Selected bibliography

This bibliography 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

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

Anderson, Steve F. (2011). Technologies of History. Visual Media and the Eccentricity of the Past. Hanover: Dartmouth College Press. 

Arthur, Paul (1997). ‘Transformations in Film as Reality. On the Virtues and Limitations of Collage,’ Documentary Box, vol. 6, no. 11, pp. 1-7.

Arthur, Paul (2008). ‘En busca de los archivos perdidos,’ Archivos de la filmoteca, no. 57-58, pp. 161-175.

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

Atkinson, Michael (1993). ‘Collective Preconscious,’ Film Comment, vol. 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.

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

Beauvais, Yann (2003). ‘Films d’archives,’1895. Mille huit cent quatre-vingt-quinze, no. 41, pp. 57-70. 

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

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

Bertozzi, Marco (2012). Recycled cinema: Immagini perdute, visioni ritrovate. Venezia, Italia: Marsilio Editori.

Beugnet, Martine (2017). ‘An aesthetics of exhaustion? Digital found footage and Hollywood,’ Screen, Vol. 58, issue 2, pp. 218–228.

Blümlinger, Christa (1999).‘Lumière, the Train and the Avant-Garde,’ in Wanda Strauven (ed.) The Cinema of Attractions Reloaded. 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 (ed.) (1993). Desmontaje: Film, Vídeo; Apropiación, Reciclaje. Valencia: Institut Valencià d’Art Modern.

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

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, pp. 49-67.

Brunow, Dagmar (2015). Remediating transcultural memory: documentary filmmaking as archival intervention. Berlin: De Gruyter.

Cameron, Allan (2020). ‘Face, Frame, Fragment: Refiguring Space in Found-Footage Cinema,’ in Screen Pace Reconfigured. Amsterdam: Amsterdam University Press. Pp. 127-152.

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

Danks, Adrian (2006). ‘The Global Art of Found Footage,’ in Linda Badley, R. Barton Palmer and Steven Jay Schneider (eds.) Traditions in World Cinema. 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, pp. 73-82.

D’Artemare, Julia (2009). ‘Recyclage cinématographique: mode de remploi.’ PhD. Research. Saint-Denis: 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, vol. 1, issue 1, pp. 45-50.

De Bruyin, Dirk (2012). ‘Recovering the Hidden Through Found-footage Films,’ in Barbara Bolt and Estelle Barrett (eds.) Carnal Knowledge: Towards a New Materialism Through the Arts. 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 (editorial board) (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.

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

Fernández, Itzia; Wood, David and Valdez, Daniel (2015). ‘Apuntes para una filmografía: De las prácticas del reempleo (Found Footage o Metraje Encontrado),’ Nuevo Texto Crítico, vol. 28, no. 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 (eds.) (2012). Found Footage: Cinema Exposed. Amsterdam: Amsterdam University Press.

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

Glatz, Felicia (2014). ‘The Invention of Context: Found Footage Filmmaking History and the Imitative Form.’ PhD. 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, vol. 4, “Arousal” Issue.

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

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

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

Habib, André and Marie, Michel (eds.) (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,’ in W. de Jong, J. Rothwell and E. Knudsen (eds.) Creative Documentary; Theory and Practice. London: Routledge.

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

Heller, Dana (2002). ‘Found Footage: Feminism Lost in Time,’ Tulsa Studies in Women’s Literature, vol. 21, no. 1, Spring, pp. 85-98.

K-Q

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

Katz, Joel (1991). ‘From Archive to Archiveology,’ Cinematograph, vol. 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 and Westrup, Laurel (eds.) (2014). Sampling Media. Oxford: Oxford University Press. 

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

Levin, Erica (2022). ‘Nothing Clarifies an Image Like Another Image: New Approaches to Found Footage Filmmaking,’ in A Companion to Experimental Cinema. Hoboken, Nueva Jersey: Wiley.

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

Listorti, Leandro y Trerotola, Diego (eds.) (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 Cynthia Lucia, Roy Grundmann, and Art Simon (eds.) American Film History: Selected Readings, 1960 to the Present. New Jersey: Wiley-Blackwell. Pp. 241-259. 

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

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

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

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

Müller, Matthias (2005). The Memo Book. Berlin: Verlag Vorwerk 8.

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

Mutchinick, Melissa (2012). ‘De espectador crítico a compositor de imágenes. Experiencias de lectura-escritura audiovisual en las prácticas de found footage,’ Arkadin, vol. 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.

Nogueira, P., and Almeida, A. (2022). ‘Archival Imaginaries: The use and repurpose of archive footage in interactive documentaries,’ Interactive Film & Media Journal, vol. 2, issue 2.

Noordegraaf, Julia (2009). ‘Facing Forward with Found Footage Film,’ in 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, vol. 54, pp. 315-317.

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

Piñeros, Juan Pablo (2010). ‘El cine reciclado: Found Footage,’ Creación y Producción en Diseño y Comunicación, vol. 35, Buenos Aires, pp. 59-62.

R-Z

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

Russell, Catherine (1999). Experimental Ethnography: The Work of Film in the Age of Video. Durham: Duke University Press.

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, pp. 2-25.

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

Smith, Iain Robert (ed.) (2010). Cultural Borrowings: Appropriation, Reworking, Transformation. University of Nottingham: book-length special issue of the open-access journal Scope.

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, vol. 8, issue 3, pp. 327-343.

Tinel-Temple, Muriel (2021). ‘Found Footage and the Construction of the Self: Dream English Kid 1964–1999 AD (Mark Leckey, 2015) and Just Don’t Think I’ll Scream (Frank Beauvais, 2019),’ Ekphrasis, vol. 6, issue 2, pp. 72-91.

Ustarroz, César (2020). ‘Prácticas fílmicas de segundo grado: Ampliando los horizontes del cine de Hollywood,’ Revista Escritura e Imagen, no. 16, pp. 9-15.

Ustarroz, César (2020). ‘Prácticas fílmicas de segundo grado,’ Escritura e Imagen (Publicaciones Complutense), no. 16, pp. 109-122.

Ustarroz, César (ed.) (2022). Found Footage & Collage Films: Selected Works. Found Footage Magazine (pub.).

Ustarroz, César (2024). Hollywood en el cine de metraje encontrado. Buenos Aires: La Marca Editora.

Ustarroz, César (2024). ‘Arqueología de los medios y cine de metraje encontrado: Descolonizando los archivos,’ Imagofagia, no. 30, pp. 241-259.

Verwoert, Jan (2006). ‘Apropos Appropriation: Why Stealing Images Today Feels Different,’ in Beatrix Ruf (ed.) Tate Triennial 2006: New British Art. London: Tate Publishing. Pp. 14-21.

Vilches, Gloria (2008/2009). ‘Usos, estilos y formatos contemporáneos del audiovisual de apropiación en España.’ M.A. Research. Vitoria: Investigación Montehermoso.

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

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

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

Wood, Sarah (2015). ‘Lost Film Found Film.’ PhD. Research. Kent: University of Kent.

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

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