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.
Joyce Wieland: “Hollis and I came back to Toronto on holiday in the summer of '67. We were staying at a friend's house. We worked our way through the city and eventually made it to the island. We followed each other around. We enjoyed ourselves. We said we were going to make a film about each...
"Two repetitive, banal rhythmic acts - as it were from the observe and reverse of a phenakistiscope disk - factored and expanded into a cinema filmstrip. Note: Prince Ruperts Drops are not a confection or a nose candy, but a physical demonstration of extreme internal stresses in equilibrium." - HF
"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
The Green Gate: Magellan at the Gates of Death, Part II
01976HD
"In the final format for MAGELLAN, Frampton had planned to disassemble these two films into twenty-four 'encounters with death' that were to be shown in five-minute segments twice a month. In their present state, seen together and roughly the length of an average feature film, the two parts of...
(Formerly titled "VERNAL EQUINOX," 5 minute excerpt of Part 1 on the Criterion disc) "...Frampton explores human movement in relation to the film frame. A woman is filmed against a black background with intermittently superimposed frame lines in a motion analysis which alludes to...
“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
"This film is composed of different and relatively commonplace subjects, but each image is a super-imposition ('double exposure') of two similar shots of the same subject, almost in the same position. The effect is amazing: one's gaze at the image becomes a double gaze, as the two images were made...
"No, not the United etc. but the conditions, forms in which things exist. Somewhat abstracted, a solid, a liquid and a gas: salt, milk and smoke: falling, pouring and rising are the stars of this classical film. Sheets, streaks and wisps, the protagonists are all white (light). The background, zero...
