Framework

Framework is a magazine focusing on Movies

Articles from Vol. 48, No. 2, Fall

14th Annual African Film Festival
New York City, April 4-12; April 20-21; May 25-28, 2007Celebrating its 14th year, the New York African Film Festival continues to exemplify the Film Society of Lincoln Center's commitment to inter national cinema. Annually, pro - grammer Mahen Bonetti...
A Display Case for Everyday Wonders1
Gunvor Nelson: most Swedes probably don't know the name. Even within Swedish film circles there has been a troubling lack of knowledge about Gunvor Grundel Nelson's importance to the medium. The University of Karlstad's 2002 hosting of an international...
Editorial
Issue 48-2 inaugurates a new Framework feature. The journal will now carry a war focus. How is the U.S. actually dealing with the war? There are surprising conflicts, many made covertly apparent through media representation, which, in at least three...
(G)Aping Women; or, When A Man Plays the Fetish
To gape (intransitive verb): to gaze stupidly or in open-mouthed surprise or wonder. Gape (noun): unfilled space or extent.-Merriam Webster'sThe text is a fetish object, and this fetish desires me.-Roland Barthes1This paper began as a look at my attraction...
GUNVOR NELSON DOSSIER: "Not Evident When You First See the Object": An Interview with Gunvor Nelson
This interview took place on October 24, 2006 in New York City during the Museum of Modern Art's retrospective of Nelson's work.Drake Stutesman: You famously have gone from using film to using video. When did you do that and what are the pluses and minuses...
Make Room for Straight TV
Gay TV and Straight America, by Ron Becker, Rutgers University Press, 2006.In the field of television studies, interest in the politics of progressive "quality" programming often patently supports the television industry's own demographic goals. Scholars...
Public Domains: Engaging Iraq through Experimental Digitalities
Public DomainsPublic domain, or PD, crosses through the new media ecology-works for which copyright has either expired or never existed. An archive with no doors and no rules, public domain presents the open text that can commingle with other texts....
Show-Stoppers: 1937 and the Chance Encounter with Chiffons
What in the end does it matter to human happiness whether [Fred Astaire's] trousers do or do not have cuffs?-Bruce Babington and Peter William Evans, Blue Skies and Silver Linings1In my formulation: "The eternal is in any case far more the ruffles on...
Signature, Translation and Resonance in Gunvor Nelson's Films
Signature and Translation in Gunvor Nelson's FilmsIn the male-dominated contexts of 1960s avant-garde film, filmmakers Bruce Baillie, Bruce Conner and Stan Brakhage were among those foremost in the West Coast "eye." It was perhaps inevitable, therefore,...
The Material and the Mimetic: On Gunvor Nelson's Personal Filmmaking
Experimental or avant-garde film is a tricky notion. In North America, "avant-garde" is the more common term of the two because film as a practice is primarily marked by a manifestly commercial culture. Non-profit, minor, and inexpensively produced film...
The Production of Outrage: The Iraq War and the Radical Documentary Tradition
Now we are engaged in two image wars. And we may not think that there are two of them because they are inextricable. The first conflict is the one seen in what is seen (and thought to be stored) in still and moving images. We speak of images of explosions,...
The Sixth Tribeca Film Festival
New York City, April 25-May 6, 2007This year's Tribeca Film Festival (TFF) had much the same strengths and weaknesses as last year's. Its great strength was in documentaries and its weakness was in narrative, especially horror (which was terrible). But...
WAR, DOCUMENTARY AND IRAQ DOSSIER: Film Truth in the Age of George W. Bush
Nonfiction film practices have frequently mobilized notions of truth.1 These have changed over time, from the US-based Veriscope ("truth viewer" in Latin) in the late 1890s to Dziga Vertov's kino pravda ("film truth" in Russian) in the 1920s and cinéma...
What the Clerk Saw: Face to Face with the Wrong Man
In a celebrated review of Alfred Hitchcock's The Wrong Man (US, 1956) in the Cahiers du cinéma, a review titled (after Artaud) "Le Cinéma et son double," Jean-Luc Godard focuses upon certain close-ups of Henry Fonda. Such images of the human countenance...
Your Country, My Country: How Films about the Iraq War Construct Publics
American documentaries about Iraq are fascinating from many perspectives, but they matter to us all now because they are active interventions in public life, on a topic that concerns each American in some way. They fit squarely into a core expectation...