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The first collection of critical writing on the work of experimental filmmaker Hollis Frampton. Hollis Frampton (1936–1984) was one of the most important experimental filmmakers and theorists of his time, and in his navigation of artistic media and discourses, he anticipated the multimedia boundary blurring of today’s visual culture. Indeed, his photography continues to be exhibited, and a digital edition of his films was issued by the Criterion Collection. This book offers the first collection of critical writings on Frampton’s work. It complements On the Camera Arts and Consecutive Matter, published in the MIT Press’s Writing Art series, which collected Frampton’s own writings. October was as central to Frampton as he was to it. He was both a frequent contributor—appearing in the first issue in 1976—and a frequent subject of contributions by others. Some of these important and incisive writings on Frampton’s work are reprinted here. The essays collected in this volume consider Frampton’s photographic practice, which continued even after he turned to film; survey his film work from the 1960s to the late 1970s; and explore Frampton’s grounding in poetics and language. Two essays by the late Annette Michelson, one of the twentieth century’s most influential writers on experimental film, place Frampton in relation to film and art history. Contributors George Derk, Ken Eisenstein, Hollis Frampton, Peter Gidal, Barry Goldensohn, Brian Henderson, Bruce Jenkins, Annette Michelson, Christopher Phillips, Melissa Ragona, Allen S. Weiss, Federico Windhausen, Lisa Zaher, Michael Zryd
Hollis Frampton was an American filmmaker, photographer, and theorist who bridged the experimental film and contemporary art worlds in the 1960s and 1970s. Best known for avant-garde films including Zorns Lemma (1970) and (nostalgia) (1971), Frampton spent his later years working on the unfinished epic Magellan, a monumental cycle that used the metaphor of Ferdinand Magellan’s circumnavigation of the world to rethink the natures and meanings of history, modernity, and cinema. Frampton’s career was cut short by cancer at age 48, with his vast ambitions for the project left incomplete. This book is a groundbreaking and comprehensive account of this remarkable figure’s work in its totality, from Frampton’s earliest films through Magellan. Michael Zryd explores the connections linking Frampton’s art and thought to other media forms, histories, and cultural frameworks. He foregrounds Frampton’s notion of the “infinite cinema,” which redefined the parameters of the medium to encompass all forms of moving image and sound media across the past and future of cinematic possibility. Zryd analyzes Frampton’s ambivalent relationship with modernism and the Enlightenment, showing how the artist navigated between attraction to radical artistic investigation and awareness of this tradition’s implication in colonialism and other oppressive power structures. Shedding new light on Frampton’s project of exploring and critiquing how cinema attempts to capture and understand the world, this book also considers his significance for contemporary art.
The collected writings of artist and filmmaker Hollis Frampton, including all the essays from the long-unavailable Circles of Confusion along with rare additional material.
Hollis Frampton: Recollections/Recreations presents the full range of Frampton's photographic work.
Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussed span the sixty years since the Second World War. With three chapters each devoted to Stan Brakhage and Robert Beavers, two each to Hollis Frampton and Jonas Mekas, and single chapters on Marie Menken, Ian Hugo, Andrew Noren, Warren Sonbert, Su Friedrich, Ernie Gehr, and Abigail Child, Eyes Upside Down is the fruit of Sitney's lifelong study of visionary aspirations in the American avant-garde cinema.
An ambitious and original work which uses early film theory, anthropological insights, and avant--garde film to explore the relation of cinema to ritual healing.
Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces—worlds built to build worlds. Yet, despite being icons of corporate identity, studios have faded into the background of critical discourse and into the margins of film and media history. In response, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, this unique collection tells new stories about studio icons—Pinewood, Cinecittà, Churubusco, and CBS—as well as about the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton.