in this short film by Hollis Frampton. (more)
Pan 2 (1974)
Rain falls and reflects the light in this short film by Hollis Frampton. (more)
Rain falls and reflects the light in this short film by Hollis Frampton. (more)
Pan 0 (1974)
Clouds roll by in a static haze in this Hollis Frampton short film. (more)
Clouds roll by in a static haze in this Hollis Frampton short film. (more)
Pan 1
(1974)
A pendulum swings by until it comes to a complete stop in this Hollis Frampton short film. (more)
A pendulum swings by until it comes to a complete stop in this Hollis Frampton short film. (more)
Pan 699
(1974)
A little boy celebrates his frog catch in this short film by Hollis Frampton. (more)
A little boy celebrates his frog catch in this short film by Hollis Frampton. (more)