TURN WASTE GASOLINE INTO EXTRA MILEAGE. Fitting somewhere between a World War II pro-rationing slogan and ad copy for a fuel-efficient car, this saying appears over and over in Peter Roehr’s Film-Montagen I–III, 1965, a series of twenty-two short, looped film clips. It is first shown superimposed atop footage shot from the interior of a vehicle as it glides under an overpass, and is later voiced by a narrator to shots of glittering headlights over a sound track of upbeat jazz. Applying structuralist filmmaking tactics to found footage, Roehr composed this work mostly from television advertisements (primarily for automobiles and beauty products) that he received from his boyfriend Paul Maenz, who was employed by an ad agency in New York, and they vividly encapsulate the accumulation, editing, and assembly that constituted the primary activity of Roehr’s practice. The reels upon
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