Film Categories: found footage

  • Some Day My Prince Will Come

    There is a world where no one wants what they can’t have – they get exactly what they want. Shaped by years of media persuasion with problematic seduction narratives, “Some Day My Prince Will Come” is the creation of fantasies that viewers are encouraged to believe in. Through a reconstruction of these narratives, an exploration of how reality is co-opted by desperation guides us in to the mind of the viewer.

  • Wildblood

    “Wildblood” is the third piece in a trilogy of animated shorts by Los Angeles artist David Jones. The film takes its inspiration from queer zines and the San Francisco homocore music scene of the early 90s. The artist was a member of the seminal band Fagbash and considers the piece reminiscent of the type of making indicative of this period. It is constructed entirely of xerox collages re-photographed and animated digitally.

  • Away

    Fragmented memories are recaptured on Super 8 film when Diego visits New York City for the first time, intent upon coming to terms with the love he lost years earlier.

  • Au pays des esprits (Home of the Buffalo)

    Constructed from Canadian prairie archival images taken between 1920 and 1940, this film lyrically explores a son/daughter’s relationship with his/her father and the family’s relationship to their land.

  • François Miron: Experimental Films / Films Expérimentaux 1985-2009

    Curated by Etienne Desrosiers. This DVD compilation brings together thirteen films by iconoclastic filmmaker François Miron. Without belonging to any artistic school, Miron has forged a unique style, one that combines a great variety of techniques and materials: found footage, live action, animation, collage, scratches, and flicker. Like Paul Sharits, François Miron sees film as a laying bare of the drama of celluloid. This drama is not psychological, but that of the violence of spatial and temporal ruptures in the film material, an experience more sensorial than emotive. With Miron, this cinema takes form convulsively, out from the clash of…

  • Cropping of the Spectacle, The

    “The Cropping of the Spectacle” began as a live cinema performance investigating the birth of the Television Spectacle in 1954 McCarthy’s America. Based loosely on the classic anarchist documentary “Point of Order” (Emile de Antonio/Dan Talbot, 1964); a film which at once deconstructed the hearings and re-invented documentary strategies – “The Cropping of the Spectacle” integrates archival movie and audio clips in chronicling the strange temporal evolution of our understandings of recent history. The original film and its many revisions ultimately reveal an odd continuation of a hegemonic framing process begun with the original Army-McCarthy hearings, which continues to the…

  • 10-17-88

    Optically printed collage of found and archival footage, with audio collage by John Shaw. (Chicago) “You are never alone, because you are full of all the memories, all the conditioning, all the mutterings of yesterday; your mind is never clear of all the rubbish it has accumulated. To be alone you must die to the past. When you are alone, totally alone, not belonging to any family, any nation, any culture, any particular continent, there is that sense of being an outsider. The man who is completely alone in this way is innocent, and it is this innocence that frees…

  • Towards a Vanishing Point

    Footage shot in Coba, Mexico and the Siwa Oasis in Egypt and a found film from California serve as inspiration for a series of sketches on the notion of the vanishing point. Commissioned for LIFT’s 30th Anniversary Celebration.

  • when the smog-filled wind began to howl

    We know now that in the early years of the twenty-first century this world was being watched closely by intelligences greater than man. [adapted from Orson Welles’ adaptation of HG Wells’ War of the Worlds (Orson Welles And Mercury Theatre On The Air, Columbia Broadcasting System, 8:00 To 9:00 P.M., Sunday, October 30, 1938)]

  • Forsaken

    In “Forsaken”, Phillips again abstracts images selected from found footage, this time exploring such techniques as contact printing and hand tinting and toning. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film.