Hapax Legomena III: Critical Mass

Michael Snow narrates a series of Hollis Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.

“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

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 mind of the viewer.

"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 the way diverse meadows, barns, waters where I now live; and ending in the remembered cornfields of my childhood. The soundtrack annexes, as mantram, the Wade-Giles syllabary of the Chinese language." (H.F.)

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

“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

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 Michael Snow, Hollis Frampton, George Landow (Owen Land), and Yvonne Rainer.

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."

Michael Snow narrates a series of Hollis Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.

Zorns Lemma is a 1970 American structuralist film by Hollis Frampton. It is named after Zorn's lemma (also known as the Kuratowski–Zorn lemma), a proposition of set theory formulated by mathematician Max Zorn in 1935. Zorns Lemma is prefaced with a reading from an early grammar textbook. The remainder of the film, largely silent, shows the viewer an evolving 24-part "alphabet" (where i & j and u & v are interchanged) which is cycled through, replaced and expanded upon. The film's conclusion shows a man, woman and dog walking through snow as several voices read passages from On Light, or the Ingression of Forms by Robert Grosseteste.

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 with almost academic smoothness in lap-dissolves ending in two shots of the entire group followed by a dolly shot into a picture of the moon... There is a chasm between the phrase and its formal inflections. That chasm is intellectual as well as formal. Frampton loves an outrageous hypothesis; his films, all of them, take the shape of logical formulae. -- P. Adams Sitney, Film Culture Reader

A film in three parts: a man talking while a telephone rings, a walking tour of New York, and a goldfish swimming.

In a Lower Manhattan industrial loft, a camera very slowly zooms into a photograph on a wall while various people occasionally enter and exit.

A journey through a field of corn.

“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’ early work.” –Hollis Frampton

Light begins to illuminate the small, nipple-like end of a lemon on the right edge of the frame and gradually spreads until the entire lemon is clearly visible. Then the light recedes across the frame.

An experimental short film by Hollis Frampton of contrasting colours.

A series of ghost-like vehicles drive by.

"Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of three historic montage styles, for three perceptual modes mimed by that work." -HF

A series of papers flutter in the wind.

Clouds roll by in a static haze.

A pendulum swings by until it comes to a complete stop.