Chapter 13 explores films of the seventies, which, as Sitney notes, reveal an interest in image/word relationships, autobiographical genres, and pure cinematic images. Hollis Frampton's (nostalgia) (Hapax Legomena 1, 1973, 36 mins, B&W, Film-makers' Cooperative) examines the relationship between photography and cinema, language and image. Sitney finds James Broughton's Testament (1974, 20 mins, Color/B&W, PFA Collection), which incorporates the artist's poems, to be the purest and most powerful autobiographical film of the seventies. Robert Beavers, one of the most original filmmakers of the period, draws on the European cultural tradition in his work. The masterful Work Done (1972–1999, 22 mins, Color, 35mm, Temenos, Inc.) engages us in the “work” of film viewing. Sitney matches Beavers's rigor with that of Ernie Gehr, whose beautiful Shift (1972–1974, 9 mins, Color, Canyon Cinema) depicts New York traffic. Su Friedrich's dream journal scratched onto film in Gently Down the Stream (1981, 14 mins @ 18fps, B&W, Silent, From Canyon Cinema) reinvigorates the avant-garde cinema of the 1980s, as does Abigail Child's Mayhem (1987, 20 mins, B&W, Canyon Cinema), an homage to film noir.