10:00 Final Cut Workshop 1
- Bruce Conner: A Movie (12 min, 1958)
- Peggy Ahwesh: The Color of Love (10 min, 1994)
- Eric B. & Rakim: Paid in Full (3:36, 1987)
- Dara Birnbaum: Technology/Transformation: Wonder Woman (6 min, 1978-80)
Questions on reading:
- In "Found Footage Film as Discursive Metahistory," how does Zyrd respond to Russell's critique of Tribulation 99? What, according to Zyrd, is Tribulation 99 really about? Zyrd goes on to discuss the two kinds (or "ontologies") of found footage identified by Paul Arthur, which one might characterize as the illustrative and the metaphorical. How can examples of the latter (what Zyrd calls "iconic images") be used to subvert the discourses that produce them?
- Horwatt's “A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet" traces contemporary remix practices back through video art, Bruce Conner, and Joseph Cornell to their origins in two types of found footage film: Soviet political films and surrealist films. What is the basis of the taxonomy he then offers? How has the development of technologies that increase access to found footage as well as tools for manipulating it impacted the kinds of found footage films made, the audience for those films, and who makes them?