"In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton's comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience." - Bill Simon
(nostalgia) is a 38 minute 1971 film by artist Hollis Frampton (1936–1984). The film is composed of still black-and-white photographs taken by Frampton during his early artistic explorations which are slowly burned on the element of a hot plate, while the soundtrack offers personal comments on the content of the images, read by fellow artist Michael Snow. Each comment/story is heard in succession before the related photograph appears onscreen, thus causing the viewer to actively engage with the 'past' and 'present' moments as presented within the film.The Librarian of Congress, James H. Billington described it as an "avant-garde classic [with] considered eloquent and evocative explorations of memory and family". [1]In 2003, (nostalgia) was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is available on the DVD collection Treasures IV: American Avant-Garde Film, 1947-1986 (2008).
"(nostalgia), beginning as an ironic look upon a personal past, creates its own filmic time, a past and future generated by the expectations elicited by its basic disjunctive strategy." - Annette Michelson
"In (nostalgia) the time it takes for a photograph to burn (and thus confirm its two-dimensionality) becomes the clock within the film, while Frampton plays the critic, asynchronously glossing, explicating, narrating, mythologizing his earlier art, and his earlier life, as he commits them both to the fire of a labyrinthine structure; for Borges too was one of his earlier masters, and he grins behind the facades of logic, mathematics, and physical demonstration which are the formal metaphors for most of Frampton's films." - P. Adams Sitney
"(nostalgia) is mostly about words and the kind of relationship words can have to images. I began probably as a kind of non-poet, as a kid, and my first interest in images probably had something to do with what clouds of words could rise out of them... I think there is kind of a shift between what is now memory and what was once conjecture and prophecy and so forth." - Hollis Frampton
"(nostalgia) is a film to look at and think about, not a film that seizes your mind and forces its sensations on you. It liberates the imagination rather than entrapping it. It raises questions about the nature of film, the tension between fact and illusion, between now and then. It advances our understanding of film magic, and for this I am grateful." - Standish Lawder
In his 1971 short film, (nostalgia), American artist and writer Hollis Frampton oveturned the conventional narrative roles of words and images. In his account of an artists's transformation from photographer to filmmaker, Frampton burns photographs he had taken and selected from his past along with one found photograph. A calm voice tells a story about an image, but the story is about the following image, not the one shown. Confounding comprehension still further, the narration begins and ends during the photograph's combustion; smoke and ashes get in our eyes while we are trying to make sense of the image and the narration--trying to remember the story that fits the image, trying to remember the image that fits the story...Frampton's (nostalgia) is a formal masterpiece, long overlooked and understudied. It emerges from a body of film work that is rarely screened, the prints damaged and difficult to locate. Frampton's work is valued in artist filmmaking and film theory circles, but it has never taken its rightful place at the heart of modern art theory. This study will introduce a new generation to a critical moment in art history--when (nostalgia) confirmed both the essence and fragility of cinema itself.Afterall Books are distributed by The MIT Press.
Amazon Books.
Moore's brainstorming yields a welcome volume on Frampton, one that digs deeply into his own writings and theorizations and succeeds in presenting (nostalgia) both as a formidable artistic artifact of the early 1970s and as an autobiographical document on Frampton's own conceptual concerns.
