{"id":1009,"date":"2007-11-18T12:00:22","date_gmt":"2007-11-18T12:00:22","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1009"},"modified":"2018-01-25T14:54:49","modified_gmt":"2018-01-25T14:54:49","slug":"the-straits-of-magellan-ii","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2007\/11\/18\/the-straits-of-magellan-ii\/","title":{"rendered":"The Straits of Magellan II"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b><b>THE STRAITS OF MAGELLAN II<\/b><br \/>\nSunday 18 November 2007, at 12pm<br \/>\nLondon National Maritime Museum<\/b><\/p>\n<p><b>AUTUMNAL EQUINOX [SOLARIUMAGELANI 3]<br \/>\nHollis Frampton, USA, 1974, 16mm, colour, silent, 27 min<br \/>\n<\/b>The cows of <i>Summer Solstice<\/i> reappear, here filmed in a slaughterhouse, animated by HF\u2019s revelation that animals are as beautiful on the inside as they are on the outside.<\/p>\n<p><b>WINTER SOLSTICE [SOLARIUMAGELANI 4]<br \/>\nHollis Frampton, USA, 1974, 16mm, colour, silent, 33 min<br \/>\n<\/b>Shot in a steel mill, \u201ca pre-textual locus dearly beloved by our Soviet predecessors\u201d (HF), this film\u2019s rhythmic and compositional textures pay tribute not only to Eisenstein and Vertov, but also to Abstract Expressionists like Franz Kline, Mark Rothko, and Clyfford Still.<\/p>\n<p><b>STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS [PANOPTICONS]<br \/>\nHollis Frampton, USA, 1974, 16mm, silent, 51 min (4 min excerpt)<br \/>\n<\/b>\u201cA sampling of 49 fragments from Frampton\u2019s catalogue of \u2018actualities,\u2019 the films <i>from Straits Of Magellan: Drafts &amp; Fragments<\/i> are all silent and unedited. Several invoke directly the work of the Lumi\u00e8res, as in Frampton\u2019s reworking of <i>D\u00e9molition d\u2019un mur<\/i> (1895), in which a dilapidated farm silo is demolished in place of the Lumi\u00e8res\u2019 wall. He makes reference to his own work \u2026 and pays homage to the work of contemporaries. A complex range of formal issues are raised in other fragments. Finally, Frampton offers a number of analogues for the act of filming and cinematic seeing that include a series of appropriated \u2018lenses\u2019 (a stone portal, a wooden silo) and a set of \u2018screens\u2019 (a pool of water, curtains, a dusty window).\u201d (Bruce Jenkins)<\/p>\n<p><b>THE RED GATE [MAGELLAN AT THE GATES OF DEATH: PART I]<br \/>\nHollis Frampton, USA, 1976, 16mm, colour, silent, 52 min (9 min excerpt)<br \/>\n<\/b>In <i>The Red Gate<\/i> and <i>The Green Gate<\/i> the primary imagery comes from a human anatomy laboratory in tribute to and (in contestation with, Stan Brakhage\u2019s <i>The Act Of Seeing With One\u2019s Own Eyes<\/i> (1971). The films were to be divided into 24 sections, each section to be projected, right side up and forwards, and upside down and backwards according to the Magellan Calendar.<\/p>\n<p><b>THE GREEN GATE [MAGELLAN AT THE GATES OF DEATH: PART II]<br \/>\nHollis Frampton, USA, 1976, 16mm, colour, silent, 53 min (9 min excerpt)<br \/>\n<\/b><i>See above<\/i><\/p>\n<p><b>STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS 1 [PANOPTICONS]<br \/>\nHollis Frampton, USA, 1974, 16mm, colour, silent, 51 min (1 min excerpt)<br \/>\n<\/b><i>See above<\/i><\/p>\n<p><b>THE RED GATE [MAGELLAN AT THE GATES OF DEATH: PART I]<br \/>\nHollis Frampton, USA, 1976, 16mm, colour, silent, 52 min (9 min excerpt)<br \/>\n<\/b><i>See above<\/i><\/p>\n<p><b>THE GREEN GATE [MAGELLAN AT THE GATES OF DEATH: PART II]<br \/>\nHollis Frampton, USA, 1976, 16mm, colour, silent, 53 min (9 min excerpt)<br \/>\n<\/b><i>See above<\/i><\/p>\n<p><b>STRAITS OF MAGELLAN: DRAFTS AND FRAGMENTS 1 [PANOPTICONS]<br \/>\nHollis Frampton, USA, 1974, 16mm, colour, silent, 51 min (4 min excerpt)<br \/>\n<\/b><i>See above<\/i><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Frampton\u2019s 7-part series explores the relationship between filmmaker and viewer, and the possibilities of the medium itself. New prints from recent preservation.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[35],"tags":[36,37],"class_list":["post-1009","post","type-post","status-publish","format-standard","hentry","category-hollis-frampton-magellan","tag-hollis-frampton","tag-magellan"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1009","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1009"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1009\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1009"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1009"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1009"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}