Magazine cover

Found Footage & Collage Films:
Selected Works

  • 2022
  • ISSN: 978-84-09-36001-7 / Legal deposit: LR 915-2021
  • 96-page paperbook in English
  • 125min. DVD+BluRay

Found Footage & Collage FIlms: Selected Works

Found Footage Magazine is proud to present Found Footage & Collage Films: Selected Works, edited and introduced by César Ustarroz. For enthusiasts of avant-garde cinema, this deluxe limited edition of sixteen short films provides a vivid account of various creative processes in the recycling of images in experimental moving image art. Found Footage & Collage Films: Selected Works comes complete with a book filled with analysis and insights of the selected films. Written by leading scholars and film critics for the occasion, this publication is an essential reading for understanding the aesthetics and contexts of found footage filmmaking in contemporary moving image culture.



  1. View 1

    Hand-assembled box set, manufactured in Spain

  2. View 2

    A 2-disc (all-region DVD & Blu-ray) box set, including sixteen films (125 min.)

  3. View 3

    96-page paperback book with specially commissioned texts in English

  4. View 4

    Available to buy online and through our network of authorized points of sale

Book Contributors

John Davis  •  Scott MacDonald  • André Habib  •  Catherine Russell  •  Matthew Cole Levine  •   Martin Zeilinger  •  Mike Hoolboom  •  Justin Remes  •  Christa Blümlinger  •  Ela Bittencourt  •  Frances Guerin  •  Clint Enns  •  Chris Kennedy  •  Michael Betancourt  •  Alexandra Grimanis and Michael Nixon  •  Adrian Danks

List of films


    Lawrence C. Jordan, 1965

    Lawrence Jordan’s film Gymnopédies, like most of his non-narrative animation work (before and since), is, among other things, an opportunity to explore our relationship with the unknown.

    John Davis
  2. Diario africano/ African Diary

    Yervant Gianikian
    & Angela Ricci Lucchi, 1994

    What is exposed in African Diary is (…) the fascination of filmmaking itself, both for the Orientalist visitor and for the Others, who react in a range of ways to this strange and sometimes amusing intrusion into their daily lives.

    Scott MacDonald
  3. Light Is Calling

    Bill Morrison, 2003

    Light is Calling, the most wondrous, mysterious, beautiful, melancholic of Morrison’s films.

    André Habib
  4. The Color of Love

    Peggy Ahwesh, 1994

    The Colour of Love is a delirious adventure in the archive, delving into the nether realm of a manufactured dream scene that is destined now to never be forgotten.

    Catherine Russell
  5. Girl from Moush

    Gariné Torossian, 1993

    Girl from Moush offers largely utopian visions of beauty and belonging, of the ability for art to connect individuals from a vivid culture strewn about the globe.

    Matthew Cole Levine
  6. Zillertal

    Jürgen Reble, 1997

    Taken as a film about deep time and the Anthropocene, this is the most beautiful disaster movie you have ever seen, and like all good dystopias, Zillertal is both apocalyptic and a promise of renewal.

    Martin Zeilinger
  7. Tito-Material

    Elke Groen, 1998

    Elke Groen travels to the city of Mostar, where she uncovers forgotten footage of the former Yugoslav revolutionary turned president-for-life Tito. (…)  How can we make a new present, a better present, out of the material of the past, even a past as ravaged as this?.

    Mike Hoolboom
  8. Cruises

    Cécile Fontaine, 1989

    Populated with images and sounds from films that are normally not taken seriously as art, such as slapstick comedies, advertising films, and home movies (…) Cruises is best understood as a work of pop cinema.

    Justin Remes
  9. Is This What You Were Born For - Part 5: Covert Action

    Abigail Child, 1984

    Covert Action exposes the act of collecting with its intense inventory of gestures and postures. Thus, the figure of the kiss can no longer be seen as a sign of desire but as a form of visual energy, the materialization of the Freudian principle of “repetition compulsion”, the feeling of the Uncanny in the private space.

    Christa Blümlinger
  10. Last Lost

    Eve Heller, 1996

    On some level, the entire film is poised between reverie and lucidity, a blink of an eye in which the real and the dreamily surreal mesh seamlessly. In Heller’s elegant, fluid composition, the world falls under a spell.

    Ela Bittencourt
  11. Under Twilight

    Jean-Gabriel Périot, 2006

    Three and a half minutes into Under Twilight, war has become an aesthetically gorgeous image, like a painting. We have forgotten the European lands below being blown to smithereens.

    Frances Guerin
  12. The Garden of Delight

    Michael Fleming, 2017

    Fleming uses crude, visual sexual puns and associative montage to reveal the ideology hidden within the original images. As Bosch condemns the sins made against God, Fleming condemns the sins made against cinema.

    Clint Enns
  13. Flik Flak

    Jeff Keen, 1964-1965

    Keen is somehow always able to transform the despairing side of the visual world into creative and subversive joy.

    Chris Kennedy
  14. Freude

    Thomas Draschan, 2009

    The duality of dream/trauma. This work of dreamlike cinema is assembled to suggest a process of free association guided by terror, and evoking a dangerous world of hidden violence, sexuality, and death.

    Michael Betancourt
  15. National Tapestry

    Steven Woloshen, 2015

    National Tapestry reminds us that darkness and light are inextricably linked.  As with Dr. Frankenstein’s monster, we are reminded that a collection of unconnected, orphaned film strips can come together to form a living, breathing found footage film.

    Alexandra Grimanis
    & Michael Nixon
  16. The Exquisite Corpus

    Peter Tscherkassky, 2015

    The Exquisite Corpus is an intense, overwhelming and boundary-riding film that shows us the nature of cinema while obliterating any sense of objective distance.

    Adrian Danks