*CFP* "POP CINEMA", EDITED ANTHOLOGY

One of the most revolutionary and divisive art movements of the 20th century, Pop Art often found its thematic and stylistic sources in cinema. While it remains common to speak of Pop Art in relationship to film culture, there has been a significant lack of theorisation of films and filmmakers that were influenced by or employed the aesthetics and themes of Pop Art. Although there have been useful discussions in recent years of the place of Pop Art in the film criticism of curator and theorist Lawrence Alloway (Stanfield 2008), and curators William Kaizen (2011) and Ed Halter (2015) have separately attempted to define a corpus of Pop Films, there has been no thorough scholarly engagement with what this book terms ‘Pop Cinema’. This anthology will begin to remedy this omission by gathering a range of perspectives on artworks from the late 1950s to the present to probe the idea that a body of cinema and cinema-related practice exists that bears a direct relationship to Pop Art. We are concerned to bring the methodologies and critical positions of Art History and Film Studies together to bear on works of moving-image art—be they cinema or video—not to explore the ways in which they display works of Pop Art within their diegesis but to situate them as works of Pop Art in their own right.

*CFP* “ARCHIVES FOR EDUCATION. CREATIVE REUSE FOR STUDENT FILMAKERS”, BFI EDUCATION SYMPOSIUM

As cultural heritage organisations digitise their collections and increase public access, the creative reuse of moving image archive material remains problematic, beset by questions of copyright law, rights clearance and “fair dealing” exceptions. The Archives for Education project provides a new model for the creative reuse of archive film in higher education, giving student filmmakers access to 39 films from the BBC and the BFI National Archive for creative reuse on course-related projects for the first time. 55 institutions have signed up to the scheme, allowing student filmmakers to connect their vision of Britain today with archival representations from their parents’ and grandparents’ generations.

This one-day symposium, organised by Kingston School of Art and hosted by BFI Education, reflects on the first full academic year of the scheme andexplores the creative and learning opportunities creative reuse can offer to young filmmakers and how the scheme can be developed within and beyond higher education.

*CFP* "ARCHIVES FOR EDUCATION - CREATIVE REUSE FOR STUDENT FILMMAKERS", ONE-DAY SYMPOSIUM

We are pleased to announce a one-day symposium at BFI Southbank, London, 21 May 2020, hosted by BFI Education, reflecting on the first full academic year of the Archives for Education scheme and the theme of creative reuse of archival material by student filmmakers. 

As cultural heritage organisations digitise their collections and increase public access, the creative reuse of moving image archive material remains problematic, beset by questions of copyright law, rights clearance and “fair dealing” exceptions. The Archives for Education provides a new model for the creative reuse of archive film in higher education, giving student filmmakers access to 39 films from the BBC and the BFI National Archive for creative reuse on course-related projects for the first time. 45 institutions have signed up to the scheme, allowing student filmmakers to connect their vision of Britain today with archival representations from their parents’ and grandparents’ generations.

This one-day symposium, organised by Kingston School of Art and hosted by BFI Education, reflects on the first full academic year of the scheme and explores the creative and pedagogic possibilities of creative reuse in higher education and how the scheme can be further developed.

*CFP* ISSUE 5 FOUND FOOTAGE MAGAZINE

Call for submissions for issue#5 is open.

Found Footage Magazine is a printed and double-blind peer reviewed film studies publication. FFM offers theorical, analytical and informative content related to the use of the archive and extant images in found footage cinema. Found footage filmmaking has became the most pervasive tendency in avant-garde film during the last decades. Found Footage Magazine’s goal is to endorse these practices and promote a lively dialogue about the use of the archive in documentary film and experimental cinema.

For each issue, Found Footage Magazine will select essays/articles that engage with scholar discourses from a wide range of found footage filmmaking theory and praxis.