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"A critical primer on the film, photography, and theoretical writings of Hollis Frampton"--
List of contents
Series Preface ix
Acknowledgments xi
Peter Gidal Interview with Hollis Frampton (1972) 1
Annette Michelson Poesis/Mathesis (1985) 31
Barry Goldensohn Memoir of Hollis Frampton (1985) 35
Christopher Phillips Word Pictures: Frampton and Photography (1985) 47
Bruce Jenkins The Red and The Green (1985) 65
Allen S. Weiss Frampton's Lemma, Zorn's Dilemma (1985) 85
Brian Henderson Propositions for the Exploration of Frampton's Magellan (1985) 127
Annette Michelson Frampton's Sieve (1985) 127
Federico Windhausen Words into Film: Toward a Genealogical Understanding of Hollis Frampton's Theory and Practice (2004) 145
Melissa Ragona Hidden Noise: Strategies of Sound Montage in the Films of Hollis Frampton (2004) 171
Michael Zryd History and Ambivalence in Hollis Frampton's Magellan (2004) 203
Lisa Zaher Re-framing Photographic Subjectivity: Hollis Frampton's The Secret Word of Frank Stella (2011) 233
George Derk Make It Old: Hollis Frampton contra Ezra Pound (2018) 241
Ken Eisenstein "The Archives of Our Memory": Hollis Frampton's Marmoreal Mammary (2012) 267
Hollis Frampton A Complete Filmography (1985) 273
Index of Names 277
About the author
Michael Zryd is Associate Professor at the Department of Cinema and Media Arts at York University in Toronto.
Summary
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
