Found Footage Magazine is an independent semi-annual publication distributed worldwide, offering theoretical, analytical and informative contents related to found footage filmmaking. Found Footage Magazine accommodates a selection of articles and sections aimed at promoting the culture of recycled cinema from different approaches: monographs, academic essays, interviews, opinion pieces, film reviews, film festival reports and profiles of media products related to the eclectic universe of found footage film-making.
Gregory J. Markopoulos (1928-92) was one of the most original filmmakers to emerge in post-war American cinema. His films, which encompass mythic themes, portraiture and studies of landscape and architecture, are celebrated for their extraordinary creativity, the sensuous use of colour and innovations in cinematic form. By employing complex editing techniques and spontaneous in-camera superimposition, he sought to unlock the mystery and energy contained within the single frame. As a contemporary of Maya Deren, Kenneth Anger and Jonas Mekas, Markopoulos was amongst those at the forefront of a movement that liberated cinema as an artistic mode of expression. Having made his first 16mm film (Psyche) as a student in 1947, he went on to produce several key works of the New American Cinema such as Twice a Man (1963) and The Illiac Passion (1964-67).
Michael Mazière is an artist, theorist and curator whose practice encompasses the production of artworks, the curation of exhibitions, lecturing and writing about artists’ film and video. He has been making films since the late 1970s up until today.
The Florida Experimental Film/Video Festival dates are February 7th-10th, 2019 in Tampa, Florida. Festival applications are open 10/10/2018 – 11/20/18
FLEX FEST is seeking short form experimental films and videos (30mins or less) for the 2019 festival. We can screen Super 8mm, 16mm, and High Quality digital formats (not DCP.) The last FLEX competition festival was held in 2015, so we are looking for any work made after January of 2015.
In 1933, at age 33, Harry Alan Potamkin died of complications related to starvation, at a time when he was one of the world's most respected film critics. In his writings, he advocated for a cinema that would simultaneously embrace the fractures and polyphony of modern life and the equitable social vision of left radical politics. This film-biography is assembled out of distorted fragments of films on which he had written, an impression of erupting consciousness.