Selected bibliography

This bibliography list contains books, essays or scholar studies grounded essentially on found footage filmmaking. Please take into account that, despite some exceptions, it excludes works centred uniquely on a specific film or artist.

Probably we have committed mistakes, and certainly you will miss some references on the list. Please, let us know all about it!

bibliography

A-J

Aisia Vega, Andrea (2012). El found footage en la era digital. Nuevas perspectivas para el metraje encontrado. Universitat Oberta de Catalunya Research Dissertation.

Alcoz, Albert (2010). Cine estructural de found footage. 133, de Eugènia Balcells y Eugeni Bonet. Barcelona: Universidad Pompeu Fabra.

Anderson , Steve F. (2011). ‘Found Footage,’ Technologies of History. Visual Media and the Eccentricity of the Past. Hanover: Dartmouth College Press. P. 68.

Arthur, Paul (1997). ‘Transformations in Film as Reality. On the Virtues and Limitations of Collage,’ Documentary Box, volume 6, no. 11.

Arthur, Paul (2008). ‘En busca de los archivos perdidos,’ Archivos de la filmoteca, no. 58. Valencia: Ediciones de la Filmoteca.

Arthur, Paul (1999/2000). ‘The Status of Collage,’ Spectator, volume 20, no. 1, pp. 57-69.

Atkinson, Michael (1993). ‘Collective Preconscious,’ Film Comment, volume 29, no. 6, pp. 78- 83.

Baron, Jaimie (2014). The Archive Effect: Found Footage and the Audiovisual Experience of History. New Jersey: Routledge University Press.

Baron, Jaimie (2012). ‘The Archive Effect: Archival Footage as an Experience of Reception,’ Projections, volume 6, issue 2, pp. 102-120.

Beauvais, Yann and Bouhours, Jean-Michel (2000). Monter/Sampler : L’échantillonnage généralisé. Paris: Editions du Centre Pompidou.

Beauvais, Yann (1992). ‘Lost and Found,’ Found Footage Film, edited by Cecilia Hausheer and Christoph Settele. Luzern: VIPER. Pp. 8-25.

Beauvais, Yann (1993). ‘Re-natos Descartes,’ in Desmontaje: Film, Vídeo; Apropiación, Reciclaje, editado por Eugeni Bonet. Valencia: Institut Valencià d’Art Modern.

Bell, Desmond. (2004). ‘Shooting the past: Found footage filmmaking and popular memory,’ KinemaJournal for Film and Audiovisual. Media, Spring edition. Pp. 74–89.

Berger, Katherine (2013). ‘Direct-On-Found Footage Filmmaking: Mining the Debris of Image Consumption & Co-Directing with Nature,’ Scan/Journal of Media Arts Culture, volume 10, no. 1.

Bertozzi, Marco (2011). ‘The poetics of reuse: Festivals, archives and cinematic recycling in Italian documentary,’ Studies in Documentary Film, vol. 11, 2011. Pp. 91-106.

Blüminger, Christa (1999).‘Lumière, the Train and the Avant-Garde,’ Film Culture in Transition, edited by Wanda Strauven. Amsterdam: Amsterdam University Press. Pp. 245-264.

Blümlinger, Christa (2004). ‘Cultures de remploi – questions de cinéma,’ Trafic, no. 50. Pp. 337-354.

Blümlinger, Christa (2013). Cinema de seconde main. Esthétique du remploi au cinéma et dans l’art des nouveaux médias. Paris: Klincksieck.

Bonet, Eugeni (1993). ‘La apropiación es robo,’ in Desmontaje: Film, Vídeo; Apropiación, Reciclaje, editado por Eugeni Bonet. Valencia: Institut Valencià d’Art Modern.

Bourriaud, Nicolas (2002). Postproduction: Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg.

Brenez, Nicole; Raymond, Pauline de (2001). ‘Retours d’images. Débuts du cinema et pratique du remploi’, Cinegrafie, no. 14

Brenez, Nicole (2002). ‘Montage intertextuel et formes contemporaines du remploi dans le cinéma expérimental,’ Cinémas: revue d’études cinématographiques, vol. 13, no. 1-2, Automne 2002. Pp. 49-67.

Cammaer, Gerda; Druick, Zoë (editors) (2014). Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada. Montreal: McGill-Queen’s University Press.

Cuevas Álvarez, Efrén (editor, 2010). La casa abierta. El cine doméstico y sus reciclajes contemporáneos. Editorial Ocho y Medio/Festival Documenta: Madrid.

Child, Abigail (1992). ‘Statement,’ Found Footage Film, edited by Cecilia Hausheer and Christoph Settele. Luzern: VIPER. Pp. 93-101.

Cocker, Emma (2010). ‘Ethical Possession: Borrowing from the Archives,’ Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith. University of Nottingham: book-length special issue of the open-access journal Scope. Pp. 92-110.

Danks, Adrian (2006). ‘The Global Art of Found Footage,’ Traditions in World Cinema, edited by Linda Badley, R. Barton Palmer and Steven Jay Schneider. New Jersey: Rutgers University Press. Pp. 241-253.

Daniels, Jill (2017). ‘Blurred Boundaries: Remediation of found footage in experimental autobiographical documentary filmmaking,’ Journal of Media Practice, vol. 18, 2017. Pp. 73-82.

D’Artemare, Julia (2009). Recyclage cinématographique: mode de remploi. Saint-
Denis: Memoria de final de estudios y de investigación del ENS Louis Lumière.

Dassanowsky, Robert von (2005). ‘Fragmentation, Found Footage and Fallen Facades: New Austrian Film and Postmodern Anxiety,’ International Journal of the Arts in Society, volume 1, issue 1, pp.45-50.

De Bruyin, Dirk (2012). ‘Recovering the Hidden Through Found-footage Films,’ Carnal Knowledge: Towards a New Materialism Through the Arts, edited by Barbara Bolt and Estelle Barrett. London: I.B.Tauris & Co Ltd.

Debord, Guy-Ernest et Wolman Gil J. (1956). ‘Mode d’emploi du détournement,’ Les Lèvres nues, no. 8.

Décadrages (editor) (2017). ‘Cinéma de re-montage,’ in Décadrages. Dossier 34-36. Laussanne: Association Décadrages (Université de Laussanne).

De Jong, Wilma (2012). ‘From Wallpaper to Interactivity – Use of Archive Footage in Documentary Filmmaking,’ Journalism and Mass Communication, no. 2, pp. 464-477.

Dias Branco, Sérgio (2010). ‘Music Videos and Reused Footage,’ Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith. University of Nottingham: book-length special issue of the open-access journal Scope. Pp. 111-121.

Druick, Zoë & Cammaer, Gerda (editors, 2014). Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada. McGill-Queen’s University Press: Montreal. 

Elwes, Catherine (1985).‘Through Deconstruction to Reconstruction,’ Independent Video, volume 48, issue 21.

Fernández, Itzia; Wood, David & Valdez, Daniel (2015). ‘Apuntes para una filmografía: De las prácticas del reempleo (Found Footage o Metraje Encontrado),’ Nuevo Texto Crítico, Vol. 28, N. 51, pp. 89-108. 

Fierro, Massimiliano (2012).‘Found Footage Films and the Lumpensammlers of memory,’ L’archivio/The Archive: atti del XVIII Convegno internazionale di studi sul cinema, no. 5-7. Udine: Forum Editrice Universitaria Udinese.

Fossati, Giovanna; Guldemond, Jaap and Bloemheuvel, Marente (editors, 2012). Found Footage: Cinema Exposed. Amsterdam: Amsterdam University Press.

García López, Sonia, and Gómez Vaquero, Laura (editores, 2009). Piedra, papel y tijera. El collage en el cine documental. Madrid: Ocho y Medio libros de cine.

García Martínez, Alberto N. (2006). ‘El film de montaje. Una propuesta tipológica,’ Secuencias. Revista de historia de cine, no. 23. Universidad Autónoma de Madrid.

Glatz, Felicia (2014). The Invention of Context: Found Footage Filmmaking History and the Imitative Form. Thesis Research. University of Calgari. Department of Communication and Culture Film Studies Program.

Gorfinkel, Elena (2010). ‘Arousal in Ruins: The Color of Love and the Haptic Object of Film History,’ World Picture, volume 4, “Arousal” Issue.

Guardiola, Ingrid (2015). La Imagen dialéctica en el audiovisual found footage: Un hiperarchivo de conceptos visuales. Tesis Doctoral. Barcelona: Universitat Pompeu Fabra.

Grue, Amanda Michelle (2006). The use of Archival Footage in Documentary Rhetoric. Thesis Research. Montana State University.

Gunning, Tom (1989-1990). ‘Towards a Minor Cinema,’ Motion Picture, volume 3, no. 1-2, pp. 2-5.

Habib, André; Marie, Michel (editors) (2013). L’avenir de la mémoire: Patrimoine, restauration et réemploi cinématographiques. Lille: Presses Universitaires du Septentrion.

Haggith, T. (2012). ‘The uses and abuses of archive footage,’ Creative Documentary; Theory and Practice, edited by W. de Jong, J. Rothwell and E. Knudsen. London: Routledge.

Hausheer, Cecilia and Settle, Christoph (editors, 1992). Found Footage Film. Luzern: VIPER/zyklop.

Horwatt, Eli (2010). ‘A Taxonomy of Digital Video Remixing- Contemporary Found Footage Practice on the Internet,’ Cultural Borrowings: Appropriation, Reworking, Transformation, edited by Iain Robert Smith. University of Nottingham: book-length special issue of the open-access journal Scope. Pp. 76-91.

K-Q

Kashmere, Brett (2008). ‘That Reminds Me Of Something: Obscured Referents, Approximate Indices & Counter-Archival Practice,’ The Curatorial Incubator, volume 5. Toronto: Vtape. Pp. 36-42.

Katz, Joel (1991). ‘From Archive to Archiveology,’ Cinematograph, volume 4, pp. 93- 103.

Kim, Jihoon (2015). ‘Montage and Archival Filmmaking in the Post-cinema Age,’ in Film Montage (exhibition catalogue). Seoul: Coreana Museum of Art.

Laderman, David & Westrup, Laurel (editors, 2014). Sampling Media. Oxford: Oxford University Press. 

Lawder, Standish (1992). ‘Comments on Collage Film,’ Found Footage Film, edited by Cecilia Hausheer and Christoph Settele. Luzern: VIPER. Pp. 113-150.

Lerner, Jesse  (2017). ‘La imagen es del quien la trabaja,’ in Ism, Ism, Ism / Ismo, Ismo, Ismo: Experimental Cinema in Latin America. Edited by Jesse Lerner and Piazza, Luciano. Los Angeles: University of California Press. Pp. 109-127.

Leslie, Esther (2015). ‘Art, Documentary and the Essay Film,’ Radical Philosophy.

Leyda, Jay (1964). Films Beget Films: A Study of the Compilation Film. New York: Hill and Wang.

Listorti, Leandro y Trerotola, Diego (editores, 2011). Metraje encontrado. ¿Qué es y adónde va el found footage? Buenos Aires: BAFICI. Buenos Aires Festival de Cine Independiente. Ministerio de Cultura de Buenos Aires.

MacDonald, Scott (2015). ‘American Avant-Garde Cinema from 1970 to the Present. Recycled Cinema,’ in American Film History: Selected Readings, 1960 to the Present, edited by Cynthia Lucia, Roy Grundmann, and Art Simon. New Jersey: Wiley-Blackwell. Pp. 241-259. 

MacKenzie, Scott (1998). ‘Flowers in the Dustbin: Termite Culture and Detritus Cinema,’ CineAction, volume 47, pp. 24-29.

Mackenzie, Scott (2007). ‘The Horror, Piglet, the Horror: Found Footage, Mash-Ups, AMVs, The Avant-Garde, And the Strange Case of Apocalypse Pooh,’ Cineaction, issue 72, pp. 8-15.

Marks, Laura U. (2002). ‘Loving a Disappearing Image,’ Touch: Sensuous Theory and Multisensory Media. Minneapolis: Minnesota University Press.

Maule, Rosanna (2013). ‘Intellectual Property in the Age of Digital Reproduction: Archiveology as a Critical Method,’ Who’s What? Intellectual Property in Digital Era. XX Udine International Film Studies Conference.

Middleton, Jason (2007). ‘The Audio-vision of Found-Footage Film and Video,’ in Medium Cool: Music Videos from Soundies to Cellphones. Edited by R. Beebe and J. Middleton. Durham, NC: Duke University Press. Pp. 59-82.

Misek, Richard (2015). ‘Trespassing Hollywood: Property, Space, and the “Appropriation Film”,’ OctoberSummer 2015, No. 153, pp. 132-148.

Müller, Matthias (2009). ‘Thieves Like Me,’ Public Lecture, Gallery of Contemporary Art Bunkier Sztuki, Cracow.

Müller, Matthias (1997). ‘The Cinema of Difference,’ Millennium Film Journal, no. 30/31.

Mutchinick, Melissa (2012). ‘De espectador crítico a compositor de imágenes. Experiencias de lectura-escritura audiovisual en las prácticas de found footage,’ Arkadin, año 6, no. 4, pp. 42-46.

Nichols, Bill (2014). ‘Remaking History: Jay Leyda and the Compilation Film,’ Film History, Vol. 26, No. 4. Pp. 146-156. Bloomington: Indiana University Press. 

Noordegraaf, Julia (2009). ‘Facing Forward with Found Footage Film,’ Technologies of Memory in the Arts. Basingstoke: Palgrave Macmillan. Pp. 172-187.

Noriega, Eva (2012). ‘Notas y sketches sobre Found Footage,’ Arte e Investigación. Revista científica de la facultad de Bellas Artes, no. 8.

Noriega, Eva (2013). ‘Cine y Costura. Cómo se fabrican y se proyectan las imágenes.’ IX Jornadas Nacionales de Investigación en arte en Argentina.

O’Pray, Michael (1987). ‘From Dada To Junk: Bruce Conner and the Found Footage Footage Film,’ Monthly Film Bulletin, volume 54, pp 315-317.

Panelli, Martina (2016). La réécriture comme autoportrait: médias, corps et archives dans le cinéma d’avant-garde féminin. Usine: Università degli studi di Udine.

Peterson, James (1992). ‘Making Sense of Found Footage,’ Found Footage Film, edited by Cecilia Hausheer and Christoph Settele. Luzern: VIPER. Pp. 55–76.

Piñeros, Juan Pablo (2010). ‘El cine reciclado: Found Footage,’ Creación y Producción en Diseño y Comunicación, vol. 35, Buenos Aires.

R-Z

Rannou, Pierre (2008). ‘Reconfiguring Found Footage Film,’ Esse, no. 64.

Russell, Catherine (1999). ‘Archival Apocalypse: Found Footage as Ethnography,’ Experimental Ethnography: The Work of Film in the Age of Video. Durham: Duke University Press. Pp. 238-272.

Russell, Catherine (2012). ‘The Restoration of The Exiles. The Untimeliness of Archival Cinema,’ Screening the past.

Russell, Catherine (2018). Archiveology: Walter Benjamin and Archival Film Practices. Durham, NC: Duke University Press.

Sandusky, Sharon (1992). ‘The Archaeology of Redemption: Toward Archival Film,’ Millennium Film Journal, no. 26.

Sjöberg, Patrik (2001). The World in Pieces: A Study of Compilation Films. Stockholm: Aura förlag.

Solomon, Phil (1992). ‘Why am I Drawn to using Found Footage,’ Found Footage Film, edited by Cecilia Hausheer and Christoph Settele. Luzern: VIPER. Pp. 130-132.

Thouvenel, Eric (2008).‘How “Found Footage” Films Made Me Think Twice about Film History,’ Cinéma & Cie 1. Pp. 97-103.

Tsivian, Yuri (1996). ‘The Wise and Wicked Game: Re-editing and Soviet film Culture of the 1920s,’ Film History, volume 8, issue 3, pp. 327-343.

Verwoert, Jan (2007). ‘Apropos Appropriation: Why Stealing Images Today Feels Different,’ Art & Research, Vol. 1, No. 2.

Vilches, Gloria (2008/2009). Usos, estilos y formatos contemporáneos del audiovisual de apropiación en EspañaVitoria: Investigación Montehermoso.

Walnes, Tilly (2009). ‘Story Without End? Found Footage in the Digital Era,’ Movement, the futures of cinema, issue 1.1.

Warren, Bass (1981). The Past Restructured: Bruce Conner and Others,’ Journal of the University Film Association, volume 33, no. 2. Champaign: University of Illinois Press. Pp. 15-22.

Webb Jekanowski, Rachel (2013). ‘Confronting the Archive: Found Footage Filmmaking, History, and Archival Practice in One Man’s War and The Autobiography of Nicolae Ceausescu,’ Shift, issue 6.

Wees, William C. (1992). ‘Found Footage and Question of Representation,’ Found Footage Film, edited by Cecilia Hausheer and Christoph Settele. Luzern: VIPER.

Wees, William C. (1993). Recycled Images. The Arts and Politics of Found Footage Films. New York: Anthology Film Archives.

Wees, William C. (1993). ‘Found footage y collage épico,’ Desmontaje: Film, Vídeo; Apropiación, Reciclaje, editado por Eugeni Bonet. Valencia: Institut Valencià d’Art Modern. P. 41.

Wees, William C. (1998). ‘Forma y sentido en las películas de Found Footage: una visión panorámica’, Archivos de la Filmoteca, no. 30.

Wees, William C. (2002). ‘The Ambiguous Aura of Hollywood Stars in Avantgarde Found Footage Films,’ Cinema Journal, volume 41, no. 2, pp. 3-18.

Weinrichter, Antonio (2009). Metraje encontrado: La apropiación en el cine documental y experimental. Pamplona: Gobierno de Navarra. Departamento de Cultura y Turismo-Institución Príncipe de Viana.

Wood, Sarah (2015). Lost Film Found Film. Doctor of Philosophy (PhD) thesis. Kent: University of Kent.

Wooster, Ann-Sargent (1985). ‘Why Don’t They Tell Stories Like They Used To?,’ Art Journal, no. 45, pp. 204-212.

Wyver, John (1993). ‘Un texto furtivo’ en Desmontaje: Film, Vídeo; Apropiación, Reciclaje, editado por Eugeni Bonet. Valencia: Institut Valencià d’Art Modern.

Yeo, Rob (2005). ‘Cutting through history. Found Footage in Avant-garde Filmmaking,’ CUT: Film as Found Object in Contemporary Video, edited by Stefano Basilico. Milwaukee: Milwaukee Art Museum. P. 13

Zeilinger, Martin (2009). Arts and Politics of Appropriation. Thesis Research. University of Toronto.

Zryd, Michael (2003). ‘Found Footage as Discursive Metahistory: Craig Baldwin’s Tribulation 99,’ Moving Image, volume 3, issue 2, pp. 41–61.