Overview

"Hollis Frampton was an American filmmaker, photographer, and theorist who bridged the experimental film and contemporary art worlds in the 1960s and 1970s. Best known for avant-garde films including Zorns Lemma (1970) and (nostalgia) (1971), Frampton spent his later years working on the unfinished epic Magellan, a monumental cycle that used the metaphor of Ferdinand Magellan's circumnavigation of the world to rethink the natures and meanings of history, modernity, and cinema. Frampton's career was cut short by cancer at age 48, with his vast ambitions for the project left incomplete. This book is a groundbreaking and comprehensive account of this remarkable figure's work in its totality, from Frampton's earliest films through Magellan. Michael Zryd explores the connections linking Frampton's art and thought to other media forms, histories, and cultural frameworks. He foregrounds Frampton's notion of the ""infinite cinema,"" which redefined the parameters of the medium to encompass all forms of moving image and sound media across the past and future of cinematic possibility. Zryd analyzes Frampton's ambivalent relationship with modernism and the Enlightenment, showing how the artist navigated between attraction to radical artistic investigation and awareness of this tradition's implication in colonialism and other oppressive power structures. Shedding new light on Frampton's project of exploring and critiquing how cinema attempts to capture and understand the world, this book also considers his significance for contemporary art."

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Michael Zryd has effectively relocated Frampton's most ambitious project-rescuing it from the insular world of experimental film history and resituating it in a broader cultural and artistic arena, populated on one side by Frampton's literary progenitors (T. S. Eliot, Jorge Luis Borges, and James Joyce) and on the other by a seminal group of then-contemporary artists (Robert Smithson, Carl Andre, and Yvonne Rainer). -- Bruce Jenkins, coauthor of <i>The Films of Andy Warhol Catalogue Raisonne: 1963-1965</i>

At long last, we have an authoritative guide to the work of one of experimental film's most intriguing and polymathic figures. Through his meticulous study of Hollis Frampton's unfinished Magellan project, Michael Zryd illuminates the filmmaker's oeuvre as a whole, shedding light on the relationship among cinema, modernism, and epistemology. -- Erika Balsom, author of <i>After Uniqueness: A History of Film and Video Art in Circulation</i> Hollis Frampton was a rigorous and complex individual, as well as a passionate and generous filmmaker/teacher. As a Meta-Historian of film, his radical work bridged the fields of cinema, poetry, mathematics, photography, xerography and early digital art. He made one of the defining films of the structural film canon, Zorns Lemma (1970), following it with the seminal, (anti-)autobiographical work nostalgia (1971). Magellan (1976-) was perhaps Frampton's equivalent to Wagner's Ring Cycle; an epic, wildly ambitious, calendrical film cycle lasting 36 hours that was only partially completed before his tragic premature death in 1984. Taking on the intimidating task of deciphering and decoding Frampton's project from the fragments left behind, Zryd not only renders Magellan legible for film scholars but contextualizes and evaluates the entire project in hugely readable and nourishing prose. This book will surely become the authoritative text, not only on Magellan, but on Frampton's oeuvre as a whole. -- Luke Fowler, filmmaker and artist Michael Zryd's elegant treatise on Hollis Frampton's late metafilms is the first to map the terrain of his accomplishment with commensurate intelligence and comprehensiveness. Zryd synoptically conjugates the master's filmmaking, photography, and writing as an interlaced summa of the history of cinema and the most prescient bridge to its digital successors. -- David E. James, author of <i>Power Misses II: Cinema, Asian and Modern</i> Zryd brings unmatched expertise to the task of resurrecting Hollis Frampton's last major work. The strength of this book resides in its ability to make the complexity of this massive cultural and artistic undertaking legible. Even for scholars of avant-garde cinema and veteran viewers of Frampton's films, it offers revelatory readings. -- Bruce Jenkins, coauthor of <i>The Films of Andy Warhol Catalogue Raisonne: 1963-1965</i> This groundbreaking book offers a richly layered map for navigating Frampton's complex films and their intertexts. Devoting particular attention to the epic, encyclopedic, unfinished Magellan cycle, Zryd takes us on a deep dive into a speculative metahistory grounded in meticulous and expansive research. Frampton finds an articulate and generous interlocutor here: the energy of his last work endures through Zryd's engagement with the idea of a cinema that moves past all limits, towards the infinite. -- Sarah Keller, author of <i>Anxious Cinephilia: Pleasure and Peril at the Movies</i>

Zryd brings unmatched expertise to the task of resurrecting Hollis Frampton's last major work. The strength of this book resides in its ability to make the complexity of this massive cultural and artistic undertaking legible. Even for scholars of avant-garde cinema and veteran viewers of Frampton's films, it offers revelatory readings. -- Bruce Jenkins, coauthor of <i>The Films of Andy Warhol Catalogue Raisonne: 1963-1965</i> At long last, we have an authoritative guide to the work of one of experimental film's most intriguing and polymathic figures. Through his meticulous study of Hollis Frampton's unfinished Magellan project, Michael Zryd illuminates the filmmaker's oeuvre as a whole, shedding light on the relationship between cinema, modernism, and epistemology. -- Erika Balsom, author of <i>After Uniqueness: A History of Film and Video Art in Circulation</i> Michael Zryd's elegant treatise on Hollis Frampton's late metafilms is the first to map the terrain of his accomplishment with commensurate intelligence and comprehensiveness. Zryd synoptically conjugates the master's filmmaking, photography, and writing as an interlaced summa of the history of cinema and the most prescient bridge to its digital successors. -- David E. James, author of <i>Power Misses II: Cinema, Asian and Modern</i> This groundbreaking book offers a richly layered map for navigating Frampton's complex films and their intertexts. Devoting particular attention to the epic, encyclopedic, unfinished Magellan cycle, Zryd takes us on a deep dive into a speculative metahistory grounded in meticulous and expansive research. Frampton finds an articulate and generous interlocutor here: the energy of his last work endures through Zryd's engagement with the idea of a cinema that moves past all limits, towards the infinite. -- Sarah Keller, author of <i>Anxious Cinephilia: Pleasure and Peril at the Movies</i> Hollis Frampton was a rigorous and complex individual, as well as a passionate and generous filmmaker/teacher. As a Meta-Historian of film, his radical work bridged the fields of cinema, poetry, mathematics, photography, xerography and early digital art. He made one of the defining films of the structural film canon Zorns Lemma (1970), following it with the seminal, (anti-)autobiographical work nostalgia (1971). Magellan (1976-) was perhaps Frampton's equivalent to Wagner's Ring Cycle; an epic, wildly ambitious, calendrical film cycle lasting 36 hours that was only partially completed before his tragic premature death in 1984. Taking on the intimidating task of deciphering and decoding Frampton's project from the fragments left behind, Zryd not only renders Magellan legible for film scholars but contextualizes and evaluates the entire project in a hugely readable and nourishing prose. This book will surely become the authoritative text, not only on Magellan, but on Frampton's oeuvre as a whole. -- Luke Fowler, filmmaker and artist

Author Information

Michael Zryd is associate professor in the Department of Cinema and Media Arts at York University. He is coauthor of Moments of Perception: Experimental Film in Canada (2021).

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