{"product_id":"found-footage-magazine-issue-8-octobre-2022","title":"#Issue 8 (Octobre 2022)","description":"\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cspan\u003eAuteur·e·s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGracia Ramírez, Camilla Margarida, Jeffrey Skoller, Maureen Turim, Rachel Garfield, Michael Betancourt, \u003c\/span\u003eLukas Brašiškis, Matthew LaPaglia, Theodore Xenophontos, \u003cspan\u003eMarie-Pierre Burquier, Scott MacDonald, Mike Hoolboom, Andy Spletzer, Justin Remes, César Ustarroz, Matthew Cole Levine, Akosua Adoma Owusu, \u003c\/span\u003eEugeni Bonet and Eugènia Balcells, Cedric Arnold, Federica Foglia, Karissa Hahn, Johanna Vaude, Pedro Maia and Antoni Pinent\u003cbr\u003e\u003c\/strong\u003eFormat \u003cstrong\u003e\u003cspan\u003emagazine\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003eAnnée\u003cstrong\u003e 2022\u003cbr\u003e\u003c\/strong\u003eLangue(s)\u003cstrong\u003e anglais\u003cbr\u003e\u003c\/strong\u003ePages\u003cstrong\u003e 142 pages\u003c\/strong\u003e\u003c\/p\u003e\u003ch4 style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cspan\u003eDescription\u003c\/span\u003e\u003c\/strong\u003e\u003c\/h4\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFFM comble le vide crée par le fait qu'il n'y a jamais, jusqu'à maintenant, aucun lieu d'échange pour la collection et le partage d'informations, la pensée critique et la discussion sur le cinéma de found footage incluant toutes ses manifestations : cinéma de recyclage, film-essai, film de collage, film de compilation, films d'archives, mash-up ...\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eFFM accueille une sélection d'articles et des sections destinées à explorer les questions éthiques, politiques, formelles et le contenu relatif à la culture du cinéma de recylage : des monographies, des essais interdisciplinaires, des interviews et des tribunes concernant l'univers éclectique de la réalisation de found footage.\u003c\/p\u003e\u003cp style=\"text-align: start; ; white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cu\u003e\u003cspan\u003eAu Sommaire\u003c\/span\u003e\u003c\/u\u003e :\u003cem\u003e\u003cbr\u003eSpecial on Abigail Child\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eAbigail Child: We cannot control the pacing of this movie,\u003c\/strong\u003e\u003cspan\u003e par Gracia Ramírez\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e‘I want to speak with my time’ radical biography in Abigail Ahild’s \u003cem\u003eActs and Intermissions\u003c\/em\u003e\u003c\/strong\u003e, \u003cspan\u003epar Jeffrey Skoller\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003ePoetic questions and empathic ruptures: \u003cem\u003eThe Future Is Behind You\u003c\/em\u003e\u003c\/strong\u003e, \u003cspan\u003epar Maureen Turim\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cem\u003eThe Suburban Trilogy\u003c\/em\u003e: Abigail Child’s \u003cem\u003eCake and Steak\u003c\/em\u003e\u003c\/strong\u003e, \u003cspan\u003epar Rachel Garfield\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eA little of the transcendental universe of Abigail Child\u003c\/strong\u003e, \u003cspan\u003eune interview par Camilla Margarida\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eESSAYS\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eStan VanDerBeek's Danse Macabre: Found sound, appropriated music, and rehearing,\u003c\/strong\u003e par Michael Betancourt\u003cbr\u003e\u003cstrong\u003eInto the Unknown known: Images of depersonalized people in post-socialist found footage films\u003c\/strong\u003e, par Lukas Brasiskis\u003cbr\u003e\u003cstrong\u003eRe-Enacting the Archives in Sam Ashby's The Colour of His Hair\u003c\/strong\u003e, par Matthew LaPaglia\u003cbr\u003e\u003cstrong\u003eAmerican History Recontextualized: James Benning's American Dreams (Lost and Found)\u003c\/strong\u003e, par Theodore Xenophontos\u003c\/p\u003e\u003cp style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003eBOOK REVIEWS\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"p1\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cstrong\u003e\u003cem\u003eMaking Images Move: Handmade Cinema and the Other Arts\u003c\/em\u003e, \u003c\/strong\u003e\u003cspan\u003epar César Ustarroz - \u003c\/span\u003e\u003cstrong\u003eGregory Zinman. \u003c\/strong\u003eOakland: University of California Press, 2020\u003cbr\u003e\u003cstrong\u003e\u003cem\u003ePersistent Images: Encountering Film History in Contemporary Cinema\u003c\/em\u003e,\u003c\/strong\u003e\u003cspan\u003e par Matthew Cole Levine\u003c\/span\u003e\u003cstrong\u003e - Andrew Utterson. \u003c\/strong\u003eEdinburgh: Edinburgh University Press, 2020\u003cbr\u003e\u003cstrong\u003eDÉMONTAGE: \u003cem\u003eWHITE AFRO\u003c\/em\u003e\u003c\/strong\u003e, \u003cspan\u003epar Akosua Adoma Owusu\u003c\/span\u003e\u003c\/p\u003e","brand":"Found Footage Magazine","offers":[{"title":"Default Title","offer_id":56788874101067,"sku":"SQ2861823","price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/found-footage-magazine-issue-8-october-2022.webp?v=1773411412","url":"https:\/\/re-voir.com\/products\/found-footage-magazine-issue-8-octobre-2022","provider":"Re:Voir","version":"1.0","type":"link"}