About the Festival

Check out the program for the upcoming Festival of (In)appropriation #8 here!

Whether you call it collage, compilation, found footage, détournement, or recycled cinema, the incorporation of already existing media into new artworks is a practice that generates novel juxtapositions and new meanings and ideas, often in ways entirely unrelated to the intentions of the original makers. Such new works are, in other words, “inappropriate.” This act of (in)appropriation may even produce revelations about the relationship between past and present, here and there, intention and subversion, artist and critic, not to mention the "producer" and "consumer" of visual culture itself. Fortunately for our purposes, the past decade has witnessed the emergence of a wealth of new audiovisual elements available for appropriation into new works. In addition to official state and commercial archives, resources like vernacular collections, home movie repositories, and digital archives now also provide fascinating material to repurpose in ways that lend it new meaning and resonance.

Founded in 2009, the Festival of (In)appropriation is a yearly showcase of contemporary, short (20 minutes or less), audiovisual works that appropriate existing film, video, or other media and repurpose it in “inappropriate” and inventive ways. The show is curated by Jaimie Baron, Lauren Berliner, and Greg Cohen.

Generously sponsored by Los Angeles Filmforum.

About the Curators

Jaimie Baron (Festival Director) is an Assistant Professor of Film Studies at the University of Alberta. She received her B.A. in Art-Semiotics from Brown University, her M.A. in Film Studies from the University of Iowa, and her Ph.D. in Cinema and Media Studies from UCLA. In 2009,  she founded the Festival of (In)appropriation with the help of Andrew Hall. Her work on film and media theory, experimental film and video, documentary, appropriation, and digital media has been published in The Velvet Light Trap, Discourse, Spectator, Eludamos, Maska, FRAMES, Framework, Projections, and several anthologies including Global Visual Cultures and Sampling Media. Her first book, The Archive Effect: Found Footage and the Audiovisual Experience of History, was published in January 2014.



Lauren S. Berliner is an Assistant Professor of Media and Communication and Cultural Studies at University of Washington Bothell. Her research focuses on amateur media production practices, gender and sexuality, and pedagogy. Also a filmmaker, she has screened her work internationally and facilitates video production programming for girls and queer youth. She earned her PhD. in Communication from UC San Diego, an MA in Visual and Media Art from Emerson College, and a BA in English and Anthropology from Wesleyan University. 





Greg Cohen, an artist and scholar of cinema and visual culture, teaches film studies in the Department of Spanish & Portuguese and the Program in Cinema and Media Studies at UCLA. His research and practice draw on a range of intellectual and aesthetic interests, from landscape theory and aesthetic philosophy to cultural memory and experimental archives, and from the history and theory of architecture to the intersections of moving-image media and radical politics. His work has been exhibited, most recently, at the 7th Videoholica International Festival of Video Art in Varna, Bulgaria; the 6th Cairo Video Festival, Medrar for Contemporary Art, in Cairo, Egypt; and the “Electron Salon” invitational group show at the Los Angeles Center for Digital Art. Cohen is also the the creator of The Valaco Archive, an ongoing, multi-media, visual research project (http://valacoarchive.com). 






Adrian Scherger (Technical Director) is Assistant Stereoscopic Editor and Visual Effects Artist in Los Angeles. He earned his B.A. in Mathematics at UC Davis, and his M.A.  in Film and New Media Production at San Diego State University.  Before focusing on his film career,  Adrian taught high school math for 4 years in Escondido,  California.  He has a broad knowledge of pre and post-production workflows in a variety of mediums such as 35mm film, digital/Red camera, and 3D stereo.






Dawn Fratini (Design) is a PhD Candidate in the Cinema and Media Studies Program at UCLA, and an Instructional Technology Consultant at the UCLA Center for Digital Humanities. Her research focuses on histories of technologies, particularly the development and implementation of cinematic technologies in Hollywood.