Cécile Fontaine's films do not tell stories in the traditional sense. Rather, they form spiraling involutions around an idea or a theme. Hers is a cinema of layers, encrustations, and material and plastic experimentation. It is a colorful and aquatic cinema that investigates—through stripping down and subsequent reconstruction—the material from which the images are made: the film strip itself. This essay investigates the poetics and the practice of Fontaine's found footage cinema, a cinema rigorously made without a movie camera, beginning with her first experiments with dry and wet techniques in the 1980s up to her more complex operations at the end of the 1990s. It is a cinema that, by fishing in the stream of abandoned images, reflects on the nature of the image, of memory and history, all rolled onto the vertical axis of the film.
Layers of Film, Encrusted Images: Editing Practice in Cécile Fontaine's Cinema
Lucia Tralli received her PhD from the Visual, Performing, and Media Arts Department at the University of Bologna in 2014. Her main research focus is on the reuse of media images in audiovisual productions. Her MA thesis was on the practice of found footage, and her doctoral dissertation, “Vidding Grrls: Audiovisual Remix Practices in Contemporary Digital Culture,” focused on fan vidding and gender-related issues in audiovisual remix practices. She coedited, with Monica Dall'Asta and Victoria Duckett, Researching Women in Silent Cinema: New Findings and Perspectives (Departments of Arts, University of Bologna, 2013). She has published papers on fandom, vidding, and gender in several international academic journals.
- Views Icon Views
- Share Icon Share
- Search Site
Lucia Tralli; Layers of Film, Encrusted Images: Editing Practice in Cécile Fontaine's Cinema. Feminist Media Histories 1 July 2016; 2 (3): 73–89. doi: https://doi.org/10.1525/fmh.2016.2.3.73
Download citation file: