Hollis Frampton
Biographic Data
| ID | 1601372 |
|---|---|
| NAME | Hollis Frampton |
| GIVEN NAMES | Hollis |
| FAMILY NAME | Frampton |
| SIGNATURE | FRAMPTON H |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 11 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1976 |
| LATEST PUBLICATION YEAR | 2004 |
| H-INDEX | 2 |
The Invention Without a Future
July 01 2004 The Invention Without a Future Hollis Frampton Hollis Frampton Search for other works by this author on: This Site Google Scholar Author and Article Information Hollis Frampton Online Issn: 1536-013X Print Issn: 0162-2870 © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology2004 October (2004) (109): 64–75. https://doi.org/10.1162/0162287041886520 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Ic…
Word Pictures: Frampton and Photography
Letters from Framp 1958-1968
A Portfolio of Photographs
I have selected a fragment of text from Hollis's film nostalgia as his own introduction to this portfolio. I will, therefore, limit my own comments to a few details. These black and white photographs, which are being published for the first time, are in the collection of Barry Goldensohn. Prints used for reproduction were made by Biff Henrich from Hollis's original 2 4 negatives. They conform exactly to the cropping of the originals, which are 7 …
Interview with Hollis Frampton
Frampton: Well, I can, at least, tell you what the film came out of, and how it reached its present form. I first began using a movie camera at the end of the fall of 1962. At that time I was, in a way, being systematically forced into cinema by my work in still photography. I'd been working for a long time in series, sometimes long ones, and there were things about the still series that began to trouble me. For example, if you have a bunch of ph…
Erotic Predicaments for Camera
It has been widely alleged that a picture is worth some reasonably large but finite number of words. It has been widely believed that a photograph is as plausible as or approximates to the plausibility ofthat swarm of events that we are accustomed to call the real world. And indeed the entire photographic literature of eroticism depends very heavily on exactly that supposed plausibility. I have chosen, therefore, to attempt to believe what is bel…
Circles of Confusion: Film Photography Video Texts 1968 1980
Film in the House of the Word
In 1928 Sergei Eisenstein published a brief manifesto on film sound that has met with no direct critique or reply in more than half a century. In his statement, written within a euphoric moment of convergence between theory and practice that gave us October and General Line, and suggested to him the grand project of an Eisenstein began an effort that precipitated in a group of empty centers and their satellite notes and essays: the hypothetical c…
Interview with Hollis Frampton: The Early Years
Frampton: There were earlier things, only one of which will ever conceivably turn up again. The others are lost. I started making films in 1962, but I wasn't prolific. It was expensive to do. There were three long films and a short one before Process Red, which is the earliest finished film I now distribute. The first was called Ten Mile Poem-ghastly stuff. It was shot in Brooklyn from the Myrtle Avenue elevated, which has since been torn down. T…
Mind over Matter
HE BEGINS WITH A FEAR of tunnels. By degrees he revises this conviction, augments it, castigates it, until he is afraid to enter tunnels. As he matures, and the eventuation of every worst case seems progressively more and more likely, he achieves a further refinement: he is afraid to pass through tunnels. Finally, he finds elegant a regimen wholly organized around a need to avoid tunnels. Accordingly, in old age, he devotes himself to seeking out…
Impromptus on Edward Weston: Everything in Its Place
Notes on Composing in Film
In a letter of the year 1914, the poet Ezra Pound tells his correspondent that it took him ten years to learn his art, and another five to unlearn it. The same year saw the tentative publication of three cantos for a of some length that was to become, though nameless and abandoned, the longest poem in English ... prominent among whose denumerable traits were a lexicon of compositional tropes and a thesaurus of compositional strategies that tend t…
Interview with Hollis Frampton
Frampton: Well, I can, at least, tell you what the film came out of, and how it reached its present form. I first began using a movie camera at the end of the fall of 1962. At that time I was, in a way, being systematically forced into cinema by my work in still photography. I'd been working for a long time in series, sometimes long ones, and there were things about the still series that began to trouble me. For example, if you have a bunch of ph…
Impromptus on Edward Weston: Everything in Its Place
The Invention Without a Future
July 01 2004 The Invention Without a Future Hollis Frampton Hollis Frampton Search for other works by this author on: This Site Google Scholar Author and Article Information Hollis Frampton Online Issn: 1536-013X Print Issn: 0162-2870 © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology2004 October (2004) (109): 64–75. https://doi.org/10.1162/0162287041886520 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Ic…
Word Pictures: Frampton and Photography
Erotic Predicaments for Camera
It has been widely alleged that a picture is worth some reasonably large but finite number of words. It has been widely believed that a photograph is as plausible as or approximates to the plausibility ofthat swarm of events that we are accustomed to call the real world. And indeed the entire photographic literature of eroticism depends very heavily on exactly that supposed plausibility. I have chosen, therefore, to attempt to believe what is bel…
Mind over Matter
HE BEGINS WITH A FEAR of tunnels. By degrees he revises this conviction, augments it, castigates it, until he is afraid to enter tunnels. As he matures, and the eventuation of every worst case seems progressively more and more likely, he achieves a further refinement: he is afraid to pass through tunnels. Finally, he finds elegant a regimen wholly organized around a need to avoid tunnels. Accordingly, in old age, he devotes himself to seeking out…
Notes on Composing in Film
In a letter of the year 1914, the poet Ezra Pound tells his correspondent that it took him ten years to learn his art, and another five to unlearn it. The same year saw the tentative publication of three cantos for a of some length that was to become, though nameless and abandoned, the longest poem in English ... prominent among whose denumerable traits were a lexicon of compositional tropes and a thesaurus of compositional strategies that tend t…
Notes on Composing in Film
In a letter of the year 1914, the poet Ezra Pound tells his correspondent that it took him ten years to learn his art, and another five to unlearn it. The same year saw the tentative publication of three cantos for a of some length that was to become, though nameless and abandoned, the longest poem in English ... prominent among whose denumerable traits were a lexicon of compositional tropes and a thesaurus of compositional strategies that tend t…
Mind over Matter
HE BEGINS WITH A FEAR of tunnels. By degrees he revises this conviction, augments it, castigates it, until he is afraid to enter tunnels. As he matures, and the eventuation of every worst case seems progressively more and more likely, he achieves a further refinement: he is afraid to pass through tunnels. Finally, he finds elegant a regimen wholly organized around a need to avoid tunnels. Accordingly, in old age, he devotes himself to seeking out…
Impromptus on Edward Weston: Everything in Its Place
Interview with Hollis Frampton: The Early Years
Frampton: There were earlier things, only one of which will ever conceivably turn up again. The others are lost. I started making films in 1962, but I wasn't prolific. It was expensive to do. There were three long films and a short one before Process Red, which is the earliest finished film I now distribute. The first was called Ten Mile Poem-ghastly stuff. It was shot in Brooklyn from the Myrtle Avenue elevated, which has since been torn down. T…
Film in the House of the Word
In 1928 Sergei Eisenstein published a brief manifesto on film sound that has met with no direct critique or reply in more than half a century. In his statement, written within a euphoric moment of convergence between theory and practice that gave us October and General Line, and suggested to him the grand project of an Eisenstein began an effort that precipitated in a group of empty centers and their satellite notes and essays: the hypothetical c…
Circles of Confusion: Film Photography Video Texts 1968 1980
Word Pictures: Frampton and Photography
Letters from Framp 1958-1968
A Portfolio of Photographs
I have selected a fragment of text from Hollis's film nostalgia as his own introduction to this portfolio. I will, therefore, limit my own comments to a few details. These black and white photographs, which are being published for the first time, are in the collection of Barry Goldensohn. Prints used for reproduction were made by Biff Henrich from Hollis's original 2 4 negatives. They conform exactly to the cropping of the originals, which are 7 …
Interview with Hollis Frampton
Frampton: Well, I can, at least, tell you what the film came out of, and how it reached its present form. I first began using a movie camera at the end of the fall of 1962. At that time I was, in a way, being systematically forced into cinema by my work in still photography. I'd been working for a long time in series, sometimes long ones, and there were things about the still series that began to trouble me. For example, if you have a bunch of ph…
Erotic Predicaments for Camera
It has been widely alleged that a picture is worth some reasonably large but finite number of words. It has been widely believed that a photograph is as plausible as or approximates to the plausibility ofthat swarm of events that we are accustomed to call the real world. And indeed the entire photographic literature of eroticism depends very heavily on exactly that supposed plausibility. I have chosen, therefore, to attempt to believe what is bel…
The Invention Without a Future
July 01 2004 The Invention Without a Future Hollis Frampton Hollis Frampton Search for other works by this author on: This Site Google Scholar Author and Article Information Hollis Frampton Online Issn: 1536-013X Print Issn: 0162-2870 © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology2004 October (2004) (109): 64–75. https://doi.org/10.1162/0162287041886520 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Ic…
Art (9 works) · Computer Science (6 works) · Cinema and Media Studies (5 works) · Photography and Visual Culture (5 works) · Philosophy (4 works) · Philosophy (4 works) · Visual arts (4 works) · Computer graphics (images (3 works) · Photography (3 works) · Psychology (3 works)