Found Footage Magazine issue #8

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Found Footage Magazine issue #8
Special on Abigail Child

Abigail Child: We cannot control the pacing of this movie, by Gracia Ramírez

Watching an Abigail Child film for the first time feels like being bombed, tricked and tickled all at once. She interweaves seemingly unending arrays of stimuli drawn from bottomless piles of culture, all sources levelled up. She arranges them in sequences and submits them to layering, constant interruptions and repetitions, like someone tuning the radio, or hopping back and forth between TV channels. Sometimes there is synchrony between sound and image, or some continuity in the ordering of space and time—conventional cinematic cues that prompt the mind to search for meaning, recognize patterns and anticipate effects. But before we get too comfortable and savvy, Child thwarts those expectations and forces us to think again. Over the last forty years, she has used her multiple creative practices to explore meaning and culture in both serious and playful ways. Her work started to break new ground in the 1980s, engaging with the cultural voracity of the all-consuming eyes and ears of the multichannel TV generation, and with the DIY attitude and wholesale rejections of punk.
Through Child’s work we can see ways in which ideas, texts and audiovisual images are adopted, adapted and shared in popular culture, resulting in a sustained argument about how culture is comprised of a never-ending process of circulation and connection.

‘I want to speak with my time’ radical biography in Abigail Ahild’s Acts and Intermissions, by Jeffrey Skoller

Poetic questions and empathic ruptures: The Future Is Behind You, by Maureen Turim

The Suburban Trilogy: Abigail Child’s Cake and Steak, by Rachel Garfield

A little of the transcendental universe of Abigail Child, an interview by Camilla Margarida



  • Stan VanDerBeek’s Danse Macabre: Found sound, appropriated music, and rehearing, by Michael Betancourt
  • Into the Unknown Known: Images of depersonalized people in post-socialist found footage films, by Lukas Brašiškis
  • Re-Enacting the Archives in Sam Ashby’s The Colour of His Hair, by Matthew LaPaglia
  • American History Recontextualized: James Benning’s American Dreams (Lost and Found), by Theodore Xenophontos


  • An interview with Jennifer Proctor, by Marie-Pierre Burquier
  • An interview with Jennifer West, by Scott MacDonald
  • Touching, by Mike Hoolboom
  • An interview with Salise Hughes, by Andy Spletzer
  • Chance encounters: A conversation with Cécile Fontaine, by Justin Remes


Book Reviews

  • Making Images Move: Handmade Cinema and the Other Arts, by César Ustarroz
  • Gregory Zinman. Oakland: University of California Press, 2020
  • Persistent Images: Encountering Film History in Contemporary Cinema, by Matthew Cole Levine
  • Andrew Utterson. Edinburgh: Edinburgh University Press, 2020


DÉMONTAGE: WHITE AFRO, by Akosua Adoma Owusu



by Eugeni Bonet and Eugènia Balcells, Cedric Arnold, Federica Foglia, Karissa Hahn, Johanna Vaude, Pedro Maia and Antoni Pinent.

Available for purchase online at
and in selected book shops

Image Gallery: 


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