In Frame (1969), Richard Serra emphasizes the disconnect bewteen the real space of the cinema and the illusory space of the screen. We first see Serra's hands methodically measuring and marking the boundaries of the film frame, followed by the projected image of a blank surface whose perimeter is similarly marked. The surface is then moved aside to reveal a window which looks out upon a bustling city street. The In the final stage, Serra interacts with the projected image of the window, remeasuring and remarking its borders.
More movie trailers, teasers, and clips from Frame:
24 Frames | Trailer | New Release
24 Frames opens exclusively at the Film Society of Lincoln Center on February 2: The final film from Iranian filmmaker Abbas ...
《片甲不留》預告片 'Out of Frame' Trailer
10/1 8:00pm 香港兆基創意書院多媒體劇場Multi-media Theatre HKICC Lee Shau Kee School of Creativity 門票現正於各城市售票網發售Tickets are available at ...
24 Frames - Trailer
La última película del maestro iraní presentada en Cannes 2017. “Siempre me pregunto en qué medida los artistas tratan de representar la realidad de una ...
1967 Avion T28 Trailer frame restoration
1967 Avion T28 Trailer frame restoration.
Frame off restored 1969 Chevrolet Custom 10 pick up truck towing trailer
This was a 1994 VHS video of the 69 Chevy Custom 10 towing the travel trailer home from St Ignace Mi. and the Straights area Antique Auto Show. The 260hp ...
Strange Frame - Trailer
Watch the full film here: This gorgeous animated sci-fi story is centered around the theme of the transformative power of ...
Popular movie trailers from 1969
These some of the most viewed trailers for movies released in 1969:
A balladic story based on the motifs of M. Urban's short story, in which the arduous work of loggers and the harshness of the environment interlace with the poetry of the Slovak mountains.
While happily engaged to Rosalia, Tony has the misfortune of falling for a vibrant pilot named Valeria — and that’s just the beginning of his problems.
A pretty young anti-marijuana activist is kidnapped by a drug ring, which is determined to teach her a lesson by degrading and violating her in every way possible.
In all of his work, Bussotti makes frequent reference to the body, to sexuality. This to remind musicians — especially classically trained ones — that they are not body-less angels, that they are not just their musical thoughts, that they are still, in the last analysis, flesh and bones.
Paris 1900. Sharing a house in the Bohemian District are Roberto, a fledgling Musician, who is composing an Opera with his friend the poet Victor Duval; and the beautiful Cossette, daughter of a retired tenor, who goes up and down the stairs, taking advantage of Roberto's music to train her voice.
