Hollis Frampton
Films
Archival Collections
Anthology Film Archives, Library
Anthology Film Archives.
Essential cinema repertory collection, [ca. 1915-1972], [ca. 1960-1970] (bulk)
ca. 360 films, 8mm, 16mm, 35 mm.
Anthology Film Archives, Library
Anthology Film Archives.
Study collection, [ca. 1900-1985], 1950-1985 (bulk)
ca. 1,000 films.
Frampton, Hollis, 1936-
Artist file : miscellaneous uncataloged material.
1 folder
Frampton, Hollis.
Frampton, Hollis : [photography bio file].
1 folder.
Smithsonian Institute, Archives of American Art
Addison Gallery of American Art.
Addison Gallery of American Art sound recordings, 1970-1991.
1 sound reel ; 5 in. and 8 sound cassettes + 44 p.
Related Links
Film-Makers’ Cooperative
Wikipedia
References
Arthur, Paul. “Lines of Sight: a Travelogue.” Millennium Film Journal (2000): 60–71. Print.
Carroll, Nöel. “A Brief Comment on Frampton’s Notion of Metahistory.” Millennium Film Journal 16-18 (1986): 200–205. Print.
“CHAPTER 10: Pyrotechnical Reproduction.” Savage Theory: Cinema as Modern Magic (2000): 137–158. Print.
Dixon, Wheeler Winston. “Treasures IV: American Avant-Garde Film, 1947-1986 Image Entertainment.” Senses of Cinema 51 (2009): 43. Print.
Dusinberre, Deke, and Ian Christie. “Dossier – Episodes from a Lost History of Movie Serialism: An Interview with Hollis Frampton.” Film Studies 4.0 (2004): 104–118. Print.
Finnegan, Jesse P. “A Hollis Frampton Odyssey.” Film Comment 48.3 (2012): 74–75. Print.
Frampton, Hollis. “The Invention Without a Future.” October. Summer 2004 : 64-75. Print.
Halter, Ed. “Circumnavigating Both Hemispheres, Frampton Comes Alive.” Village Voice 48 (2003): 60. Print.
Hanlon, Lindley. “Arson: A Review of Otherwise Unexplained Fires (1977) by Hollis Frampton.” Millennium Film Journal 4/5 (1979): 157–159. Print.
Hill, Chris. “(re) Performing the Archive: Barbara Lattanzi & Hollis Frampton in Dialogue.” Millennium Film Journal 39/40 (2003): 67–81. Print.
Hillier, Jim. “(Nostalgia).” Movie (1990): 98–102. Print.
“Hollis Frampton at Anthology Film Archives.” Film Culture 77 (1992): 7. Print.
“Hollis Frampton: Three Talks at Millennium.” Millennium Film Journal 16-18 (1986): 274–294. Print.
MacDonald, Scott. “Interview with Hollis Frampton: ‘Zorns Lemma’.” Quarterly Review of Film Studies. Winter 1979 : 23-37. Print.
Penley, Constance, and Janet Bergstrom. “The Avant-Garde: Histories and Theories.” Screen 19.3 (1978): 113–127. Print.
Ragona, Melissa. “Hidden Noise: Strategies of Sound Montage in the Future of Hollis Frampton.” October. Summer 2004 : 96-118. Print.
Simmons, Kenith L. “Reconstructing the Code: Subjectivity in Two Films by Hollis Frampton.” New Orleans Review 17 (1990): 55–59. Print.
Simon, Bill. “‘Reading’ Zorns Lemma.” Millennium Film Journal 1.2 (1978): 38–49. Print.
—. “Talking About Magellan: An Interview With Hollis Frampton.” Millennium Film Journal. Fall1980 : 5-26. Print.
Sitney, P. Adams. “Circles of Confusion.” Millennium Film Journal 14/15 (1984): 7–14. Print.
Weiss, Allen S. “‘Poetic Justice’: Formations of Subjectivity and Sexual Identity.” Cinema Journal 28 (1988): 45–64. Print.
Windhausen, Federico. “Words into Film: Toward a Genealogical Understanding of Hollis Frampton’s Theory and Practice.” October. Summer 2004 : 77-96. Print.
Zryd, Michael. “HIstory and Ambivalence in Hollis Frampton’s Megellan.” October. Summer 2004 : 119-142. Print.
—. “On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton.” Canadian Journal of Film Studies 19.2 (2010): 149–151. Print.
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