An increasing number of contemporary artists such as Christian Marclay, Douglas Gordon and more recently Oliver Laric have been utilizing, plagiarizing and

re-appropriating film sourced from digital moving image archives since the early 1990s. This has been made possible through the relatively new cultural landscape created by a growth in accessible technologies for experiencing and handling film content.

This article is primarily concerned with the evolving arts practice and current research activities of the author, which explores the appropriation of meaning and interpretation in pre-authored didactic film narratives. The research approach depends on discover, serendipity and procedural methodology and aims to reconstruct narratives and reconfigure interpretation and meaning by altering the space and site for viewing.