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The subtitle of this issue, “Women Without a Movie Camera,” alludes in a clearly provocative way to the objective condition of limitation that women experience in their attempts to access professional opportunities for directing in the mainstream film industry. This situation may help explain the remarkable intensity of female creativity in found footage cinema. More than a yen for reusing archives, the breadth of female presence in the history of films derived from found footage proves women's tenacious will to make cinema at all costs, even if it means inventing their own modes of independent production under conditions of limitation and lack of means. The articles in this special issue prove that cameraless cinema has been embraces by women filmmakers as a utopian mode of production that can be practiced in perfect autonomy, or together with a small group of trusted collaborators, in which a lack of means can be countervailed with patience and flair.