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found-footage-film

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Journal Articles
Feminist Media Histories. 2016; 23102–118 doi: https://doi.org/10.1525/fmh.2016.2.3.102
Published: 01 July 2016
... of this amateur film collection to the making of Circle (2016), a found footage film recently completed by Valentina Monti. The film is the result of complicated research that involved a composite group of archivists and filmmakers, including many women. Most of the materials reused in the film were...
Journal Articles
Feminist Media Histories. 2016; 2329–53 doi: https://doi.org/10.1525/fmh.2016.2.3.29
Published: 01 July 2016
... cinématographiques 13, nos. 1–2 (Fall 2002): 49–67; and William Wees, Recycled Images: The Art and Politics of Found Footage Films (New York: Anthology Film Archives, 1993). 3. About Pierre Braunberger's exceptional career as a producer (he helped the debuts of such masters of modern cinema as Jean Renoir...
Journal Articles
Feminist Media Histories. 2016; 2373–89 doi: https://doi.org/10.1525/fmh.2016.2.3.73
Published: 01 July 2016
... 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...
Journal Articles
Feminist Media Histories. 2016; 2311–28 doi: https://doi.org/10.1525/fmh.2016.2.3.11
Published: 01 July 2016
... Shub in Dziga Vertov's Man with a Movie Camera (1929). Esfir Shub in Dziga Vertov's Man with a Movie Camera (1929). compilation film Esfir Shub female filmmakers found footage film Soviet cinema © 2016 by the Regents of the University of California. All rights reserved. Please...
Journal Articles
Feminist Media Histories. 2016; 23119–141 doi: https://doi.org/10.1525/fmh.2016.2.3.119
Published: 01 July 2016
.../journals.php?p=reprints . 2016 Alina Marazzi archival film film editing found footage film Ilaria Fraioli Marazzi's mother in For One More Hour with You (2002). Marazzi's mother in For One More Hour with You (2002). A feminist demonstration in the 1970s; from We Want Roses Too...
Journal Articles
Feminist Media Histories. 2020; 62120–147 doi: https://doi.org/10.1525/fmh.2020.6.2.120
Published: 01 April 2020
... because I cannot ethically justify the amount of money that I would have to raise to finish this film. I cannot justify it. TF: The footage you selected situates Jamaica within a much larger story about the environmental impact of the US ambition to venture into outer space. EF: Because the...
Journal Articles
Feminist Media Histories. 2020; 6267–94 doi: https://doi.org/10.1525/fmh.2020.6.2.67
Published: 01 April 2020
... the internet, where it is readily found on YouTube. In recent years it has been favorably contrasted with the many popular online cat videos. See Alexis C. Madrigal, “The Best Experimental Film about Cats Ever Made,” The Atlantic , April 24, 2013, https://www.theatlantic.com/entertainment/archive...
Journal Articles
Feminist Media Histories. 2020; 621–15 doi: https://doi.org/10.1525/fmh.2020.6.2.1
Published: 01 April 2020
... produced. Edwards traces Stratton-Porter's discontent with this first adaptation, and cites this as a reason for her move from Indiana to Los Angeles to found her own production company in 1919. Stratton-Porter was one of many women who formed film companies in their own names in the silent era, but most...
Journal Articles
Feminist Media Histories. 2019; 541–18 doi: https://doi.org/10.1525/fmh.2019.5.4.1
Published: 01 October 2019
... produce what Jaimie Baron calls “the archive effect,” a powerful experience of reception founded upon the project of repurpose and transformation through recontextualization, holding at once the then of the footage, the now of the making, and the now of the watching. 22 aa : We revisit to build...
Journal Articles
Feminist Media Histories. 2019; 521–18 doi: https://doi.org/10.1525/fmh.2019.5.2.1
Published: 01 April 2019
... bricolage, found footage, performance, and portraiture, often of women in states of abandon, refusal, and jouissance . With her is M. M. Serra, experimental filmmaker, curator, teacher, director of the Film-Makers' Cooperative, and advocate of and pedagogue on the cinematic possibilities of female...
Journal Articles
Feminist Media Histories. 2019; 52211–239 doi: https://doi.org/10.1525/fmh.2019.5.2.211
Published: 01 April 2019
... Model Turned Cinematographer” initiates the latter half of the film. Here the visual content shifts from the recontextualization of found imagery to original footage in which the movie camera moves and observes Green's body with surprising vibrancy and curiosity ( figs. 11, 12 ). In one shot, Green is...
Journal Articles
Feminist Media Histories. 2019; 5249–82 doi: https://doi.org/10.1525/fmh.2019.5.2.49
Published: 01 April 2019
... to remain anonymous, and this “negotiated anonymity” was a central feature of the films. 34 This also posed certain methodological problems for my research. When I first ventured into the field to trace the production history of soft-porn films, I strangely found the references to my object of...
Journal Articles
Feminist Media Histories. 2019; 5219–48 doi: https://doi.org/10.1525/fmh.2019.5.2.19
Published: 01 April 2019
... texture. The Gagetape VHS and Betamax release at the dawn of the 1980s appears to be the last time El Paso Wrecking Corp . circulated intact until the return of a complete version on DVD in 2013. Thus for most of the home video and porn studies era, viewers encountered a film that lost footage from...
Journal Articles
Feminist Media Histories. 2019; 52148–180 doi: https://doi.org/10.1525/fmh.2019.5.2.148
Published: 01 April 2019
... Phalle's excessive acting out of her fantasies and furies and the various joys of performing itself displayed by the women, which has never been acknowledged by the literature on the film. The following analysis will show that resistance can be found in these performances of pleasure and play and in the...
Journal Articles
Feminist Media Histories. 2019; 52111–147 doi: https://doi.org/10.1525/fmh.2019.5.2.111
Published: 01 April 2019
...Ryan Powell During the early to mid-1970s, when feature-length hardcore films became a popular cultural phenomenon in the United States, hardcore came to designate more than just a genre or an industry—it became a ubiquitous mode of performance, an ethos, and a style. This article explores how...
Journal Articles
Feminist Media Histories. 2019; 5111–38 doi: https://doi.org/10.1525/fmh.2019.5.1.11
Published: 01 January 2019
...’? Modernity, Visual Art Exhibitions, and East Asia,” boundary 2 37, no. 1 (2010): 91–126. 12. Mariam Lam, “Found Footage: Ecological (Re)Invention in Experimental Documentary Film,” keynote address presented at the Southeast Asian Cinemas Research Network Symposium, Hanoi DocFest, Hanoi, Vietnam...
Journal Articles
Feminist Media Histories. 2019; 51141–167 doi: https://doi.org/10.1525/fmh.2019.5.1.141
Published: 01 January 2019
... the question: Even when an orphan film is “found not lost,” what histories of the film and its makers remain out of reach? Challenging the primacy of the orphan-film-as-object in orphan film research, Moore asks, “Can't the spirit and approach of orphan film research be expanded to include histories...
Journal Articles
Feminist Media Histories. 2018; 4457–82 doi: https://doi.org/10.1525/fmh.2018.4.4.57
Published: 01 October 2018
..., “Found Footage: Women without a Movie Camera,” Feminist Media Histories 2, no. 3 (Summer 2016): 1–10. 29. Giuliana Bruno , Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari (Princeton, NJ: Princeton University Press, 1993); Kristen Hatch, “Cutting Women: Margaret...
Journal Articles
Feminist Media Histories. 2018; 4433–56 doi: https://doi.org/10.1525/fmh.2018.4.4.33
Published: 01 October 2018
... Monica Mead, Kitty Marshall, and others, Erulkar found in nonfiction film a space to flourish creatively, where “ordinary” topics could, by dint of imagination, be elevated to the “exquisite.” Professional success as a woman was by no means easy, and Erulkar had to navigate both institutional...
Journal Articles
Feminist Media Histories. 2018; 448–32 doi: https://doi.org/10.1525/fmh.2018.4.4.8
Published: 01 October 2018
..., quoted in Pawley, BBC Engineering 1922–1972 , 302. 29. APTS recording no. 23. A telecine machine transfers film footage to broadcast format. 30. APTS recording no. 23. The phrase “sent to Coventry” is a colloquial expression meaning to be ostracized. 31. APTS recording no. 23. 32...