Pan 699 (1974)

A butchered cow is decapitated in this short film by Hollis Frampton.

The camera pans across a field of flowers at extreme speeds in this short film by Hollis Frampton.

The 8 minute short is open to interpretation as it examines the inner thoughts of several people around a table, with the Rita Hayworth version of Put the Blame on Mame playing on the soundtrack.

A series of ghost-like vehicles drive by in this short film by Hollis Frampton.

A six minute film of the funeral of the murdered Metropolitan Emilianos of Grevena, of which all has been lost, save for 17 seconds. Emilianos was murdered on October 1st, 1911.

"I have not changed the editing structure. I have made the films printable. They are the first known fully collaged films, i.e., films made from found footage, and were done sometime in the ‘40s. Cornell combines Vaudeville jugglers, animal acts, circus performers, children eating and dancing, science demonstrations, mythical excerpts, and crucial freeze-frames of faces into a timeless structure, totally unconcerned with our usual expectations of “montage” or cinematic progression. He collects images and preserves them in some kind of cinematic suspension that is hard – impossible – to describe. But it’s a delight to anyone whose soul has not been squashed by the heavy dictates of Art." —Larry Jordan

A series of papers flutter in the wind in this short film by Hollis Frampton.

We are taken on a journey through a field of corn in this short film by Hollis Frampton.

Rain falls and reflects the light in this short film by Hollis Frampton.

Clouds roll by in a static haze in this Hollis Frampton short film.

Comprising train and track footage quickly shot just before a heavy winter's snowfall was melting, the multi-award-winning classic that emerged from the cutting-room compresses British Rail's dedication to blizzard-battling into a thrilling eight-minute montage cut to music. Tough-as-boots workers struggling to keep the line clear are counterpointed with passengers' buffet-car comforts.

Corto de Kuri Youji de 1963.

Intended as a publicity film for Chrysler, Rhythm uses rapid editing to speed up the assembly of a car, synchronizing it to African drum music. The sponsor was horrified by the music and suspicious of the way a worker was shown winking at the camera; although Rhythm won first prize at a New York advertising festival, it was disqualified because Chrysler had never given it a television screening. P. Adams Sitney wrote, “Although his reputation has been sustained by the invention of direct painting on film, Lye deserves equal credit as one of the great masters of montage.” And in Film Culture, Jonas Mekas said to Peter Kubelka, “Have you seen Len Lye’s 50-second automobile commercial? Nothing happens there…except that it’s filled with some kind of secret action of cinema.” - Harvard Film Archive

In GLORIA! Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a nineteenth-century figure, Frampton's maternal grandmother, and to a twentieth-century one, her grandson (filmmaker Frampton himself). In attempting to recapture their relationship, GLORIA! becomes a somewhat comic, often touching meditation on death, on memory and on the power of image, music and text to resurrect the past.

A bill poster comes upon a blank wall, and immediately puts up a poster advertising a movie show at one location.

Another street scene from the Lumiere company

The men of the The 28th (Māori) Battalion are seen returning to Wellington Harbour from WWII aboard the ship Dominion Monarch after their time spent serving in WW2. Their families wait to greet them with pōwhiri and hākari, whilst those men never to return are also remembered.

Oscar nominated animated short from 1972. An animated short from British comedian Bob Godfrey.