DOCSLIB.ORG

On the Camera Arts and Consecutive Matters : the Writings of Hollis Frampton Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On the Camera Arts and Consecutive Matters : the Writings of Hollis Frampton Pdf, Epub, Ebook ON THE CAMERA ARTS AND CONSECUTIVE MATTERS : THE WRITINGS OF HOLLIS FRAMPTON PDF, EPUB, EBOOK Hollis Frampton | 352 pages | 15 Jul 2015 | MIT Press Ltd | 9780262527606 | English | Cambridge, United States On the Camera Arts and Consecutive Matters : The Writings of Hollis Frampton PDF Book His digital work remains almost completely unknown. Roland Barthes This book, the last published before the author's death in , serves as a meditation of sorts on our relationship to photographs and how we make sense of them in relation to our lives. Rosenstone, R. Neurons fire at once. Phillips Academy. Looking for More Great Reads? Smallville: The Official Companion Season 7. Crazy 4 Cult: Cult Movie Art 2. He was known for his eloquent and intricately worded phrasing both in speaking and in writing. Add to Cart Buying Options. Oliver Wendell Holmes Library. Create account. Read it Forward Read it first. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay "For a Metahistory of Film," along with scripts, textual material, and scores for his films; writings on video that constitute a veritable prehistory of the digital arts; a dialogue with Carl Andre his friend and former Phillips Andover classmate from the early s; and two inventive, almost unclassifiable pieces that draw on the writings of Borges, Joyce, and Beckett. A film is a machine made of images. Please try again later. Bergson, H. Homage to Michael Snow's environmental sculpture 'Blind. Advanced embedding details, examples, and help! Radstone, S. Search Search. London: Verso Benjamin, W. Overview Author s Praise. On the Camera Arts and Consecutive Matters : The Writings of Hollis Frampton Writer Chuck D: All Over the Map. Email for contact not necessary :. Category: Art Film Performing Arts. London: Routledge Freud, S. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. User Username Password Remember me. They include critically acclaimed essays on Edward Weston and Eadweard Muybridge as well as appraisals of contemporary photographers; the influential essay "For a Metahistory of Film," along with scripts, textual material, and scores for his films; writings on video that constitute a veritable prehistory of the digital arts; a dialogue with Carl Andre his friend and former Phillips Andover classmate from the early s; and two inventive, almost unclassifiable pieces that draw on the writings of Borges, Joyce, and Beckett. Oxford: Berg Rosenstone, R. Schwarz, G. Please try again later. Send Report. Stan Brakhage Filmmaker. As New Yorkers, we reflect so much that is best about this great democracy. Painting Below Zero. Kodwo Eshun. A limit case: on the one hand, perversely accurate; on the other, so far beside the point, as to defy all but psychoanalytic comprehension. Originally published October 22, Death 24x a Second: Stillness and the Moving Image. There are no reviews yet. Marandino, M. Have an account? He plays on the registers of jargon, adapting that of others and creating his own. Pass it on! February As Hollis Frampton's photographs and celebrated experimental films were testing the boundaries of the camera arts in the s and s, his provocative and highly literate writings were attempting to establish an intellectually resonant form of discourse for these critically underexplored fields. Gallery Bruno, G. Originally published January 17, Undercover Surrealism. Frampton ranged widely over the visual arts in his writing, and the texts in this collection display his unique approaches to photography, film, and video, as well as the plastic and literary arts. Jenkins served as Curator of Film and Video from to at the Walker Art Center, Minneapolis, where he initiated a dialogues program with major filmmakers, organized traveling film retrospectives, and curated gallery exhibitions. Originally published April 18, Site map. Frank Stella Painter. If that apparition is an Angel, we must embrace it; and if it is a Devil, then we must cast it out. Full Name:. A specter is haunting the cinema: the specter of narrative. It replaces—and supersedes—the long-unavailable Circles of Confusion , published in Sign in. Angel , Devil , Faces. Mistake: Choose Autumnal Equinox Solariumagelani , 16mm, color, silent, 27 min. Smallville: The Official Companion Season 7. London: Routledge Landsberg, A. On the Camera Arts and Consecutive Matters : The Writings of Hollis Frampton Reviews Matisse — Bonnard. Find books coming soon in Selected Writings on Film. Originally published September 4, Site map. Mary M. February And although a brief passage of green leader is used to mark each cut, the smearing effect of the rapid camera movements tends to elide the shots, to make the flattened color planes run together. Howard N. Publisher's Description. Path 2. Read it Forward Read it first. Nam June Paik , John G. Introductory Readings, 3rd ed. Autumnal Equinox Solariumagelani , 16mm, color, silent, 27 min. At long last, a near complete collection of Hollis Frampton's idiosyncratic, scholarly, recondite, funny writings, which might justly be called 'Offbeat Ways to Think About Everything. Douglas Brode. Freud, S. This text includes the noted discussion of "studium" and "punctum"—two terms that Barthes uses to distinguish between images that are competent and hold our general interest and those that demand our immediate attention, bringing us in closer to the image and provoking a more prolonged interaction. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. It mainly collects his essays from Artforum and October. Tunnicliffe, S. It was a time when artists working in diverse disciplines were beginning to pick up cameras and produce films and videotapes, well before these practices were understood or embraced by institutions of contemporary art. And in our time, Google may provide some clues. In New German Critique, No. On Photography Susan Sontag Still a seminal text in many photography courses, Sontag's essays on photography question our sometimes-passive response to the photographic image and challenge readers to consider their role in the process. This book is an invaluable resource for artists, pedagogues, autodidacts, and anyone who enjoys being intellectually provoked. Want more? Roland Barthes This book, the last published before the author's death in , serves as a meditation of sorts on our relationship to photographs and how we make sense of them in relation to our lives. London: Reaktion Books Nichols, B. I hope for a Complete Cinematographic Works on DVD, or whatever the current medium will be, in whatever future in which that might take place. McQuire, S. Among his best-known works are nostalgia , Zorns Lemma, and the unfinished epic film cycle Magellan. Webber, J. Moving Innovation. This collection of Frampton's writings presents his critical essays many written for Artforum and October along with additional material, including lectures, correspondence, interviews, production notes, and scripts. The Producer as Composer. On the Camera Arts and Consecutive Matters : The Writings of Hollis Frampton Read Online Use [fn] Uploaded by station Stay in Touch Sign up. Homage to Michael Snow's environmental sculpture 'Blind. Paperback —. Related items. About On the Camera Arts and Consecutive Matters The collected writings of artist and filmmaker Hollis Frampton, including all the essays from the long-unavailable Circles of Confusion along with rare additional material. In Illuminations, Arendt, H. Hollis Frampton Follow Unfollow. A student of little else, Trump is an intuitive expert in popular fantasy, and he plays his American audience like a well-worn instrument. Angel , Devil , Faces. It replaces—and supersedes—the long-unavailable Circles of Confusion , published in R, Snow , Style , Environmental. London: Routledge Landsberg, A. See what's new with book lending at the Internet Archive. Moving Innovation. Nam June Paik , John G. On Photography Susan Sontag Still a seminal text in many photography courses, Sontag's essays on photography question our sometimes-passive response to the photographic image and challenge readers to consider their role in the process. Fire , Nerves , Neurons. Login with your account. A limit case: on the one hand, perversely accurate; on the other, so far beside the point, as to defy all but psychoanalytic comprehension. Sartre, J. Phillips Academy. Fill 1. Chuck D: All Over the Map. https://files8.webydo.com/9582849/UploadedFiles/CF99B981-FDB7-B90C-170C-5ABF48A9483C.pdf https://files8.webydo.com/9584038/UploadedFiles/7694FDF0-8D63-DC63-2F3C-FB70D817A768.pdf https://files8.webydo.com/9583972/UploadedFiles/BAD35019-7CD0-25AE-D2CC-2D3875CE46A0.pdf https://files8.webydo.com/9583251/UploadedFiles/D8EADFC0-7EFB-DF19-6342-805D99FE8E8C.pdf https://files8.webydo.com/9582840/UploadedFiles/5AC57734-FD14-9FBB-A1CA-204A58CFBCDD.pdf https://files8.webydo.com/9582838/UploadedFiles/6DD11336-4D79-387A-69C6-50FEA9B51DD7.pdf https://files8.webydo.com/9583385/UploadedFiles/5D66560E-8DE3-05BD-2940-FB32E5BD2C89.pdf.
Load more

Recommended publications
  • Reassessing the Personal Registers and Anti-Illusionist Imperatives of the New Formal Film of the 1960S and ’70S
    Reassessing the Personal Registers and Anti-Illusionist Imperatives of the New Formal Film of the 1960s and ’70s JUAN CARLOS KASE for David E. James I think it would be most dangerous to regard “this new art” in a purely structural way. In my case, at least, the work is not, for example, a proof of an experiment with “structure” but “just occurs,” springs directly from my life patterns which unpre- dictably force me into . oh well . —Paul Sharits, letter to P. Adams Sitney1 In the dominant critical assessments of Anglo-American film history, scholars have agreed that much of the avant-garde cinema of the late 1960s and early ’70s exhibited a collective shift toward increased formalism. From P. Adams Sitney’s initial canonization of “Structural Film” in 19692 to Malcolm Le Grice’s “New Formal Tendency” (1972)3 and Annette Michelson’s “new cinematic discourse” of “epistemological concern” (1972)4 to Peter Gidal’s “Structuralist/Materialist Film” (1975)5—as well as in recent reconceptualizations and reaffirmations of this schol- arship by Paul Arthur (1978, 1979, and 2004), David James (1989), and A. L. Rees 1. Collection of Anthology Film Archives. Letter is dated “1969??.” Roughly fifteen years later, Sharits reiterated his frustration with the critical interpretations of his work in a more public context, albeit in slightly different terms: “There was a problem in the ’60s and even in the ’70s of intimidating artists into avoiding emotional motivations for their work, the dominant criticism then pursued everything in terms of impersonal, formal, structural analysis.” Jean- Claude Lebensztejen, “Interview with Paul Sharits” (June 1983), in Paul Sharits, ed.
    [Show full text]
  • History and Ambivalence in Hollis Frampton's Magellan*
    History and Ambivalence in Hollis Frampton’s Magellan* MICHAEL ZRYD Magellan is the film project that consumed the last decade of Hollis Frampton’s career, yet it remains largely unexamined. Frampton once declared that “the whole history of art is no more than a massive footnote to the history of film,”1 and Magellan is a hugely ambitious attempt to construct that history. It is a metahistory of film and the art historical tradition, which incorporates multiple media (film, photography, painting, sculpture, animation, sound, video, spoken and written language) and anticipates developments in computer-generated new media.2 In part due to its scope and ambition, Frampton conceived of Magellan as a utopian art work in the tradition of Joyce, Pound, Tatlin, and Eisenstein, all artists, in Frampton’s words, “of the modernist persuasion.”3 And like many utopian modernist art works, it is unfinished and massive. (In its last draft, it was to span 36 hours of film.)4 By examining shifts in the project from 1971–80, as Frampton grapples with Magellan’s metahistorical aspiration, we observe substantial changes in his view of modernism. After an initial expansive phase in the early 1970s influenced by what he called “the legacy of the Lumières,” Frampton wrestles with ordering strategies that will be able to give “some sense of a coherence” to Magellan, finally develop- ing the Magellan Calendar between 1974–78, which provided a temporal map for each individual film in the cycle.5 But during 1978–80, an extraordinarily fertile *I am grateful to the following colleagues who supported the writing and revision of this essay: Kenneth Eisenstein, Tom Gunning, Annette Michelson, Keith Sanborn, Tess Takahashi, Bart Testa, and Malcolm Turvey.
    [Show full text]
  • Hollis Frampton and the Specter of Narrative by P. Adams Sitney
    chapter 5 Hollis Frampton and the Specter of Narrative n this book I am concerned with three waves or generations Iof fi lmmakers. The fi rst all began to make fi lms before 1960: Marie Menken, Ian Hugo, Stan Brakhage, Jonas Mekas, and Larry Jordan (whom I consider in the conclusion, Perfect Exhilaration) benefi ted in differ- ent degrees and in different ways from the aura of newness associated with the American avant-garde cinema in the 1940s and 1950s. They felt impelled and free to invent new automatisms (what Emerson called “mechanical means”) for generating a new kind of cinema. Of course, they struggled with the rivalry of other fi lmmakers, especially with Maya Deren, who aggressively asserted her aesthetic and theoretical primacy, and in some measure with each other. Nevertheless, the advantage they had in feeling the freshness of their enterprise in the morning of the American avant-garde cinema registers in the directness with which they responded to the optative mode of the Emersonian tradition. The next wave of fi lmmakers I treat in this book—Hollis Frampton, Andrew Noren, Robert Beavers, Warren Sonbert, and Ernie Gehr—all exhibited their fi rst fi lms in the late 1960s. They were keenly aware of the achievements of the earlier generation, even when their debts were not primarily to the artists I have named as the chief representatives of the Emersonian tradition. They hollis frampton and the specter of narrative 99 reinvented, analytically questioned, parodied, or purifi ed the tropes and themes of those precursors. Of this generation, Frampton was the most formidable ironist (a successor of Sidney Peterson and Bruce Conner).
    [Show full text]
  • Hollis Frampton. #3 (28 Painting Getty Tomb)
    Hollis Frampton. #3 (28 painting Getty Tomb). 1958–1962. Addison Gallery of American Art, Phillips Academy, Andover, MA / Art Resource, NY © Estate of Hollis Frampton. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/octo_a_00353 by guest on 26 September 2021 A Picture Is a Shaped Thing* MEGAN R. LUKE A thing is a hole in a thing it is not. —Carl Andre In one statement, Carl Andre gives two definitions for “a thing.”1 First, it is a hole, which is to say, it is a void, the opposite of anything we might grasp or take hold of. And a hole, as a homophone for whole, recalls through absence something unified and indivisible. Second, a thing is a hole in a thing it is not, which is to say, it is noniden- tical to the thinking, beholding subject, to concepts we might use to define it, or to other objects in the world with which we might wish to align it. A thing so conceived violates the closed integrity of all that surrounds it, even as those same surroundings embed and incorporate that thing. In short, the identity of any thing is here under- stood negatively, not in terms of its potential continuity or uniformity with a prior model or matrix, but rather in terms of its difference from the very field to which it belongs, even constitutes. A thing so conceived has no name. Andre formulated this conception of a thing in an effort to express the differ- ence between ideation and execution, between the capacity of language to “symbol- ize” and the power of art “to create something that wouldn’t exist unless you made it.”2 How might his statement describe the relationship between critical discourse and artistic praxis? I want to pursue this question for the case of the early shaped canvases of Frank Stella, for I can think of no other body of work whose reception remains so closely bound to the terms set by its first and most perspicacious critic.
    [Show full text]
  • Structural Film Anthology
    The OpinIons expressed in this book are those of the author and are not necessarily those of the British Film Institute. Neither do they represent official BF! policy. STRUCTURAL FILM ANTHOLOGY Edited and with an Introduction by Peter Gidal 1978 General Editor/David Wilson Published by/British Film Institute/127 Charing Cross Road. London WC2H OEA The Editor Peter Gidal has 20 films in the London Filmmakers' Co-operative. He was on the LMFC's Executive Committee for six years, and ran the LMFC cinema from 1971 to 1974. He is Tutor and Lecturer in Advanced Film Studies at the Royal College of Art, London, and has written frequently for Studio International and other journals. His book on Warhol's films and paintings was published in 1971. His films have been shown since 1968 throughout Europe and the United States; Room Film 1973 received the Prix de la Recherche at Toulon in 1974. Critiques of his films and theoretical writings have appeared in Screen, Film Form, Afterimage and Wide Angle. His most recent films are Kopenhagen/1930, Wall (Double-Take), and Silent Partner. Acknowledgments The editor wishes to thank the authors, publishers and film-makers for permission to reprint material. First published 1976 Reprinted 1978 Copyright © British Film Institute 1976 and 1978 Individual articles © the authors ISBN 0 85170 0535 Contents Introduction IV Theory and Definition of Structural/Materialist Film Peter Gidal Abstract Film and Beyond Malcolm LeGrice 22 FILM-MAKERS: Malcolm LeGrice Peter Gidal, Gordon Gow, Jonas Mekas 28 Michael Snow Simon
    [Show full text]
  • Who's Afraid of Structural Film?
    FILM AND VIDEO WHO’S AFRAID OF STRUCTURAL FILM? words JONATHAN T.D. NEIL the concern with coherence of the compositional gestalt.’ Yet Sitney’s AND IS IT ABOUT TO original criteria – of which there were four: loop printing, a fi xed frame, the fl icker e ect and rephotography o the screen – remain fi xed in BECOME THE BIG CONCERN the minds of artists who identify with the moment when it appeared FOR A NEW GENERATION that the concerns of painting, sculpture, photography and fi lm aligned under the general banner of ‘structure’. Stan Douglas routinely OF FILMMAKERS? mentions how the loop, in works such as his newest, Klatsassin (2006), is central to his practice of renovating cinematic temporality; and IN RESPONSE TO A QUESTION as to the importance of so-called Sharon Lockhart has equated her use of fi xed frame, single takes in structural fi lms for new generations of fi lmmakers and artists, a fi lm works such as Teatro Amazonas (1999) and, more recently, Pine Flat scholar friend of mine explained to me, with no little note of fi nality, (2005), with the infl uence of structural fi lm and its focus on, in that “structural fi lm is far more popular with modernist art historians Lockhart’s words, ‘the basic elements of fi lmmaking’. than with practising artists or academics in other fi elds… The lyrical It is this last equation, the perception that these earlier fi lm, the trance fi lm and certain modes of fi lm performance have had fi lmmakers’ animation of ‘structure’ in their work was bound up with a much more of an impact in the experimental fi lm world today.” I let the search for the essence of fi lm itself, its ontology or, to use a more dig of “modernist art historians” slide, even though I knew it was meant practised terminology, its ‘medium specifi city’, that has hitched to write o the concerns of a small group of us who still fi nd the fate structural fi lm to the star of modernism.
    [Show full text]
  • Hollis Frampton Archive at the Burchfield Penney Art Center Archives Donated by Marion Faller, 2005
    Hollis Frampton Archive At The Burchfield Penney Art Center Archives Donated by Marion Faller, 2005 Title: Hollis Frampton Archive Name and Location of Repository: The Charles E. Burchfield Archives Date: 1958-2012 Extent: 20 linear feet of textual records and computer hardware equipment Name of Creator: Hollis Frampton Biographical History: Hollis Frampton (1936-1984) was an internationally renowned filmmaker, theorist/writer, educator, and early pioneer of digital art. One of the major figures to emerge from the New York avant-garde film community of the 1960s, he is widely considered one of the primary architects of what is often called structural cinema, a style of experimental filmmaking that uses the basic elements of cinema to investigate formal issues at the expense of traditional narrative content. Born in Wooster, Ohio, he was a child prodigy and attended Phillips Academy in Andover, Massachusetts (submitting his application on his own) from 1951-54, where his classmates and friends included future artists Carl Andre and Frank Stella. Failing to graduate from Phillips, he entered Western Reserve University in Cleveland, Ohio in 1954, though he never received a diploma there, either. In 1956 he befriended the poet Ezra Pound, who was completing his epic Cantos at the time. Two years later he moved to New York City, rooming with Andre and Stella, and began photographing his artist friends--a pursuit that soon led him to filmmaking. This transition paralleled the rise of experimental cinema in New York City in the early 1960s and the emergence of Jonas Mekas's Filmmakers Coop. Frampton's early experimental shorts were often based on principles of science or mathematics and were relatively simple in structure and self-contained.
    [Show full text]
  • Michael Snow, Wittgenstein, and the Textual Film Justin Remes Iowa State University, [email protected]
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Repository @ Iowa State University English Publications English Spring 2015 Boundless Ontologies: Michael Snow, Wittgenstein, and the Textual Film Justin Remes Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/engl_pubs Part of the Screenwriting Commons, Technical and Professional Writing Commons, and the Visual Studies Commons The ompc lete bibliographic information for this item can be found at https://lib.dr.iastate.edu/ engl_pubs/241. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the English at Iowa State University Digital Repository. It has been accepted for inclusion in English Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Boundless Ontologies: Michael Snow, Wittgenstein, and the Textual Film Abstract While most fi lms use moving images as their primary currency, there are several experimental fi lms—such as Michael Snow’s So Is This (1982)—that instead traffi c in the written word. This article argues that such experiments problematize rigid conceptions of fi lm’s ontology and instead foreground the usefulness of a Wittgensteinian approach to cinema. Unlike a book in your hand, a fi lm ek eps on going whether you like it or not. For it has an existence of its own. A microcosm larger than life, its boundaries are boundless. —James Broughton1 The fi lm ofomor t row will be lettrist and composed of subtitles.
    [Show full text]
  • Hollis Frampton CV
    FILE: FRAMPTON.CV / PAGE 1 HOLLIS FRAMPTON Center for Media Study Permanent home: 101 Wende Hall SUNY at Buffalo Buffalo, NY 14214 75 Greenfield Street Buffalo, New York 14214 Tel: (716) 831-2426 (716) 831-2350 716/833-6215 Born: Wooster, Ohio, United States; March 11, 1936 Education: Phillips Academy, Andover, MA (1951-54) Western Reserve University, Cleveland, OH (1954-57) Teaching: Free University of New York, 1966-67. Filmmaking. School of Visual Arts, New York, 1970-71. Film History. (Lecturer) The Cooper Union, New York, 1970-73. Film History (Lecturer) Hunter College, CUNY, New York, 1959-73. Photography, Filmmaking, Design (Assistant Professor) SUNY at Buffalo, 1973-present. Filmmaking, Film Theory, Sound, Video, Digital Arts (Associate Professor) Grants & fellowships: Friends of New Cinema, New York, 1969-70 ($600) National Endowment for the Arts, 1975-76 ($10,000) Creative Artists Program Service, 1975-76 ($20,000) NYSCA & Media Stud y/Buffalo, 1977-78 ($9,225) American Film Institute, 1977-78 ($10,000) NYSCA and LIGHTWORK (Syracuse), 1981 ($4,000) FILE: FRAMPTON.CV / PAGE 2 Lived and worked in New York City from March, 195S to May, 1970; since then in Eaton, Madison County, New York. 1961-69 worked as laboratory technician in still photography & cinema, specializing in dye-imbibition color processes (“old" Technicolor, & Dye Transfer). Primarily engaged in still photography, 1959-66. First work in cinema, late 1962. Almost entirely occupied with film and related aspects of the moving image since early 1965, but has continued work in still photography, showing regularly. Eighty-six films completed to date (February 1, 1981), running some 30 hours.
    [Show full text]
  • The Autobiographical Films of Frampton, Tarkovsky, and Álvarez
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2017 A Poetics of Subtraction: The Autobiographical Films of Frampton, Tarkovsky, and Álvarez Alexander B. Joy University of Massachusetts - Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Comparative Literature Commons Recommended Citation Joy, Alexander B., "A Poetics of Subtraction: The Autobiographical Films of Frampton, Tarkovsky, and Álvarez" (2017). Doctoral Dissertations. 883. https://scholarworks.umass.edu/dissertations_2/883 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A Poetics of Subtraction: The Autobiographical Films of Frampton, Tarkovsky, and Álvarez A Dissertation Presented By ALEXANDER B. JOY Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2017 Department of Languages, Literatures, and Cultures Program in Comparative Literature © Copyright by Alexander B. Joy 2017 All Rights Reserved A Poetics of Subtraction: The Autobiographical Films of Frampton, Tarkovsky, and Álvarez A Dissertation Presented By ALEXANDER B. JOY Approved as to style and content by: _____________________________________
    [Show full text]
  • Artforum: "Special Film Issue"
    I SEPTEMBER, 1971 $2.00 72 N 72 78R 26 ~~ f This issue, devoted to film, has been organized and edited by Annette Michelson. COVER: Ken Jacobs, .Still from Tom, Tom, the Foreword in Three Letters . ... 8 Piper's Son, 1969. Publisher ............. Charles Cowles For a Metahistory of Film: Commonplace Notes and Hypotheses by Hollis Frampton ..................... 32 Editor .................. Philip Leider Executive Editor ........ John Coplans Associate Editor . Robert Pincus-Witten "True Patriot Love": The Films of joyce Wieland by Regina Cornwell ................................. 36 Managing Editor .... Sarah Ryan Black Contributing Editors .... Jack Burnham Michael Fried "Zorns Lemma" by Wanda Bershen ..................... 41 Rosalind E. Krauss .; Max Kozloff Jerrold lanes Annette Michelson "Tom, Tom, the Piper's Son" by Lois Mendelson and Bill Simon ..................................... 46 Peter Plagens Barbara Rose Production ........... Tanya Neufeld A Cinematic Atopia by Robert Smithson . 53 Office Manager ........ Janye Theroux ARTFORUM, Vol. X, Number 1, Septem­ ber 1971. Published monthly except July Paul Sharits: 1/lusion and Object by Regina Cornwell . 56 and August at 667 Madison Avenue, New York, N.Y. Subscriptions $1S per year, $17 foreign. Newsstand distribution Passage by Michael Snow . 63 by Eastern News Distributors, 155 W. 15th Street, New York, N. Y. ADVERTISING Statements by Richard Serra . 64 Paul Shanley, 29 East 61 New York, N.Y. 10021 421-2659 "Paul Revere" by joan Jonas and Richard Serra . 65 EDITORIAL & BUSINESS OFFICES 667 Madison Avenue, New York, N.Y. 10021 838-6820 The Films of Man Ray and Moholy-Nagy by Barbara Rose . 68 SUBSCRIPTIONS & ADDRESS CHANGES Artforum, P.O. Box 664 The Calisthenics of Vision: Open Instructions on the Films of George Landow by Paul Arthur .........
    [Show full text]
  • “Structural Film,” As Technique of History
    “Structural Film,” as Technique of History “Time” has become something of a signal word, a theoretical catch-all, for historians and critics that have given themselves the task of trying to come to terms with the radical challenges that 1960s art posed to the tradition of aesthetic modernism. It would seem that time is really what aesthetic modernism was all about, with its claims to the Absolute and the latter’s correlate, Eternity. Everything that comes after modernism appears overly concerned with space, which is the lateral extension of some perpetual present, or post-historical moment, or “end of temporality” as such.1 I would suggest that this has less to do with the art itself—though there is much to point to in the work of that period which could lead us to this conclusion—and more to do with the particular debates that emerged in the late 60s regarding the fate of this modernist tradition and the work and history that would take its place. Michael Fried, of course, is situated at the center of this controversy. In many ways, his essays from the late 60s, as well as his continued defense of them, have set the terms and the direction of much contemporary historical and theoretical discourse.2 If I return to them here, it 1 On the last see, Frederic Jameson’s “The End of Temporality,” Critical Inquiry 29 (Summer 2003). 2 The bulk of Fried’s essays are collected together in Art and Objecthood: Essays and Reviews (Chicago and London: The University of Chicago Press, 1998).
    [Show full text]