A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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List of Films:
EARLY FILMS
Manual of Arms (1966 • 17 minutes, 10 seconds • Black & White • Silent)
Process Red (1966 • 3 minutes, 37 seconds • Color • Silent)
Maxwell’s Demon (1968 • 3 minutes, 44 seconds • Color • Mono)
Surface Tension (1968 • 9 minutes, 30 seconds • Color • Mono)
Carrots & Peas (1969 • 5 minutes, 21 seconds • Color • Mono)
Lemon (1969 • 7 minutes, 17 seconds • Color • Silent)
Zorns Lemma (1970 • 59 minutes, 51 seconds • Color • Mono)

FILMS FROM HAPAX LEGOMENA
(nostalgia) (1971 • 36 minutes, 7 seconds • Black & White • Mono)
Poetic Justice (1972 • 31 minutes, 28 seconds • Black & White • Silent)
Critical Mass (1971 • 25 minutes, 11 seconds • Black & White • Mono)

FILMS FROM MAGELLAN
The Birth of Magellan
The Birth of Magellan: Cadenza I (1977–1980 • 5 minutes, 41 seconds • Color • Mono)
Straits of Magellan
Pans 0–4 and 697–700 (1969–74 • 1-minute each • Color • Silent)
INGENIVM NOBIS IPSA PVELLA FECIT, Part I (1975 • 4 minutes, 48 seconds • Color • Silent)
Magellan: At the Gates of Death, Part I: The Red Gate 1, 0 (1976 • 5 minutes, 10 seconds • Color • Silent)
Winter Solstice (1974 • 32 minutes, 36 seconds • Color • Silent)
The Death of Magellan
Gloria! (1979 • 9 minutes, 36 seconds • Color • Mono)

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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Hollis Frampton is known for the broad and restless intelligence he brought to the films he made, beginning in the early '60s, until his death in 1984. In addition to being an important experimental filmmaker, he was also an accomplished photographer and writer, and in the 1970s made significant contributions to the emerging field of computer science. He is considered one of the pioneers of what has come to be termed structuralism, an influential style of experimental filmmaking that uses the basic elements of cinematic language to create works that investigate film form at the expense of traditional narrative content. Along with Michael Snow and Stan Brakhage, he is one of the major figures to emerge from the New York avant-garde film community of the 1960.

Excerpt from hollisframpton.org.uk

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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As Frampton's photography moved toward exploring ideas of series and sets, it was natural that he begin filmmaking. He based a lot of his early films on concepts, which he applied clearly and cleverly. All of his very early works were either discarded or lost. His earliest surviving work was Information (1966). His early works were reasonably simple in construction. A few of them including Maxwell's Demon, Surface Tension, and Prince Rupert's Drops were based on concepts from science, a subject he was well read on. As he got on, his films gradually increased in complexity.

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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His most significant work is arguably Zorns Lemma (1970), a film which drastically altered perceptions towards experimental film at the time. He was seen as a structural filmmaker, a style that focused on the nature of film itself. In an interview with Robert Gardner he stated a discomfort with that term because it was too broad and didn't accurately reflect the nature of his work.

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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Zorns Lemma remains the most widely known of this films. It is formed in three different sections. The first is a reading (by Joyce Wieland) of the Bay State Primer, a puritan work for children to learn the alphabet. The sentences used had foreboding themes such as "In Adams fall, we sinned all." The second section is based on a text based work by Carl Andre, which started out with an alphabetical list of words for each letter in the alphabet. Each subsequent list is replaced with a letter until it is just letters. In Zorns Lemma, the concept is reversed. It starts off with a twenty four letter alphabet (I/J and U/V are considered one letter), each letter shown for one second of screentime and then looping. The second cycle replaces each letter with a word that starts with each letter. Gradually the word stills are replaced by an active film shot, such as washing hands or peeling a tangerine until there are only moving images. The third section contains a seemingly single shot of a couple walking across a snowy meadow. The sound is of six women reading one word at a time from Theory of Light.

Gary Tooze, dvdbeaver

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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I am glad that Criterion has assembled a Hollis Frampton anthology. Over the last quarter century I have had only a few chances to see his movies. Screenings of experimental cinema are scarce. When I watched them, I found Frampton's movies difficult and in need of repeated viewing. It is good that they are accessible, and in the excellent condition that Criterion is known for.

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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The movies themselves challenge the viewer. Frampton has some basic topics he likes to address: the material work of movies and moviemaking, forms of human experience and perception, the promises and disappointments of arcane knowledge. He likes to push the audience past the point of comfortable viewing. It an approach to film making that is directly related to the approach of conceptual artists, and it has the same effects. The experience of watching his movies, even short ones, can be confusing and stretch concentration past its limits.

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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There was a burst of creative film-making in New York beginning in the late 50s and running through the early 80s. For two generations, artists like Bruce Connor and Michael Snow, Lou Reed and Andy Warhol, Beth B and Richard Kern made movies that refused to let the audience sit comfortably in a dark room watching familiar projected images. Hollis Frampton is is one of the most important of those artists. By assembling this small collection, Criterion has made it a little easier to understand this difficult but important film maker.

Customer Reviewer, amazon.com

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A Hollis Frampton Odyssey (1966-1979) [The Criterion Collection #607] [Re-UP]

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Special Features:
- New high-definition digital restorations of all twenty-four films
- Audio commentary and remarks by filmmaker Hollis Frampton on selected works
- Excerpted interview with Frampton from 1978
- A Lecture, a performance piece by Frampton, recorded in 1968 with the voice of artist Michael Snow
- Gallery of works from Frampton’s xerographic series By Any Other Name
- A booklet featuring an introduction by film critic Ed Halter; essays and capsules on the films by Frampton scholars Bruce Jenkins, Ken Eisenstein, and Michael Zryd; and a piece by film preservationist Bill Brand

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