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I would argue that both Rose Hobart and Tom Indeed Rose Hobart has become a kind of foundation myth, or origin story, for found footage film-making and appropriationĪrt more generally. Both films are invokedĪs seminal, in the case of Rose Hobart we might even say ancestral, for their respectiveĪvant-garde categories, for these two different trajectories of found footage, and of structuralist film. Rose Hobart bears a similar relationship to the category of found footageįilm – in that it does not quite fit the definition that it was instrumental in establishing. Though it was 11instrumental in establishing theĭefinition. Perhaps not the kind that you think (the kind that has come to dominate our impression and understanding of the term), even Tom Tom is nominally a structuralist film, but
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Producing a strange, stuttering, strobe effect. Using a projector and a translucent screen he re-films the original, manipulatingīoth the film speed and framing to focus in on specific parts of the image, and to replay short sections repeatedly, often These moving images of (most probably dead) people. That film, also called Tom Tom the Piper’s Son, uses its seventy minute running time to examine, interrogate, and play with Of the aesthetics and value of work that had for a long time been written off as naive. The result sparked off a wave of interest in early film, as well as a serious critical reconsideration In 1969 Jacobs took an eight minute Biograph one reel movieĮntitled Tom Tom the Piper’s Son (probably filmed by Billy Bitzer in 1905, withĪ significant contribution from Wallace McCutcheon) and re-filmed it using a 16mm camera and an RCA home sound projector. During the course of this chapter I willĮndeavour to explain what it means to lack such a framework, and why such lack might be desirable. Of the twentieth century, is less a problem than a defining and positive attribute. The lack of an antecedent or pre-existing conceptual framework, in comparison with the found footage work of the second half
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Structures in order to reveal or release something contained, or latent, within the footage is a key characteristic of Cornell’sįilm work, and a shared goal and strategy developed across Jacobs’ vast and impressive body of work. Jacobs’ words, ‘We thought he had directly broken through the drags on cinema, all the plotting that distractedįrom and justified these satisfactions of chaotic desire that really brought the customers in’.
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Son (Jacobs, 1969–71) and a prolific career full of forensic explorations of cinema, time and perception. Rose Hobart had a profound effect on JacobsĪnd his then brother-in-arms Jack Smith, its influence clearing the path for Tom Tom the Piper’s In recent work by Michele Pierson and Malcolm Turvey – that film-maker is Ken Jacobs. Much more fully and fruitfully analyzed and 10explicated Towards identifying and analyzing the particular found footage mode of Cornell’s early work, and to do so I will lookĪt another film-maker who worked with found footage in a different period, and whose own peculiar mode of practice has been What I want to do in this chapter is to work All of which manage to name the difference but tell us little about it. Rose Hobart is described as mysterious, lugubrious, atmospheric, Of editing against the grain (implicitly inscribing the later period as primary, because of its clearer intellectual foundationsĪnd conceptual framework). A wonderful eccentricity,Īn emanation of obsessive love, at worst an accidentally significant conceptual precedent for found footage and the practice The peculiarity of Cornell’s use is occasionallyĪcknowledged also, but almost always in a way that presents it as simply that – peculiar.
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Of found footage between these two periods, between Cornell’s Rose Hobart and BruceĬonner’s A Movie (1958). Yet, there is something quite different about the mode of utilization or deployment The mode of Bruce Conner’s work, and the flourishing of similar work from the 1960s onwards. Move quickly on from this acknowledgement to get to what they really want to talk about, which is likely appropriation in
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Other films, and is frequently acknowledged as such in critical accounts of found footage film. It is a seminal precursor to the history of films that appropriate the content of Rose Hobart is, however, the most prominentĮarly collage film, as well as being Cornell’s best known film work. Practice of film exhibitors creating unique evening presentations by splicing together a number of short films garnered fromĪ variety of sources. This is not the case – there had been previousĮxamples of film-makers creating film collages (notably Esfir Shub ), and even, much earlier, the widespread Is often erroneously given the honour of being the first found footage film.