Framework

Framework is a magazine focusing on Movies

Articles from Vol. 46, No. 1, Spring

An Artist's Hands: Stella Simon, Modernist Synthesis, and Narrative Resistance
What happens when you mix various threads of absolute or pure cinema, a metonymie vernacular from American Straight Photography, aesthetic and ideological strands from 1920s German photography movements, and a feminist American woman in Berlin between...
Another Cinephilia: Women's Cinema in the 1920s
With the turn to the silent period, feminist film historiography has become a dynamic new field of research, focused less perhaps on the art of cinema than on the commercial cinema and the public sphere it spawned. Yet the analysis of women's contributions...
Appendix: Structural Breakdown of Hélas Pour Moi1
Prologue (00.00-5.03)Films Alain Sarde c. 1992 / Vega FilmKlimt on the outskirts of town announces in a voiceover the following:When my father's father's father had a difficult task to accomplish, he went to a certain place in the forest, lit a fire,...
Collection/Recollection: An Interview with Matthias Müller
From early in his career, the German independent Matthias Muller has made films in conversation with the history of cinema. Sometimes his work is purposely reminiscent of earlier films. Sleepy Haven (1993), for example, evokes several landmarks of Queer...
Historical Predictions, Contemporary Predilections: Reading Feminist Theory Close Up
This is an essay about experience-the experience of viewing films and the experience of reading theory. It's also an essay about passion-the passion of this experience that is at once emotional and intellectual. In preparation for this work, I have been...
Light, Motion, Cinema!: The Heritage of Loïe Fuller and Germaine Dulac
I. Elective AffinitiesLe cinéma est l'art du mouvement et de la lumière.-Germaine Dulac, 1925As a child, the extraordinary filmmaker and theorist Germaine Dulac had been taken to see the celebrated dancer Lo'ie Fuller even though she was under the age...
Mobilizing the Museum: Film at the Metropolitan Museum of Art in the 1920s
The 1920s are commonly understood as the period during which the American film business consolidated to become the dominant international culture industry we refer to as Hollywood cinema. This is also the decade in which filmmakers, theorists, writers,...
Moretti as a Postmodern Ironist in Mazierska and Rascaroli's the Cinema of Nanni Moretti
Moretti as a Postmodern Ironist in Mazierska and Rascaroli's The Cinema of Nanni MorettiEwa Mazierska and Laura Rascaroli, The Cinema of Nanni Moretti; Dreams and Diaries (London: Wallflower Press, 2004).Ewa Mazierska and Laura Rascaroli's The Cinema...
Myth and Narration in Godard's Hélas Pour Moi1
When the father of my father's father had a difficult task to accomplish, he went to a certain place in the forest, lit a fire, and immersed himself in silent prayer. And what he had to do was done. When my father's father had the same task to accomplish,...
"Objects Became Witnesses": ÈVe Francis and the Emergence of French Cinephilia and Film Criticism
"Perhaps it [cinephilia] has also something to do with bearing witness . . ."-Paul WillemenIn her memoirs of the teens and twenties entitled Temps héroïques [Heroic Times] the Belgian born actress Eve Francis recalls the revelation she and her paramour...