1972
EN
Hapax Legomena VII: Special Effects
“The frame itself, which divides what is present to consciousness from what is absolutely elsewhere, is tempered here by the breath, tremor, heartbeat of the perceiver. People this given space, if you will, with images of your own devising.” – HF
movie
11 MinutesRating
Collection
(7)
Hapax Legomena I: Nostalgia
Michael Snow narrates a series of Hollis Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.
Hapax Legomena III: Critical Mass
A man and a woman have been living together for six months. After disappearing for two days, the man returns and acts as if nothing has happened, refusing to say where he was.
Hapax Legomena IV: Travelling Matte
“This film metaphors an entire human life: birth, sex, death – the framing device is the fingers and palm of the maker’s hand, wherein others only attempt to read the future.” – Stan Brakhage
Hapax Legomena VI: Remote Control
“A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.” – HF
Hapax Legomena VII: Special Effects
“The frame itself, which divides what is present to consciousness from what is absolutely elsewhere, is tempered here by the breath, tremor, heartbeat of the perceiver. People this given space, if you will, with images of your own devising.” – HF
Hapax Legomena II: Poetic Justice
Poetic Justice presents the viewer with an ordinary domestic scene: a stack of papers, a cup of coffee, and a potted cactus on a table. The sheets of paper compose a script that provides handwritten, frame-by-frame instructions for a film that unfolds only in the mind of the viewer.
Hapax Legomena V: Ordinary Matter
"A vision of a journey, during which the eye of the mind drives headlong through Salisbury Cloister (a monument to enclosure), Brooklyn Bridge (a monument to connection), Stonehenge (a monument to the intercourse between consciousness and LIGHT)... visiting along the way diverse meadows, barns, waters where I now live; and ending in the remembered cornfields of my childhood. The soundtrack annexes, as mantram, the Wade-Giles syllabary of the Chinese language." (H.F.)