In 2018, I bought a Casio EXF1 Excilim Pro camera with 1200fps capability, to continue where I left off in 1973. Digital formats freed me from the high-cost of filming and editing celluloid mediums. Given the high costs to make film, and the limitations of my equipment, I found on You-Tube others could do it better than I. Lacking any confederates or association in the film genre, I use "found" clips from other's works to create my own montage sequences. My greatest influences are Eisenstein, Ozu, and Vermeer. I prefer the stationary camera of Ozu, but using found-footage I cannot always achieve that. I consciously exclude double-exposures, narrative-centered montage (linear montage), musical tracks, and the use of staccato cutting which now, is so often the vogue. I have no interest in making narrative film. I move to wherever a "found" film clip takes me in a sequence. Hopefully, the outcome will be a surprise to even me.
I attempt to unite disparate spaces, events, and objects into a cohesive whole, in which, no one object has any greater precedence as any other in the sequence. I am partial to dwelling-within-the-scene (i.e. Ozu) until an action is completed. Simple physical actions, that are part of everyday life (i.e. looking up, looking down, moving left and right, turning, sitting, rising actions) which themselves would be considered mundane and unimportant by themselves, are used as transitional elements of montage. The commonplace is an event, large and small. The ordinary can be seen as extraordinary, as we travel an unfettered path through a non-contiguous physical space. Things happen, and we move on.
The sentient viewer is not asked to suspend his disbelief in order to identify with a hero or any underlying cause-and-effect.