“This film metaphors an entire human life: birth, sex, death – the framing device is the fingers and palm of the maker’s hand, wherein others only attempt to read the future.” – Stan Brakhage

A pendulum swings by until it comes to a complete stop.

Rain falls and reflects the light.

A journey through a field of corn.

A series of papers flutter in the wind.

A butchered cow is decapitated in this short film by Hollis Frampton.

The camera pans across a field of flowers at extreme speeds.

A little boy celebrates his frog catch.

An experimental short by Hollis Frampton who films the female form during various activities.

《人工照明》则在一个主体的片段中，展现广泛多样的变化。

A series of colors, notably red, before a shot of a corpse's face and a series of body organs superimposed over one another.

In GLORIA! Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a nineteenth-century figure, Frampton's maternal grandmother, and to a twentieth-century one, her grandson (filmmaker Frampton himself). In attempting to recapture their relationship, GLORIA! becomes a somewhat comic, often touching meditation on death, on memory and on the power of image, music and text to resurrect the past.