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I am glad that Criterion has assembled a Hollis Frampton anthology. Over the last quarter century I have had only a few chances to see his movies. Screenings of experimental cinema are scarce. When I watched them, I found Frampton's movies difficult and in need of repeated viewing. It is good that they are accessible, and in the excellent condition that Criterion is known for.
The movies themselves challenge the viewer. Frampton has some basic topics he likes to address: the material work of movies and moviemaking, forms of human experience and perception, the promises and disappointments of arcane knowledge. He likes to push the audience past the point of comfortable viewing. It an approach to film making that is directly related to the approach of conceptual artists, and it has the same effects. The experience of watching his movies, even short ones, can be confusing and stretch concentration past its limits.
There was a burst of creative film-making in New York beginning in the late 50s and running through the early 80s. For two generations, artists like Bruce Connor and Michael Snow, Lou Reed and Andy Warhol, Beth B and Richard Kern made movies that refused to let the audience sit comfortably in a dark room watching familiar projected images. Hollis Frampton is is one of the most important of those artists. By assembling this small collection, Criterion has made it a little easier to understand this difficult but important film maker.
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This item: A Hollis Frampton Odyssey (Criterion Collection) [Blu-ray]
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+![By Brakhage: An Anthology, Volumes One and Two (The Criterion Collection) [Blu-ray]](https://images-na.ssl-images-amazon.com/images/I/71hPQg5ErZL._AC_UL116_SR116,116_.jpg)
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- Brad JuppReviewed in the United States on April 30, 2012
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