Polling the films of director Hollis Frampton
The rules:
- your list can include no more than half of the Frampton films you've seen, up to a maximum of 5. So if you've seen seven of his films, for example, you can list only a top 3. It's only if you've seen ten or more of his films than you can list the maximum of five.
- i'll assume ballots are ranked unless you tell me otherwise. unranked ballots are fine.
- deadline for ballots: next Friday, in seven days, whatever day that is
- if anyone is watching films for these polls, then i'll extend the deadline up to three days, if someone requests an extension
- next poll: whoever posts the first ballot in this thread is free to nominate the director we poll next, unless you've nominated in this round already (everyone should get a chance). Already nominated this round: greennui, bure, roscoe, kanafani, greg x, silga, oscarwerner, john ryan, mrcarmady, umbugbene, evelyn, m arkadin
umbugbene created an index on letterboxd of all of our previous polls here: letterboxd.com/umbugbene/list/index-of-all-scfz-director-polls/
one rule for nominees: at least 3 scfzers need to have seen 10+ of a nominee's films, or at least 4 scfzers need to have seen at least 8 of the nom's films, so if it isn't clear if that will be the case, we'll confirm that's true before moving forward
if 24 hours pass after a poll opens, and no one eligible to nominate has posted a ballot, then i'll nominate someone, and then we'll start over, and everyone will be able to nominate again
SCFZ poll: Hollis Frampton
we'll use the extended rules for this:
- if you have seen an odd number of films, you can round up instead of down when deciding the length of your ballot (e.g. if you've seen 7, you can list a top 4 rather than the usual top 3)
- if you have seen more than 10 films, you can list more than 5, subject to the restriction above. so if you have seen 13, you can list up to 7 films... and please do! that will help us get to a top ten
- if you have seen an odd number of films, you can round up instead of down when deciding the length of your ballot (e.g. if you've seen 7, you can list a top 4 rather than the usual top 3)
- if you have seen more than 10 films, you can list more than 5, subject to the restriction above. so if you have seen 13, you can list up to 7 films... and please do! that will help us get to a top ten
Process Red
Lemon
Surface Tension
Information
seen seven
Lemon
Surface Tension
Information
seen seven
35.
Hapax Legomena II: Poetic Justice
Hapax Legomena I: (nostalgia)
Lemon
Not the First Time
Manual of Arms
Winter Solstice
Pan 4
Hapax Legomena II: Poetic Justice
Hapax Legomena I: (nostalgia)
Lemon
Not the First Time
Manual of Arms
Winter Solstice
Pan 4
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Evelyn Library P.I.
- Posts: 1370
- Joined: Thu Dec 20, 2018 10:36 pm
Seen 5.
1. Hapax Legomena I: (nostalgia) (1971)
2. Gloria! (1979)
1. Hapax Legomena I: (nostalgia) (1971)
2. Gloria! (1979)
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Monsieur Arkadin
- Posts: 423
- Joined: Mon May 27, 2019 5:56 pm
Seen 15
Hapax Legomena I: (nostalgia)
Surface Tension
Process Red
Maxwell's Demon
Pan 4
I've not listed more (for the time being) because I have a very complicated relationship with Frampton's films. I greatly dislike many of them. I went to art school and have seen so much of this type of art that is always defended by a phrase like "I just felt it was interesting gesture" that I sometimes go a little insane with frustration.
On the other hand... when he gets it right, he REALLY gets it right. (nostalgia) alone is a really amazing piece (that features an incredible gesture if I do say so myself.) And he often has an uncanny ability to build some absolutely ethereal imagery that stays with you.
Hapax Legomena I: (nostalgia)
Surface Tension
Process Red
Maxwell's Demon
Pan 4
I've not listed more (for the time being) because I have a very complicated relationship with Frampton's films. I greatly dislike many of them. I went to art school and have seen so much of this type of art that is always defended by a phrase like "I just felt it was interesting gesture" that I sometimes go a little insane with frustration.
On the other hand... when he gets it right, he REALLY gets it right. (nostalgia) alone is a really amazing piece (that features an incredible gesture if I do say so myself.) And he often has an uncanny ability to build some absolutely ethereal imagery that stays with you.
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Holdrüholoheuho
- Posts: 3200
- Joined: Sat Sep 05, 2020 12:30 am
- Location: Prague, Bohemia
1. Hapax Legomena I: (nostalgia)
2. A and B in Ontario
3. Hapax Legomena III: Critical Mass
4. Snowblind
5. Prince Ruperts Drops
Palindrome [Second Dream]
Lemon
Process Red
Gloria!
Noctiluca (Magellan's Toys: #1)
Information
Heterodyne
Matrix [First Dream]
CARROTS & PEAS
NOT THE FIRST TIME
STATES
TIGER BALM
5/ MAXWELL'S DEMON
LESS
APPARATUS SUM
THE BIRTH OF MAGELLAN: CADENZA I
SURFACE TENSION
10/ PAN 0
PAN 1
Pan 2
Pan 3
PAN 4
15/ ARTIFICIAL LIGHT
ZORNS LEMMA
MANUAL OF ARMS
HAPAX LEGOMENA II: POETIC JUSTICE
https://youtu.be/TRFJ2KJr2fk
2. A and B in Ontario
3. Hapax Legomena III: Critical Mass
4. Snowblind
5. Prince Ruperts Drops
Palindrome [Second Dream]
Lemon
Process Red
Gloria!
Noctiluca (Magellan's Toys: #1)
Information
Heterodyne
Matrix [First Dream]
CARROTS & PEAS
NOT THE FIRST TIME
STATES
TIGER BALM
5/ MAXWELL'S DEMON
LESS
APPARATUS SUM
THE BIRTH OF MAGELLAN: CADENZA I
SURFACE TENSION
10/ PAN 0
PAN 1
Pan 2
Pan 3
PAN 4
15/ ARTIFICIAL LIGHT
ZORNS LEMMA
MANUAL OF ARMS
HAPAX LEGOMENA II: POETIC JUSTICE
https://youtu.be/TRFJ2KJr2fk
Last edited by Holdrüholoheuho on Wed Feb 17, 2021 1:12 pm, edited 32 times in total.
Gloria!
Process Red
Pan 0
Pan 2
Pan 697
otherwise mostly interested in seeing Zorns Lemma, which lacks a vote so far!
Process Red
Pan 0
Pan 2
Pan 697
otherwise mostly interested in seeing Zorns Lemma, which lacks a vote so far!
i know nothing about this guy outside of his collaborations with Run DMC
the lack of frampton comes alive! jokes in here is seriously disheartening
going to rewatch a few before voting but want to say his book circles of confusion is one of my favorite books by a filmmaker
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Holdrüholoheuho
- Posts: 3200
- Joined: Sat Sep 05, 2020 12:30 am
- Location: Prague, Bohemia
The sequence of films (London screening, 2007) of the MAGELLAN series...
https://markwebber.org.uk/archive/categ ... -magellan/
http://hollisframpton.org.uk/frampton23.pdf
https://records.cmoa.org/things/dafba4b ... 661d1cc3b/
CADENZA I AND XIV
1977-80, 16mm, colour, sound, 11 min
A prelude to Magellan’s universe, rife with allusions to Creation and Duchampian sexual puns: “The film about the bride in which two gentlemen, who we may presume to be bachelors, strip more or less bare a putative bride of some sort.” (HF)
MINDFALL I
1977-80, 16mm, colour, sound, 10 min
Emerges out of HF’s experiments with sound and Eisenstein’s ‘vertical montage’: “If you start responding to every stimulus, then you end up as a nerve gas case, quite literally. All the neurons fire at once.” (HF)
MATRIX [FIRST DREAM]
1977-79, 16mm, colour, silent, 28 min
A film of multiple superimpositions, utilizing the images of SOLARIUMAGELANI (a film shown later in the cycle) and the hexagonal images that recur throughout Magellan.
PALINDROME [SECOND DREAM]
1969, 16mm, colour, silent, 22 min
An early film of HF’s which was later incorporated into Magellan: “The menacing Latin palindrome IN GIRVM IMVS NOCTE ET CONSVMIMVR IGNI (By night we go (down) into a gyre / and we are burned in fire) serves as an epigraph to this animated film.” (HF)
MINDFALL VII
1977-80, 16mm, colour, sound, 10 min
NOCTILUCA [MAGELLAN’S TOYS #1]
1974, 16mm, colour, silent, 4 min
“Designed to be shown on the second day of the Magellan cycle. The title (nox / luceo) means something that shines at night, i.e. the moon […] The second day of the cycle seems to be an inventory of the knowledge, machines, and arms that Magellan – and latter-day voyagers like HF – had at the outset of his journey.” (Brian Henderson)
II. The Straits of Magellan
PUBLIC DOMAIN
1972, 16mm, b/w, silent, 14 min
A found-film composed of early films, arranged alphabetically according to copyright title, all readily retrievable / quotable fragments from our finite federal version of the “infinite film / the paper print collection at the Library of Congress.” (Bruce Jenkins)
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
Directly inspired by the Lumière brother’s actualities, these one-minute films (49 of which are collected in Drafts and Fragments), are arranged around the circumference of the Magellan Calendar. Named Panopticons, they allude to Jeremy Bentham’s famous plan for a prison, and point to the dark ironies of Magellan’s Enlightenment project.
INGEIMM VIBIS IPSA PVELLA FECIT [VERNAL EQUINOX]
1975, 16mm, colour, silent, 62 min
Inspired by Eadweard Muybridge’s nude motion studies, this film was intended to be shown in 13 parts distributed equally through the calendar year.
SUMMER SOLSTICE [SOLARIUMAGELANI 2]
1974, 16mm, colour, silent, 32 min
“The operations that dislocate a film like Summer Solstice – I hope irreparably – from being a movie about the locomotion and eating habits of cows, a dairy film document or what have you, are finally of a whole lot less concern to me than the following things: how it looks, the sense that probably it was done deliberately, the pleasure or displeasure – the intrigue possibly – of attempting to retrieve the manner in which it was done while one is watching.” (HF)
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
PAS DE TROIS
1975, 16mm, colour, silent, 4 min
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.
INGEIMM VIBIS IPSA PVELLA FECIT [VERNAL EQUINOX]
1975, 16mm, colour, silent, 62 min
AUTUMNAL EQUINOX [SOLARIUMAGELANI 3]
1974, 16mm, colour, silent, 27 min
The cows of Summer Solstice reappear, here filmed in a slaughterhouse, animated by HF’s revelation that animals are as beautiful on the inside as they are on the outside.
WINTER SOLSTICE [SOLARIUMAGELANI 4]
1974, 16mm, colour, silent, 33 min
Shot in a steel mill, “a pre-textual locus dearly beloved by our Soviet predecessors” (HF), this film’s rhythmic and compositional textures pay tribute not only to Eisenstein and Vertov, but also to Abstract Expressionists like Franz Kline, Mark Rothko, and Clyfford Still.
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]
1974, 16mm, silent, 51 min
“A sampling of 49 fragments from Frampton’s catalogue of ‘actualities,’ the films from Straits Of Magellan: Drafts & Fragments are all silent and unedited. Several invoke directly the work of the Lumières, as in Frampton’s reworking of Démolition d’un mur (1895), in which a dilapidated farm silo is demolished in place of the Lumières’ wall. He makes reference to his own work … and pays homage to the work of contemporaries. A complex range of formal issues are raised in other fragments. Finally, Frampton offers a number of analogues for the act of filming and cinematic seeing that include a series of appropriated ‘lenses’ (a stone portal, a wooden silo) and a set of ‘screens’ (a pool of water, curtains, a dusty window).” (Bruce Jenkins)
THE RED GATE [MAGELLAN AT THE GATES OF DEATH: PART I]
1976, 16mm, colour, silent, 52 min
In The Red Gate and The Green Gate the primary imagery comes from a human anatomy laboratory in tribute to and (in contestation with, Stan Brakhage’s The Act Of Seeing With One’s Own Eyes (1971). The films were to be divided into 24 sections, each section to be projected, right side up and forwards, and upside down and backwards according to the Magellan Calendar.
THE GREEN GATE [MAGELLAN AT THE GATES OF DEATH: PART II]
1976, 16mm, colour, silent, 53 min
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS 1 [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
THE RED GATE [MAGELLAN AT THE GATES OF DEATH: PART I]
1976, 16mm, colour, silent, 52 min
THE GREEN GATE [MAGELLAN AT THE GATES OF DEATH: PART II]
1976, 16mm, colour, silent, 53 min
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS 1 [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
III. The Death of Magellan
APPARATUS SUM [STUDIES FOR MAGELLAN: #1]
1972, 16mm, colour, silent, 3 min
“A brief lyric film of death, which brings to equilibrium a single reactive image from a room of cadavers.” (HF)
OTHERWISE UNEXPLAINED FIRES [MEMORANDA MAGELANI]
1976, 16mm, colour, silent, 14 min
“Filmed in large part during HF’s lecture-screening tour of the [San Francisco] Bay area: Visits to the Musée Méchanique, Land’s End, the Cliff House […] A visit to the Brakhage Colorado residence provided images of chickens / roosters.” (Gail Camhi)
QUATERNION [PARES MAGELANI]
1976, 16mm, colour, silent, 4 min
A visual dialogue with the artist James Rosenquist: “A safari by Hollis into the categorical domains of artifactual debris.” (Patrick Clancy)
YELLOW SPRINGS [MAGELLAN: VANISHING POINT #1, PARES MAGELANI]
1972, 16mm, colour, silent, 5 min
“A portrait of the filmmaker Paul Sharits, in particular response to energies he generated one May afternoon in 1971.” (HF)
FOR GEORGIA O’KEEFE [PARES MAGELANI]
1976, 16mm, colour, silent, 4 min
An exquisite homage to O’Keefe’s “Radiator Building, Night.”
MORE THAN MEETS THE EYE [TEMPORA MAGELANI]
1976, 16mm, colour, silent, 5 min
HF’s affinity with Duchamp informs this film: If Eisenstein remade Anemic Cinema (1926), this film might have been the result.
NOT THE FIRST TIME [TEMPERA MAGELANI]
1976, 16mm, colour, silent, 5 min
“The viewer is engaged in a process of double vision that returns him to the image and subject in a manner more complex, more self-aware, and more temporal than the way most of us view photographs.” (Fred Camper)
TIGER BALM [MEMORANDA MAGELANI #1, MENS MAGELANI]
1972, 16mm, colour, silent, 10 min
After two years of massive didacticism in black-and-white [Hapax Legomena, 1971-72)], I am surprised by Tiger Balm, lyrical, in colour, a celebration of generative humours and principles, in homage to the green of England, the light of my dooryard … and consecutive matters.” (HF)
PROCESSION
1976, 16mm, colour, silent, 4 min
inc. BANNER, USA, 1974, 16mm, colour, silent, 40 sec / DRUM, USA, 1975, 16mm, colour, silent, 20 sec / TUBA, USA, 1976, 16mm, colour, silent, 3 min
A collection of three short films: “A trip to the New York State Fair filtered through a most rarefied formal film.” (Scott MacDonald)
GLORIA!
1979, 16mm, colour, sound, 10 min
The last film of HF’s oeuvre and the last completed for Magellan, this film encapsulates the meta-history of cinema, bridging early cinema and video, and distils Magellan’s themes: the tension between image and language, Frampton’s ‘sentimental science’, tradition and memory, and the persistence of death.
https://markwebber.org.uk/archive/categ ... -magellan/
http://hollisframpton.org.uk/frampton23.pdf
https://records.cmoa.org/things/dafba4b ... 661d1cc3b/
Originally intended as a 36-hour sequence in which individual titles would be shown on specific days in a calendar of one year and four days, it was left unfinished when Frampton died in 1984.
I. The Birth of Magellan“A series of shaped observations that include portraits, cadaver footage, re-stagings of Lumière films, visits to slaughterhouses, double exposures, a field of peaceful dairy cattle, allusions to Muybridge, electronic imagery, industrial pictures, a state fair – a kind of capsule version of the twentieth century that might have been placed on the Voyager spacecraft as it soared out of the solar system to worlds unknown.”
—Robert Haller, Anthology Film Archives
CADENZA I AND XIV
1977-80, 16mm, colour, sound, 11 min
A prelude to Magellan’s universe, rife with allusions to Creation and Duchampian sexual puns: “The film about the bride in which two gentlemen, who we may presume to be bachelors, strip more or less bare a putative bride of some sort.” (HF)
MINDFALL I
1977-80, 16mm, colour, sound, 10 min
Emerges out of HF’s experiments with sound and Eisenstein’s ‘vertical montage’: “If you start responding to every stimulus, then you end up as a nerve gas case, quite literally. All the neurons fire at once.” (HF)
MATRIX [FIRST DREAM]
1977-79, 16mm, colour, silent, 28 min
A film of multiple superimpositions, utilizing the images of SOLARIUMAGELANI (a film shown later in the cycle) and the hexagonal images that recur throughout Magellan.
PALINDROME [SECOND DREAM]
1969, 16mm, colour, silent, 22 min
An early film of HF’s which was later incorporated into Magellan: “The menacing Latin palindrome IN GIRVM IMVS NOCTE ET CONSVMIMVR IGNI (By night we go (down) into a gyre / and we are burned in fire) serves as an epigraph to this animated film.” (HF)
MINDFALL VII
1977-80, 16mm, colour, sound, 10 min
NOCTILUCA [MAGELLAN’S TOYS #1]
1974, 16mm, colour, silent, 4 min
“Designed to be shown on the second day of the Magellan cycle. The title (nox / luceo) means something that shines at night, i.e. the moon […] The second day of the cycle seems to be an inventory of the knowledge, machines, and arms that Magellan – and latter-day voyagers like HF – had at the outset of his journey.” (Brian Henderson)
II. The Straits of Magellan
PUBLIC DOMAIN
1972, 16mm, b/w, silent, 14 min
A found-film composed of early films, arranged alphabetically according to copyright title, all readily retrievable / quotable fragments from our finite federal version of the “infinite film / the paper print collection at the Library of Congress.” (Bruce Jenkins)
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
Directly inspired by the Lumière brother’s actualities, these one-minute films (49 of which are collected in Drafts and Fragments), are arranged around the circumference of the Magellan Calendar. Named Panopticons, they allude to Jeremy Bentham’s famous plan for a prison, and point to the dark ironies of Magellan’s Enlightenment project.
INGEIMM VIBIS IPSA PVELLA FECIT [VERNAL EQUINOX]
1975, 16mm, colour, silent, 62 min
Inspired by Eadweard Muybridge’s nude motion studies, this film was intended to be shown in 13 parts distributed equally through the calendar year.
SUMMER SOLSTICE [SOLARIUMAGELANI 2]
1974, 16mm, colour, silent, 32 min
“The operations that dislocate a film like Summer Solstice – I hope irreparably – from being a movie about the locomotion and eating habits of cows, a dairy film document or what have you, are finally of a whole lot less concern to me than the following things: how it looks, the sense that probably it was done deliberately, the pleasure or displeasure – the intrigue possibly – of attempting to retrieve the manner in which it was done while one is watching.” (HF)
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
PAS DE TROIS
1975, 16mm, colour, silent, 4 min
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.
INGEIMM VIBIS IPSA PVELLA FECIT [VERNAL EQUINOX]
1975, 16mm, colour, silent, 62 min
AUTUMNAL EQUINOX [SOLARIUMAGELANI 3]
1974, 16mm, colour, silent, 27 min
The cows of Summer Solstice reappear, here filmed in a slaughterhouse, animated by HF’s revelation that animals are as beautiful on the inside as they are on the outside.
WINTER SOLSTICE [SOLARIUMAGELANI 4]
1974, 16mm, colour, silent, 33 min
Shot in a steel mill, “a pre-textual locus dearly beloved by our Soviet predecessors” (HF), this film’s rhythmic and compositional textures pay tribute not only to Eisenstein and Vertov, but also to Abstract Expressionists like Franz Kline, Mark Rothko, and Clyfford Still.
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]
1974, 16mm, silent, 51 min
“A sampling of 49 fragments from Frampton’s catalogue of ‘actualities,’ the films from Straits Of Magellan: Drafts & Fragments are all silent and unedited. Several invoke directly the work of the Lumières, as in Frampton’s reworking of Démolition d’un mur (1895), in which a dilapidated farm silo is demolished in place of the Lumières’ wall. He makes reference to his own work … and pays homage to the work of contemporaries. A complex range of formal issues are raised in other fragments. Finally, Frampton offers a number of analogues for the act of filming and cinematic seeing that include a series of appropriated ‘lenses’ (a stone portal, a wooden silo) and a set of ‘screens’ (a pool of water, curtains, a dusty window).” (Bruce Jenkins)
THE RED GATE [MAGELLAN AT THE GATES OF DEATH: PART I]
1976, 16mm, colour, silent, 52 min
In The Red Gate and The Green Gate the primary imagery comes from a human anatomy laboratory in tribute to and (in contestation with, Stan Brakhage’s The Act Of Seeing With One’s Own Eyes (1971). The films were to be divided into 24 sections, each section to be projected, right side up and forwards, and upside down and backwards according to the Magellan Calendar.
THE GREEN GATE [MAGELLAN AT THE GATES OF DEATH: PART II]
1976, 16mm, colour, silent, 53 min
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS 1 [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
THE RED GATE [MAGELLAN AT THE GATES OF DEATH: PART I]
1976, 16mm, colour, silent, 52 min
THE GREEN GATE [MAGELLAN AT THE GATES OF DEATH: PART II]
1976, 16mm, colour, silent, 53 min
STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS 1 [PANOPTICONS]
1974, 16mm, colour, silent, 51 min
III. The Death of Magellan
APPARATUS SUM [STUDIES FOR MAGELLAN: #1]
1972, 16mm, colour, silent, 3 min
“A brief lyric film of death, which brings to equilibrium a single reactive image from a room of cadavers.” (HF)
OTHERWISE UNEXPLAINED FIRES [MEMORANDA MAGELANI]
1976, 16mm, colour, silent, 14 min
“Filmed in large part during HF’s lecture-screening tour of the [San Francisco] Bay area: Visits to the Musée Méchanique, Land’s End, the Cliff House […] A visit to the Brakhage Colorado residence provided images of chickens / roosters.” (Gail Camhi)
QUATERNION [PARES MAGELANI]
1976, 16mm, colour, silent, 4 min
A visual dialogue with the artist James Rosenquist: “A safari by Hollis into the categorical domains of artifactual debris.” (Patrick Clancy)
YELLOW SPRINGS [MAGELLAN: VANISHING POINT #1, PARES MAGELANI]
1972, 16mm, colour, silent, 5 min
“A portrait of the filmmaker Paul Sharits, in particular response to energies he generated one May afternoon in 1971.” (HF)
FOR GEORGIA O’KEEFE [PARES MAGELANI]
1976, 16mm, colour, silent, 4 min
An exquisite homage to O’Keefe’s “Radiator Building, Night.”
MORE THAN MEETS THE EYE [TEMPORA MAGELANI]
1976, 16mm, colour, silent, 5 min
HF’s affinity with Duchamp informs this film: If Eisenstein remade Anemic Cinema (1926), this film might have been the result.
NOT THE FIRST TIME [TEMPERA MAGELANI]
1976, 16mm, colour, silent, 5 min
“The viewer is engaged in a process of double vision that returns him to the image and subject in a manner more complex, more self-aware, and more temporal than the way most of us view photographs.” (Fred Camper)
TIGER BALM [MEMORANDA MAGELANI #1, MENS MAGELANI]
1972, 16mm, colour, silent, 10 min
After two years of massive didacticism in black-and-white [Hapax Legomena, 1971-72)], I am surprised by Tiger Balm, lyrical, in colour, a celebration of generative humours and principles, in homage to the green of England, the light of my dooryard … and consecutive matters.” (HF)
PROCESSION
1976, 16mm, colour, silent, 4 min
inc. BANNER, USA, 1974, 16mm, colour, silent, 40 sec / DRUM, USA, 1975, 16mm, colour, silent, 20 sec / TUBA, USA, 1976, 16mm, colour, silent, 3 min
A collection of three short films: “A trip to the New York State Fair filtered through a most rarefied formal film.” (Scott MacDonald)
GLORIA!
1979, 16mm, colour, sound, 10 min
The last film of HF’s oeuvre and the last completed for Magellan, this film encapsulates the meta-history of cinema, bridging early cinema and video, and distils Magellan’s themes: the tension between image and language, Frampton’s ‘sentimental science’, tradition and memory, and the persistence of death.
Last edited by Holdrüholoheuho on Sat Feb 13, 2021 6:48 pm, edited 5 times in total.
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Evelyn Library P.I.
- Posts: 1370
- Joined: Thu Dec 20, 2018 10:36 pm
I once received an extra 1% on an essay grade, because I titled my essay on (nostalgia) 'Frampton Comes Alive', and the TA was a noted fan of '60s and '70s Anglophone popular music. My brief sojourn as a classic rock fan in my early-to-mid teens was not a complete wash, then.
you can never unhear the talkbox
thoxans thx so much for bringing that back to my mind 
i have only 3 so will vote
Hapax Legomena I: (nostalgia)
i have only 3 so will vote
Hapax Legomena I: (nostalgia)
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Holdrüholoheuho
- Posts: 3200
- Joined: Sat Sep 05, 2020 12:30 am
- Location: Prague, Bohemia
https://youtu.be/S3GYYmIWQHQhttps://www.aci-iac.ca/art-books/michae ... orks/blind
Michael Snow, Blind, 1968
Steel and aluminum, 246.4 x 245.7 x 246.4 cm
National Gallery of Canada, Ottawa
jiri, you can pick our next director if you like!
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Holdrüholoheuho
- Posts: 3200
- Joined: Sat Sep 05, 2020 12:30 am
- Location: Prague, Bohemia
What about Věra Chytilová or Angela Schanelec?
Would there be enough viewings?
me: Věra = 13, Angela = 6
Would there be enough viewings?
me: Věra = 13, Angela = 6
Kinda surprised that I'm the only voter for Poetic Justice so far, probably his most "accessible" film.
Chytilová had two 10+ viewers the last time we checked (brain d, Gloede).
Chytilová had two 10+ viewers the last time we checked (brain d, Gloede).
ok great let's do vera chytilova!
Seen 24 (would vote for more than 5, but it's been so long that I barely remember most of them):
1. (nostalgia)
2. Poetic Justice
3. Zorns Lemma
4. Gloria!
5. Winter Solstice
1. (nostalgia)
2. Poetic Justice
3. Zorns Lemma
4. Gloria!
5. Winter Solstice
i've tallied the ballots so far, but i'll wait until nrh posts a ballot (or tells me he doesn't plan to) before posting the final results.
and i can still accommodate edits to ballots posted above, but if anyone wants to edit their ballot, please quote the original in a new post along with the new ballot, so i know how to adjust the tally i've already done.
new ballots from other users also welcome until the final results are posted!
didn't get to watch anything this week but i'll post a ballot -
Zorns Lemma
Critical Mass
Surface Tension
Lemon
Gloria!
Zorns Lemma
Critical Mass
Surface Tension
Lemon
Gloria!
impressive to me - 21 different frampton films got at least one vote. i thought zorns lemma was frampton's best-known film (i haven't seen it), but it only crept into the bottom of the top ten because of the last couple of ballots. i took the dates from imdb -- they sometimes don't seem to make sense:
results
1. Hapax Legomena I: (nostalgia) (1971) — 22 pts
2. Process Red (1966) — 11.1 pts
3. Hapax Legomena II: Poetic Justice (1972) — 9 pts
3. Gloria! (1979) — 9 pts
3. Surface Tension (1968) — 9 pts
6. Lemon (1969) — 8.3 pts
7. Zorns Lemma (1970) — 8 pts
8. Hapax Legomena III: Critical Mass (1971) — 7 pts
9. A and B in Ontario (1984) — 4 pts
10. Pan 0 (1974) — 3 pts
11. Not the First Time (1976) — 2 pts
11. Snowblind (1968) — 2 pts
11. Maxwell’s Demon (1968) — 2 pts
11. Pan 2 (1974) — 2 pts
15. Winter Solstice (1974) — 1.5 pts
16. Pan 4 (1974) — 1.3 pts
17. Prince Ruperts Drops (1969) — 1 pt
17. Manual of Arms (1966) — 1 pt
17. Pan 697 (1974) — 1 pt
17. Information (1966) — 1 pt
21. Palindrome (1969) — 0.5 pts
results
1. Hapax Legomena I: (nostalgia) (1971) — 22 pts
2. Process Red (1966) — 11.1 pts
3. Hapax Legomena II: Poetic Justice (1972) — 9 pts
3. Gloria! (1979) — 9 pts
3. Surface Tension (1968) — 9 pts
6. Lemon (1969) — 8.3 pts
7. Zorns Lemma (1970) — 8 pts
8. Hapax Legomena III: Critical Mass (1971) — 7 pts
9. A and B in Ontario (1984) — 4 pts
10. Pan 0 (1974) — 3 pts
11. Not the First Time (1976) — 2 pts
11. Snowblind (1968) — 2 pts
11. Maxwell’s Demon (1968) — 2 pts
11. Pan 2 (1974) — 2 pts
15. Winter Solstice (1974) — 1.5 pts
16. Pan 4 (1974) — 1.3 pts
17. Prince Ruperts Drops (1969) — 1 pt
17. Manual of Arms (1966) — 1 pt
17. Pan 697 (1974) — 1 pt
17. Information (1966) — 1 pt
21. Palindrome (1969) — 0.5 pts