{"product_id":"found-footage-magazine-issue-3-mars-2017","title":"#Issue 3 (Mars 2017)","description":"\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eAuthor(s) \u003cstrong\u003e\u003cspan\u003ePaula Arantzazu Ruiz, Yervant Gianikian et Angela Ricci Lucchi, Atom Egoyan, Miriam de Rosa, Arine Kirstein Høgel, Michael Betancourt, Stephen Broomer, \u003c\/span\u003eSergi Álvarez Riosalido, David de Rozas, \u003cspan\u003eEdwin Rostron, Scott MacDonald, Matthew Levine, Martin Zeilinger, Antonin Charret, Nazare Soares, César Ustarroz, Thomas Draschan, \u003c\/span\u003eJoseph Bernard, Jeroen Cluckers, Anja Dornieden \u0026amp; Juan David González Monroy (aka Ojoboca), Thomas Draschan, Siegfried A. Fruhauf, Makino Takashi, Ignacio Tamarit et Guillaume Vallée\u003c\/strong\u003e\u003cbr\u003eFormat \u003cstrong\u003emagazine\u003c\/strong\u003e\u003cbr\u003eYear \u003cstrong\u003e2017\u003c\/strong\u003e\u003cbr\u003eLanguage(s) \u003cstrong\u003eEnglish\u003c\/strong\u003e\u003cbr\u003ePages \u003cstrong\u003e145 pages\u003c\/strong\u003e\u003c\/p\u003e\u003ch4 style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eDescription\u003c\/h4\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFFM fills the void created by the fact that there has never, until now, been any place for exchanging and sharing information, critical thought and discussion about found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival films, mash-up...\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFFM welcomes a selection of articles and sections intended to explore the ethical, political, formal questions and content related to recycled cinema culture: monographs, interdisciplinary essays, interviews and forums concerning the eclectic universe of found footage filmmaking.\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eContents\u003c\/span\u003e\u003c\/u\u003e:\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cem\u003eYervant Gianikian and Angela Ricci Lucchi: Archive, Technology and Body,\u003c\/em\u003e \u003cspan\u003eby Paula Arantzazu Ruiz\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eOur Analytical Camera,\u003c\/em\u003e \u003cspan\u003eby Yervant Gianikian et Angela Ricci Lucchi\u003c\/span\u003e\u003cbr\u003e\u003cem\u003ePages of a Diary,\u003c\/em\u003e \u003cspan\u003eby Angela Ricci Lucchi\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eA Letter to Angela and Yervant,\u003c\/em\u003e \u003cspan\u003eby Atom Egoyan\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eESSAYS\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eEssays. A Poetics of Care: Slowness, Ethics and Enchantment in Gianikian \u0026amp; Ricci Lucchi's Oeuvre\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Miriam De Rosa\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eRe-routing the Image : The Use of Haptic Interventions in Gianikian and Lucchi´s Work\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Arine Kirstein Høgel\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eGlitched Media as Found\/Transformed Footage: Post-Digitality in Takeshi Murata's Monster Movie\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Michael Betancourt\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eThe Success and Failure of Arthur Lipsett\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, by Stephen Broomer\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eHarun Farocki and the Archive. \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eWhat Images Show, What Images Conceal, by Sergi Álvarez Riosalido\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eDepicting Cinema(s): Film History as Experiment. Thom Andersen's Los Angeles Plays Itself,\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e by David de Rozas\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eARTICLES \u0026amp; INTERVIEWS\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eOdds \u0026amp; Ends\u003c\/em\u003e, \u003cspan\u003eby Edwin Rostron\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eBenning Goes Digital: An Interview\u003c\/em\u003e, \u003cspan\u003eby Scott MacDonald\u003c\/span\u003e\u003cbr\u003e\u003cem\u003ePretending the Camera Isn´t There: Joshua Oppenheimer's Postcard From Sun City, Arizona\u003c\/em\u003e, \u003cspan\u003eby Matthew Levine\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eDreams Rewired: A Conversation with Manu Luksch and Mukul Patel\u003c\/em\u003e, \u003cspan\u003eby Martin Zeilinger\u003c\/span\u003e\u003cbr\u003e\u003cem\u003eLiving Memories: Thinking Amateur Filmmaking Practices Through Archive Footage,\u003c\/em\u003e \u003cspan\u003eby Antonin Charret\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eBOOK AND DVD REVIEWS\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eCinema by Other Means,\u003c\/span\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eby Nazare Soares - \u003c\/span\u003ePavle Levi.\u003cstrong\u003e \u003c\/strong\u003e\u003cspan\u003eNew York: Oxford University Press, 2012\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eVerifica Incerta (Disperse Exclamatory Phase),\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e by César Ustarroz - \u003c\/span\u003eGianfranco Baruchello \u0026amp; Alberto Grifi, 1964-1965.\u003cstrong\u003e \u003c\/strong\u003e\u003cspan\u003ePublished by JRP | Ringler: Zurich, 2015\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003eACTIVE ENCOUNTER\u003cbr\u003e\u003c\/u\u003e\u003c\/strong\u003eA conversation between Alejandro Bachmann and Kevin B. Lee\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cu\u003eDisassembly:\u003c\/u\u003e\u003c\/strong\u003e \u003cem\u003eFreude\u003c\/em\u003e, by Thomas Draschan\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cu\u003e\u003cspan\u003eIMAGES\u003c\/span\u003e\u003c\/u\u003e\u003c\/strong\u003e\u003cbr\u003eJoseph Bernard, Jeroen Cluckers, Anja Dornieden \u0026amp; Juan David González Monroy (aka Ojoboca), Thomas Draschan, Siegfried A. Fruhauf, Makino Takashi, Ignacio Tamarit et Guillaume Vallée\u003c\/p\u003e","brand":"Found Footage Magazine","offers":[{"title":"Default Title","offer_id":56788872593739,"sku":"SQ3020697","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/FFMagazine3.webp?v=1773411407","url":"https:\/\/re-voir.com\/en\/products\/found-footage-magazine-issue-3-mars-2017","provider":"Re:Voir","version":"1.0","type":"link"}