Found Footage Magazine
Found Footage & Collage Films Selected Works
Institutions (universities, libraries, museums, cultural centres…) must add institutional rights to their order. Rates vary by region (North America, Europe & UK, Asia, Oceania).
Add rightsFormat DVD, Blu-ray Interzone
Original format 16mm, 35mm, video
Year 1964-2017
Language(s) English
Artist(s) Lawrence C. Jordan, Yervant Gianikian & Angela Ricci Lucchi, Bill Morrison, Peggy Ahwesh, Gariné Torossian, Jürgen Reble, Elke Groen, Cécile Fontaine, Abigail Child, Eve Heller, Jean-Gabriel Périot, Michael Fleming, Jeff Keen, Thomas Draschan, Steven Woloshen, Peter Tscherkassky
Running time 129 min
Films
GYMNOPÉDIES (1965) 6'
DIARIO AFRICANO/AFRICAN DIARY (1994) 8'
LIGHT IS CALLING (2003) 8'
THE COLOR OF LOVE (1994) 10'
GIRL FROM MOUSH (1993) 6'
ZILLERTAL (1997) 10'
TITO-MATERIAL (1998) 6'
CRUISES (1989) 8'
IS THIS WHAT YOU WERE BORN FOR - PART 5: COVERT ACTION (1984) 10'
LAST LOST (1996) 13'
UNDER TWILIGHT (2006) 5'
THE GARDEN OF DELIGHT (2017) 12'
FLIK FLAK (1964-1965) 3'
FREUDE (2009) 3'
NATIONAL TAPESTRY (2015) 2'
THE EXQUISITE CORPUS (2015) 19'
Description
Aimed at avant-garde cinema enthusiasts, this deluxe limited edition, bringing together sixteen short films, offers a striking overview of the different creative processes related to image recycling in experimental film art. Found Footage & Collage Films: Selected Works is accompanied by a book gathering analyses and reflections on the selected films. Written by prominent scholars and film critics for the occasion, this publication constitutes essential reading for understanding the aesthetics and contexts of found footage in contemporary moving image culture.
Unified by a common purpose—the reuse of existing images in order to extract intimate perceptions through critical appropriation—these films illustrate a diversity of approaches in the reevaluation of media: recycling amateur films, pornographic, newsreel, advertising, educational, scientific, and institutional films. This vast ensemble explores the multiple forms of possible dialogue with an already existing film heritage.
As borrowed images are charged with the tensions and enchantments that gave birth to them, artistic intervention transforms them into new allegories condensing the primary nature of the image itself—a movement, without a doubt, toward the evolution of cinematic language.
— César Ustarroz