ABSTRACT
The chapter examines different kinds of cinematic appropriation, i.e. the use of footage taken from other works, and contexts, notably “found footage” from archives, but also compilations of scenes and fragments from well-known films. The very creative use of archives brings in new ethical questions about the appropriation of found footage. While analogue filmmaking seeks to capture reality in order to harness it into a representation, digital filmmaking, conceived from post-production, proceeds by way of extracting reality, in order to harvest it. This shift from production to post-production changes “the cinema’s inner logic and ontology” and requires a different perspective on the ethics of appropriation.
