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
