For its 10th anniversary celebration, Found Footage Magazine travels to Montreal with a screening program of found footage and collage film works made in Spain. Curated and introduced by César Ustarroz and Clint Enns.
Found Footage & Collage Films: The Artist’s Voice is a limited-edition book. It includes forty original writings from invited visual artists and filmmakers who work with the archive in their artistic practice.
Found footage films speak to me afresh, offering unexpected perspectives and new insights, often by using the most pedestrian or trivial of found footage material within which much more meaning resides than meets the eye.
An honor to have on board one of the most revered theorist as our guest author.
Found Footage Magazine is an independent semi-annual publication distributed worldwide, offering theoretical, analytical and informative contents related to found footage filmmaking.
Found Footage Magazine is an independent semi-annual publication distributed worldwide, offering theoretical, analytical and informative contents related to found footage filmmaking.
Found Footage Magazine is proud to presentFound Footage & Collage Films: Selected Works, edited and introduced by César Ustarroz. For enthusiasts of avant-garde cinema, this deluxe limited edition of sixteen short films provides a vivid account of various creative processes in the recycling of images in experimental moving image art.Found Footage & Collage Films: Selected Works comes complete with a book filled with analysis and insights of the selected films.
Found Footage Magazine is an independent semi-annual publication distributed worldwide, offering theoretical, analytical and informative contents related to found footage filmmaking.
Their approaches to found footage, at once likeminded and singular, have served Christoph Girardet and Matthias Müller well since 1999, during which time the two of them have collaborated on nearly thirty films and photographic works. Varied metaphors and modes of inquiry have been used to analyze their oeuvre: to some, Girardet and Müller provide a “suggestive continuum,” exposing the patterns of light and darkness, absence and presence, by which cinema operates; to others, the filmmakers dissect the body of film history and of the cinematic apparatus, suggesting the moving image as a corporeal grouping of skin, guts, brains, and bones to pick apart.
