Movies and TvShows featuring "appropriation" theme.

Scorpio Rising is a short music film that delves into the themes of sexuality, rebellion, and death. It follows a group of biker gang members who revel in their nihilistic lifestyle. The film is known for its surreal imagery and homoerotic undertones. It features pop music, Nazi symbolism, and a party scene where chaos ensues. Scorpio Rising has been recognized as a significant contribution to underground film and is included in the National Film Registry.

Outer Space (1999) is a surreal and avant-garde experimental film that combines elements of psychological horror and dark imagery. The film takes place in outer space and explores themes of obscurity and reappropriation through the use of archive footage and surreal visuals.

Reflections of Evil is a satirical and surrealistic film that delves into the dark side of Hollywood. It follows the story of a teenager who becomes a guru of an avant-garde studio lot, leading to riots and appropriation. The film features elements of comedy, drama, fantasy, and horror, with themes of surrealism, splatter, and satire. It touches on various topics such as September 11, television, the 1970s, hippies, drug use, and homelessness. The protagonist's journey is filled with hallucinations, terrorism, and bizarre encounters, portraying the absurdity and darkness that lurks beneath the surface of the entertainment industry.

24 Hour Psycho is the title of an art installation created by artist Douglas Gordon in 1993. The work consists entirely of an appropriation of Alfred Hitchcock's 1960 Psycho slowed down to approximately two frames a second, rather than the usual 24. As a result it lasts for exactly 24 hours, rather than the original 109 minutes. The film was an important work in Gordon's early career, and is said to introduce themes common to his work, such as "recognition and repetition, time and memory, complicity and duplicity, authorship and authenticity, darkness and light."

The mythic nature of cowboy masculinity is deconstructed in this scathing montage of re-contextualized sounds and images culled from advertising, television, arcade game footage and other pop culture iconography.

Rabbit's Moon is a 1950 short film directed by Kenneth Anger. It tells the story of a clown who is in love with the moon and embarks on a dreamlike journey to find love. The film combines elements of drama, fantasy, and avant-garde techniques.

"Spacedisco One" is a sequel to both "Logan's Run" and "1984" at the same time with Orwell's Winston Smith running into the daughters of Logan 5 and Francis 7 as they're busy running about a park firing off laser beams at one another. It's not until they meet that Winston realizes they're actually all fictional characters in a movie. When not discussing "Battlestar Galactica" with Stargirl 7 and Francis 8, Winston makes frequent visits to the Ministry of Truth - Universal CityWalk.

Arnold's source material is a piece of footage from the 1950s, eighteen seconds long and very typical for the period. A quiet take: A living room, a woman in an armchair. Her husband opens the door, kisses her, then moves out of the picture accompanied by a camera pan, his wife follows after him. In Arnold's film the sequence takes 16 minutes. Cadre by cadre, it becomes an exciting tango of movements. But Pièce Touchée is more than just a matter of forms; The reflections, distortions and delays it displays challenge cinema's stable system of space and time.

Alone. Life Wastes Andy Hardy is an avant-garde short film that combines collage and reappropriated images to explore the relationship between a mother and son. Through a mix of found footage and independent filmmaking, the movie creates a unique and experimental narrative. It also features a film-within-a-film concept, adding an additional layer of intrigue to the story.

Stock footage edited with music to comment on American culture.

Tales of the Valley of the Wind composes an experimental love-letter to the spiritual world of Hayao Miyazaki, re-figuring [Nausicaa] into lush live-action scenes with period costumes, horses, swordplay, and, er...puppets. All on a tiny budget, Packard implements his signature experimental touch to create a very unique fan-film indeed.

Damon Packard parodies the making of Star Wars: Attack of the Clones

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate far-right conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

From a found footage material, the film tells the fable of the Monsters, describing the human condition from a tragic and desolate point of view.

A commentary on the destructive expectations of females in a male dominated society, Marilyn Times Five was made from an old stag film called "The Apple-Knockers, and the Coke"(1948) these sections of the film were set to Marilyn Monroe's song "I'm Through With Love". The film depicts a Marilyn Monroe look-a-like slowly taking her clothes off for the camera (the viewer). The woman's actions are looped several times which gives the audience a sensation of exhaustion. That exhaustion keeps building until the very end where the woman is shown crumpled on the floor in an awkward position, which makes it appear as if she is lifeless.

This one is a collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set. The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes from different films with different protagonists: uneasy sleep, getting up, listening at the door, turning on the lights, being startled, etc. In the montage, the movements and gestures of the actresses – stars like Lana Turner, Tippi Hedren, and Grace Kelly– seem choreographed and planned for each other. The soundtrack supports this effect with connecting passages of sound that imitate the stereotypes of the genre. The treatment concentrates the dramatic shift from the familiar to the eerie and shows how women become the victims of the voyeuristic glance of film.

A dialogue from the movie "J'entends plus la guitare" (1991), by Philippe Garrel, is the starting point for a reflection on the immateriality of cinema and its mimetic dimension.

These six essays on film/image history reconstruct cinema history by 're-imagining' its origins, and its poetries, and use historical films themselves (as 'text') to provide the meanings of their creations. Together, these film essays comprise a critical/structural investigation of silent cinema ending with Segei Eisenstein's works (for Stalin) - from Lumiere and Melies through surrealism and horros, to montage and propaganda, we 're-invent' epochs in cinema that became its language and culture.

Two shots from the movie "Le diable probablement" (1977), by Robert Bresson, are repeated in a loop, creating a cyclic and endless raccord.