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Frampton on Information: "Hypothetical 'first film' for a synthetic tradition constructed from scratch on reasonable principles, given: 1) camera; 2) rawstock; 3) a single bare lightbulb. I admit to having made a number of splices."
Frampton on Apparatus Sum: "A brief lyric film of death, which brings to equilibrium a single reactive image from a roomful of cadavers."
A pendulum swings by until it comes to a complete stop.
A film in three parts: a man talking while a telephone rings, a walking tour of New York, and a goldfish swimming.
"Near the end of 1973, Frampton realized that he had not finished a single film over the course of a year. He promptly conceived and executed LESS, a doubly punning work in which a minimalist Frampton generates a twenty-four frame (one-second) loop of the incremental blacking out of a nude image by photographer Les Krims." - Bruce Jenkins
Artificial Light repeats variations on a single filmic utterance twenty times. The same phrase is a series of portrait shots of a group of young New York artists talking, drinking wine, laughing, smoking, informally. The individual portrait-shots follow each other with almost academic smoothness in lap-dissolves ending in two shots of the entire group followed by a dolly shot into a picture of the moon... There is a chasm between the phrase and its formal inflections. That chasm is intellectual as well as formal. Frampton loves an outrageous hypothesis; his films, all of them, take the shape of logical formulae. -- P. Adams Sitney, Film Culture Reader
Shot at a steel mill, Winter Solstice is full of outpourings of fire, of smoke, of sparks, of molten metal — all erupting against an otherwise black background in an activated pictorial space.
"Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of three historic montage styles, for three perceptual modes mimed by that work." -HF
A journey through a field of corn.
The understandable fascination with Frampton's intellect can blind one to the frequent down-home dimension of his imagery. Here, in a most rigorously formal, even mathematical procession, we see frame clusters of light blue sky, green grass, and red (filter red) leaves; then frame clusters of the backs of dairy cows; and finally frame clusters of portions of a shiny vehicle (we can see people, objects in bulbous reflection). A trip to the New York State Fair filtered through a most rarified formal film."–Scott MacDonald