The Crossroads Crash (1973)

Pedestrians, carts and trams traffic, on Whitehall Street in New York.

An animated short film from Stan Vanderbeek.

Street scene: Arch de Triumph.

Begins with a three beat announcement drawn out in time which thereafter serves as a figure to divide the four sections. Each return of this figure is more condensed, and finally used in reverse to conclude the film.

A story about the fight for power told with the help of simple graphics. The huge building, the huge column hall, one chair around the chairman's board table is empty. We observe the fight for that chair: little men run and fight, all tricks are allowed.

A group of Macedonian women are shown hard at work.

Two short fragments resulting from experiments in controlling the mechanical development of the instrument.

A subversive experimental short against the ruling class.

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

1905 short film showing people walking down a Ljutomer street after mass.

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

16 mm, color, silent, 5:25 or 15 min. "Optically printed Pythagoreanism in four movements supported on squares, circles, grillwork, and triangles with an interlude concerning an experiment."

When a housewife's girlfriends take her to a male strip club for her birthday, she brings back more than memories.

This scene is a part of the very first film shot produced by the Manaki Brothers. Despina, the Janaki and Milton Manaki's grandmother, was recorded weaving in one high-angle shot. For no apparent reason, the first shot made in Macedonia, in the Balkans in fact, made by these two cinematography pioneers, contains peculiar symbolics: at the moment when the grandmother Despina spins the weaving wheel, film starts rolling in our country.

This two-color (green-blue and red) film was produced as a demonstration reel at the Paragon Studios in Fort Lee, New Jersey, under the direction of Kodak scientist John Capstaff. It features leading actresses, including Mae Murray, Hope Hampton, and Mary Eaton, posing and miming for the camera to showcase the capability of the complex Kodachrome process to capture their translucent movie star complexions and colorful, high-fashion clothing. (loc.gov)

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.

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.

Another street scene from the Lumiere company

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.