Time Lapse Looped in Hollis Frampton's Remote Control

It is surprising that Hollis Frampton's published writing contains no explicit reference to time-lapse cinematography.1 After all, Frampton straddled the disciplinary boundaries between science and art, claimed dual status as still photographer and filmmaker, and made movement and time central...

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Bibliographic Details
Published inDiscourse (Berkeley, Calif.) Vol. 44; no. 2; pp. 181 - 212
Main Author Powers, John
Format Journal Article
LanguageEnglish
Published Detroit Wayne State University Press 01.03.2022
Subjects
Cinematography
Duchamp, Marcel (1887-1968)
Frampton, Hollis
Modernism
Motion picture directors & producers
Ontology
Photography
Remote control
Semiotics
Television
Television programming
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Summary:It is surprising that Hollis Frampton's published writing contains no explicit reference to time-lapse cinematography.1 After all, Frampton straddled the disciplinary boundaries between science and art, claimed dual status as still photographer and filmmaker, and made movement and time central to his theoretical speculation, a cluster of investments that would seem, at the least, time-lapse adjacent. Moreover, some form of the technique appears in his films Surface Tension (1968), Ordinary Matter (1972), Pas de Trois (1975), and, the subject of this essay, Remote Control (1972). In this film, which occupies the sixth position in the seven-part Hapax Legomena, Frampton applies time lapse, a technique with phylogenetic roots in the natural sciences, to flatly inorganic subject matter: the television set.
Bibliography:ObjectType-Article-1
SourceType-Scholarly Journals-1
ObjectType-Feature-2
content type line 14
ISSN:1522-5321
1536-1810
1536-1810
DOI:10.1353/dis.2022.0009