In this article I argue that using past films as found footage has benefited the documentary filmmaker in the production of experimental films. The use of found footage may be easily replicated using digital technology and re-edited into new work and offers new opportunities to expand filmic discourse beyond the single text; the continuing expansion of screens, formats and new digital technologies affords opportunities for experimentation with diverse screens and screening spaces. Using past films as found footage may also circumvent difficulties in obtaining funding to produce new films or in the purchase of archive material. To amplify my discussion I carry out qualitative analyses of my own film, My Private Life II (2015) and Chantal Akerman's found footage films which resonate with my own practice on auto-ethnography and exploration of memory and contested identity.
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