A man and woman in conversation, arguing till roistering and we see gestures and words that are repeated with rough technique.

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.

Poetic Justice presents the viewer with an ordinary domestic scene: a stack of papers, a cup of coffee, and a potted cactus on a table. The sheets of paper compose a script that provides handwritten, frame-by-frame instructions for a film that unfolds only in the mind of the viewer.

Carrots quickly multiply against a black background, then decrease in number, after which is followed a similar succession of peas. Both are then shown mixed together in a single shot, as they move around each-other in stop-motion. Color filters of red and green and a negative of this shot are used, before it gives away to a single stationary scene of the veggies. A narrator is heard speaking backwards all the time.

A series of ghost-like vehicles drive by.

Zorns Lemma is a 1970 American structuralist film by Hollis Frampton. It is named after Zorn's lemma (also known as the Kuratowski–Zorn lemma), a proposition of set theory formulated by mathematician Max Zorn in 1935. Zorns Lemma is prefaced with a reading from an early grammar textbook. The remainder of the film, largely silent, shows the viewer an evolving 24-part "alphabet" (where i & j and u & v are interchanged) which is cycled through, replaced and expanded upon. The film's conclusion shows a man, woman and dog walking through snow as several voices read passages from On Light, or the Ingression of Forms by Robert Grosseteste.

Shot at a steel mill, Winter Solstice is full of outpourings of fire, of smoke, of sparks, of molten metal — all erupting against an otherwise black background in an activated pictorial space.

An experimental short film by Hollis Frampton of contrasting colours.

An experimental short by Hollis Frampton who films 14 of his friends in various poses.

A film in three parts: a man talking while a telephone rings, a walking tour of New York, and a goldfish swimming.

Light begins to illuminate the small, nipple-like end of a lemon on the right edge of the frame and gradually spreads until the entire lemon is clearly visible. Then the light recedes across the frame.

Michael Snow narrates a series of Hollis Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.

A short film in which a man performs various exercises to support James Maxwell's theory of gas molecules.