For nearly a century, found footage has provided both inspiration and raw material for experimental filmmakers. For some filmmakers, found footage has provided access to a vast archive of cultural production, often providing the means to comment on the status of the image in society or to deconstruct cinematic language. For others, it has served as a vehicle for exploring the material qualities of the film stock itself, shifting attention from the photographic content of the footage to the formal effects of the artist's manipulation. From virtual non-intervention to intricate strategies of editing and reprinting, the films in this program represent a range of approaches to found footage over the last half-century.
Wild GunmanDirected by Craig Baldwin.
US, 1978, 16mm, color, 20 min.
Surface NoiseDirected by Abigail Child.
US, 2000, 16mm, color and b&w, 18 min.
Valse TristeDirected by Bruce Conner.
US, 1979, 16mm, black & white, 6 min.
Take the 5:10 to DreamlandDirected by Bruce Conner.
US, 1977, 16mm, color, 5 min.
Public DomainDirected by Hollis Frampton.
US, 1972, 16mm, black & white, silent, 4 min.
Georgetown LoopDirected by Ken Jacobs.
US, 1997, 16mm, black & white, silent, 11 min.
Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, etc.Directed by Owen Land (AKA George Landow) .
US, 1965-66, color, silent, 4 min.
The Big Stick/An Old ReelDirected by Saul Levine.
US, 1967/73, 16mm, black & white, silent, 11 min.
Happy EndDirected by Peter Tscherkassky.
US, 1996, 16mm, color, 12 min.