Screening Log
This new site feature is a collective effort to summarize our viewing habits. Occasionally, you will find titles here that are coming to a theater near you, in addition to films viewed on television, and even films viewed in piecemeal. The screening log is archived each month; to view past entries select a month in the menu below.
April 2005 activity
Total Log Entries: 44
- Adam (0)
- Andrew (0)
- Chet (0)
- Chiranjit (0)
- David (0)
- Eva (0)
- Evan (0)
- Ian (0)
- Jenny (0)
- Katherine (0)
- Leo (15)
- Megan (0)
- Rumsey (8)
- Teddy (0)
- Thomas (4)
- Timothy (0)
- Victoria (0)
Total Comments: 7
- 2046 (0)
- The Interpreter (0)
- Raiders of the Lost Ark (0)
- Point Break (0)
- Muriel (0)
- Gloria (0)
- Zorn’s Lemma (0)
- Eaux d’Artifice (0)
- The Days (0)
- The Ladykillers (0)
- The Awful Truth (1)
- Arrested Development (0)
- Shaun of the Dead (1)
- Stranded (0)
- Finding Neverland (0)
- Secret Window (1)
- Eros (0)
- Closer (0)
- King of the Zombies (0)
- La Ciénaga (0)
- The Birds (1)
- Passage à l’acte (0)
- Wavelength (0)
- Duck Soup (0)
- Changing Lanes (0)
- 12 Monkeys (0)
- Ghostbusters (0)
- Maria Full of Grace (0)
- Laura (0)
- Stage Fright (0)
- The Idiots (0)
- Stray Dog (0)
- Mirror (0)
- Three on a Match (0)
- Before Sunset (1)
- The Power and the Glory (0)
- Aguirre: The Wrath of God (0)
- The Ring Two (1)
- Happy Together (0)
- Rocky IV (1)
- My Own Private Idaho (0)
- Suspicion (0)
- Young Törless (0)
- Days of Thunder (0)
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Zorn’s Lemma / USA / 1970
Hollis Frampton is, in my opinion, a terribly undervalued filmmaker. This is not to say that his films are unappreciated by film scholars, but rather that one is more likely to have read about his films than to have seen them. Zorn’s Lemma, in particular, is a film much written about but seldom seen. I won’t expend the effort to describe this film here because so many others have done so (notably P. Adams Sitney), but suffice it to say that the film, like so much of Frampton’s work, is about language. And while it is formally schematic in the extreme, it nonetheless offers a simple gesture toward the sublime, the quotidian, and the personal (and to New York City). So, on the one hand, his films are never quite as abusive as Sharits’, but nor are they so humorlessly mystical as Brakhage’s. Seek them out and watch them.
by Leo Goldsmith | Source: 16mm Print
25 Apr 2005 11:52 PM | Submit Comment