Film Categories: found footage

  • The Lost World

    With the aid of a USB microscope and X-ray scanners, this time-based media installation peers into the surface structure of decayed and rotted 35mm celluloid film like a drone flight reconnaissance mission flying over unknown enemy territory. Inspired by electronic surveillance data and Second World War Allied bombing raids on Dresden, the microscopic camera behaves as the trained eye of the bombardier, looking manually into the active areas of the film frame.

  • Visual Music for 10 Voices

    In Barthes’ essay, “The Grain of the Voice”, the concept of the “genosong” was evoked to separate the sound of the voice from its language. Visual Music for Ten Voices distinguishes the physicality of the optical vocal track as having a unique identity from its actual resonance in sound films. Designed as a 10-foot black box projection loop, this film focuses on the rhythm and materiality of ten 35mm optical soundtracks. Each musical passage maintains its original length and linear harmony with the other tracks, collectively creating a new sense of motion and repetition.

  • Slaughterhouse

    This multi-framed work weaves several inter-connected threads of loss: of land and agriculture, of property and business, through political, social, economic and environmental slaughter. The materials in this archive are gleaned from public and personal sources such as the National Archive of Canada, in the story of a nineteenth century aboriginal woman and land rights activist Nahnebahwequay (1824-65) and more recently organic farmer Michael Schmidt, from excerpts of the Farmer’s Advocate and Family Herald publications 1958-1968, also a trip into the artist’s familial past, and the rise and fall of his family’s slaughterhouse and pork processing plant, Hoffman Meats (1951-81),…

  • G/R/E/A/S/E

    What the hell is G/R/E/A/S/E? … a handmade décollage film / Vinyl and Celluloid Party / the last piece of the “Film Quartet” trilogy [with FILM QUARTET / POLYFRAME (2006-2008) & KINOSTURM KUBELKA / 16 variaciones (2009)] / a deconstruction / Sandy / Danny / Sanny / Dandy / … both faces at the same frame? / […] ? […] / A new (sub)versions film… all from the original Grease (1978) / a Re-Play [to – with] Grease? / A Musical? / Found Footage Film ? Appropriationism / Experimental Cinema must be serious only? / Inspired by Dziga Vertov, Mimmo…

  • Bikini

    What happens if after a decade you return to the same beach – only to find that you never left? You look around and see the same waves of bodies and boys, the same sky, the same open sea… the same feeling of dread. Bikini is an atomic beach party film – a reaction to dating apps, body issues, and a fear the sun. It’s a world where even the dreamer can’t catch a break, let alone a wave. We’re all at odds with “the muscles”, and everyone has an opinion about what to live for. The men keep rolling…

  • Epilogue

    Epilogue: a section or speech at the end of a book or play that serves as a comment on or a conclusion to what has happened. A trip to bury my grandmother’s ashes results in an unearthing of things long obscured by time. Imbued with unanswered questions from the Lion series, Epilogue continues the biographical inquiry of The Weight of Snow and chronicles the aftermath of a dying matriarch and a family navigating cohesion.

  • The Films of Jack Chambers (Vol. 1-3)

    Available for purchase in the CFMDC Shop: https://www.cfmdc.org/shop. This 3-volume set brings together for the first time the complete film works of Jack Chambers (1931-78), largely regarded as one of Canada’s most important visual artists. With a well-established career as a painter, he embarked on a short-lived but significant career as a filmmaker in the mid-1960s. Chambers’ artistic practice was described as “perceptual realism” and stood in counterpoint to the dominant abstract styles of his day. He completed five films in his lifetime.

  • By The Time We Got To Expo

    A meditative journey through Expo 67, re-visiting a significant moment in Canadian history using manipulated imagery taken from educational and documentary films. Footage has been re-worked using tints, toners and photochemical techniques to create a vibrant collision of colours, textures and forms.

  • National Tapestry

    Created as a silent, large-scale installation for public spaces, National Tapestry draws our focus to the weft and the warp of the woven image. The materiality of a distressed patriotic symbol echoes the struggles and ambitions of a culture, land and history that are both loved and despised by many. This is Steven Woloshen’s first film exploring ethnology and politics in film.

  • Kino Crvena zvijezda (The Red Star Cinema)

    “During the Homeland War I worked as a war reporter in Vinkovci, the town I grew up in. One of the air raids destroyed the Red Star Cinema, the cinema of my childhood. There, as a kid, I dreamt of a great film career. Among the debris I found pieces of damaged filmstrip with clips from different film titles produced in the former state. A Filmstrip’s function is cinema screening. Splicing the pieces together could not restore the strip’s initial purpose. Destruction and damage changed the strip’s content and gave it a new quality. Even the Old Bridge in Mostar,…