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September 16, 2005

The Archival Imagination: Found Footage in Experimental Film

For nearly a century, found footage has provided both inspiration and raw material for experimental filmmakers. For some filmmakers, found footage has provided access to a vast archive of cultural production, often providing the means to comment on the status of the image in society or to deconstruct cinematic language. For others, it has served as a vehicle for exploring the material qualities of the film stock itself, shifting attention from the photographic content of the footage to the formal effects of the artist's manipulation. From virtual non-intervention to intricate strategies of editing and reprinting, the films in this program represent a range of approaches to found footage over the last half-century.

This program was curated by Jacob Proctor and has been scheduled to coincide with the installation "Girls on Film" by artists Julie Buck and Karin Segal, on view through September 18 in the Sert Gallery, located on the third floor, Carpenter Center for the Visual Arts.

September 16 (Friday) 9 pm

Wild Gunman

Directed by Craig Baldwin
US, 1978, Color, 20 min.





Surface Noise

Directed by Abigail Child
US, 2000, Color, 18 min





Valse Triste

Directed by Bruce Connor
US, 1979, B&W, 6 min.





Take the 5:10 to Dreamland

Directed by Bruce Connor
US, 1977, Sepia, 5 min.

Public Domain

Directed by Hollis Frampton
US, 1972, B&W, silent, 4 min

Georgetown Loop

Directed by Ken Jacobs
US, 1997, B&W, silent, 11 min.

Film in Which There Appear Sprocket Holes, Edge Lettering, Dirt Particles, etc.

Directed by Owen Land (aka George Landow)
US, 1965-66, Color, silent, 4 min.




The Big Stick/An Old Reel

Directed by Saul Levine
US, 1967/73, B&W, silent, 11 min.

Happy End

Directed by Peter Tscherkassky
US, 1996, Color, 12 min.









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