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- W4285345285 abstract "Like Beckett, Hollis Frampton liked to ‘drill holes’ into the surface fabric of language in order to discover what lurks underneath, just as silences and intervals interrupt the sonic progression of a piece of music. <italic>Zorns Lemma</italic> is a classic example of this as it consists of two verbal ‘bookends’: readings from the <italic>Bay State Primer</italic>, Euro-America’s first grammar book; and an epilogue that features six female voices reading selected passages, in rondo, from the 1225 treatise, <italic>On Light, or the Ingression of Forms</italic> by Robert Grosseteste, (c. 1175-1253). The 50 minute middle section consists of complete silence over one second shots of New York street signs, each beginning with a different letter, from A to Z, which are gradually replaced by non-alphabetic scenes until the whole sequence is non-alphabetical. However, the film’s structure makes us aware of the latent organizing power of linguistic rhythms and patterns even as the letters disappear, a method that spills over to Frampton’s <italic>Gloria!</italic>, which employs a digital green screen relating textual memories of his grandmother to interrupt archive footage of silent films depicting Finnegan’s Wake, thereby fusing James Joyce, family genealogy, personal memory and silent film history into an overarching infinite archive." @default.
- W4285345285 created "2022-07-14" @default.
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- W4285345285 date "2021-10-18" @default.
- W4285345285 modified "2023-09-23" @default.
- W4285345285 title "Ecosophical Chaoids: Towards an ‘Infinite Cinema’ with Hollis Frampton’s Zorns Lemma (1970) and Gloria! (1979)" @default.
- W4285345285 doi "https://doi.org/10.3366/edinburgh/9781474494021.003.0003" @default.
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