As I Was Moving Ahead, Occasionally I Saw Brief Glimpses of Beauty
3.82000HD
A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
Wavelength consists of almost no action, and what action does occur is largely elided. If the film could be said to have a conventional plot, this would presumably refer to the three “character” scenes. In the first scene two people enter a room, chat briefly, and listen to “Strawberry Fields...
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.
In GLORIA! Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a nineteenth-century figure, Frampton's...
A sampling of forty-nine fragments from Frampton's catalogue of 'actualities', the films from STRAITS OF MAGELLAN: "DRAFTS AND FRAGMENTS" are all silent and unedited. Several invoke, directly, the work of the Lumieres, as in Frampton's reworking of DEMOLITION D'UN MUR (1895) in which a dilapidated...
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...
“A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.” – HF
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.
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."
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.
Shot at a steel mill, Winter Solstice is full of outpourings of fire, of smoke, of sparks, of molten metal — all erupting against an otherwise black background in an activated pictorial space.
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...
