I have just started a practice-based doctoral project, which attempts to re-examine avant-garde film theories, perceiving them in the context of a Hollywood film. Expanding on the traditions of found footage filmmaking, I propose a new rationale behind the re-appropriation of Hollywood images. I argue that such practice can generate new knowledge and understanding of avant-garde film theories and can advance a new method of studies on the subject. To demonstrate the idea, I will use one contemporary Hollywood film, Mission Impossible (De Palma, 1996), as a raw material for my creative practice. The research practice evaluates Marc Glöde’s question of ‘how to use images (…), that were usually presented within the very structured environment of the cinema’ (2012:107).