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Found Footage Magazine issue #5

By Marcos Ortega on Tue, 26/02/2019 - 03:41
DOSSIER: (In)appropriation: Dirty Movies and Second Hand Poetics, by André Habib
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MFW Podcast 003: Process Reversal

By Marcos Ortega on Tue, 15/01/2019 - 09:07
MFW Podcast 003: Process Reversal can be downloaded at the following link:

https://archive.org/details/MFW003ProcessReversal
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FILM PANIC Issue 7 - Out Now!

By Marcos Ortega on Wed, 12/12/2018 - 14:58
In issue 7 of FILM PANIC Magazine we speak with six artists working across the vast landscape that is contemporary moving image. Their work ranges from experimental feature films for cinema, to multiscreen video works for gallery, to expanded cinema performances and to short films for both the small and big screen.
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FILM PANIC Issue 6 - Out Now!

By Marcos Ortega on Tue, 04/09/2018 - 04:18
This issue of FILM PANIC Magazine focuses on the making of Rouzbeh Rashidi’s latest feature film Phantom Islands, which premiered in February 2018 at the Dublin International Film Festival.
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Upcoming books from The Visible Press

By Marcos Ortega on Wed, 16/05/2018 - 15:12
UK publisher The Visible Press has made public a list of their forthcoming publications. Four new books presenting the writings of renowned filmmakers Lis Rhodes, Ken Jacobs and Peter Kubelka, as well as an anthology of articles from the British journal Afterimage.
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Film Panic Issue 5 – The New Visionary Cinema

By Marcos Ortega on Thu, 01/02/2018 - 11:22
Now Available to order here: https://tinyurl.com/y8rycelc
Featuring articles on personal, exploratory and visionary approaches to contemporary filmmaking.
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Film Panic Issue 4

By Marcos Ortega on Wed, 07/06/2017 - 02:59
Film Panic Issue 4 is now available! This issue contains in-depth interviews with seven exciting contemporary filmmakers who are exploring the possibilities of the art of cinema!

Available here as a free pdf and a super limited edition print run: http://tinyurl.com/hc69v5n
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Found Footage Magazine issue #3

By Marcos Ortega on Thu, 02/03/2017 - 04:35
Special On Angela Ricci Lucchi & Yervant Gianikian:
- Yervant Gianikian and Angela Ricci Lucchi: Archive, Technology and Body, by Paula Arantzazu Ruiz

The work of Yervant Gianikian and Angela Ricci Lucchi is a cinema of catalogue, a cinema that displays previously archived images and shapes an enormous inventory of 20th history century. It has been more than forty years since these Italian filmmakers (Gianikian is of Armenian origin) have been recovering, re-filming and re-editing archived films by means of the analytical camera—a re-visualizing tool made ex profeso to manipulate film footage from different sources, either by cutting original frames, reversing images and revealing their negative, modifying speed or manipulating the montage.
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Film Panic Issue 3

By Marcos Ortega on Tue, 10/01/2017 - 05:41
Film Panic Issue 3 is now available! This issue contains in-depth interviews with five exciting and unique contemporary filmmakers who are exploring the possibilities of the art of cinema!

From the editorial: "In this issue of FILM PANIC we interview five contemporary filmmakers, each of whom is creating work that is totally independent both creatively and financially. Each one of them is forging their own path and playing their own part in expanding the possibilities of the art of cinema and, in their own way, continuing the journey that began many years ago with the pioneers of the medium."
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Found Footage Magazine issue #2

By Marcos Ortega on Mon, 02/05/2016 - 16:25
Special on Barbara Hammer:
Audacious Appropriations: Barbara Hammer’s First Half-Century, by Greg Youmans

The scope, inventiveness, and audacity of Barbara Hammer’s career compel us to expand the frame from found footage to appropriation more broadly. Her appropriations of material from audiovisual archives (what is traditionally called found footage) came after and alongside more fundamental appropriations of various cinematic means of production, from film cameras and optical printing to a range of digital hardware and software, as well as the generic codes and practices of pornography and documentary. And these actions have in turn always been bound up with her appropriations of physical space: in film after film, Hammer wrests space (and time) away from heteropatriarchal coding and control.
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