Although overlooked by most narratives of American cinema history, films made for purposes outside of theatrical entertainment dominated twentieth-century motion picture production. This volume adds ...to the growing study of nontheatrical films by focusing on the way filmmakers developed and audiences encountered ideas about race, identity, politics, and community outside the borders of theatrical cinema. The contributors to Screening Race in American Nontheatrical Film examine the place and role of race in educational films, home movies, industry and government films, anthropological films, and church films, as well as other forms of nontheatrical filmmaking.
The first book to address the topic of British women amateur filmmakers
The study of amateur filmmaking and media history is a rapidly-growing specialist field, and this ground-breaking book is the ...first to address the subject in the context of British women's amateur practice. Using an interdisciplinary framework that draws upon social and visual anthropology, imperial and postcolonial studies, and British and Commonwealth history, the book explores how women used the evolving technologies of the moving image to write visual narratives about their lives and times. Locating women's recreational visual practice within a century of profound societal, technological and ideological change, British Women Amateur Filmmakers discloses how women negotiated aspects of their changing lifestyles, attitudes and opportunities through first-person visual narratives about themselves and the world around them.
For too long, the field of amateur cinema has focused on North
America and Europe. In Global Perspectives on Amateur Film
Histories and Cultures , however, editors Masha Salazkina and
Enrique ...Fibla-Gutiérrez fill the literature gap by extending that
focus and increasing inclusivity.
Through carefully curated essays, Salazkina and Fibla-Gutiérrez
bring wider meaning and significance to the discipline through
their study of alternative cinema in new territories, fueled by
different historical and political circumstances, innovative
technologies, and ambitious practitioners. The essays in this
volume work to realize the radical societal democratization that
shows up in amateur cinema around the world. In particular, diverse
contributors highlight the significance of amateur filmmaking, the
exhibition of amateur films, the uses and availability of film
technologies, and the inventive and creative approaches of
filmmakers and advocates of amateur film.
Together, these essays shed new light on alternative cinema in a
wide range of cities and countries where amateur films thrive in
the shadow of commercial and conventional film industries.
James Hamilton's engaging book offers us his own unique insight into the unconscious factors involved in the creative processes associated with painting, filmmaking, and photography by studying the ...lives and works of a number of artists, each one having a unique personal style. In separate chapters, he looks at the lives and works of Mark Rothko, Joseph Cornell, Piet Mondrian, Pablo Picasso, Clement Greenberg, Edward Weston, Ingmar Bergman, Francois Truffaut, Quentin Tarantino, and Florian von Donnersmarck from a psychoanalytic perspective with emphasis on unconscious motivation and the quest for mastery of intrapsychic conflict. The book is bound to encourage further questions and hypotheses about the nature of these complex phenomena.
For a 1960s home movie maker, filming very often meant shooting private, everyday life experience. This article offers a case study about a personal collection of home movies deposited at the ...dedicated French regional agency Ciclic, in the Centre-Val de Loire region. This initiative has helped requalify those amateur films into testimonies of a cultural heritage, whose images of daily life take on a memorial and ethnographic value, thanks to their online broadcasting on the agency website: a new spectatorship, outside of the original family circle screenings, induces a novel dialectic relationship and reception, because of the mimetic quality of films. Such a move puts into question the concepts of proximity and familiarity usually associated to everyday life. In this paper, I first establish the relationship between daily life and home movies, and then introduce the specific curatorial institutions dealing with such films, before focusing on Robert Brisset’s footings. I aim at examining how the latter ones map the links among memory, history and everyday life. To carry out this analysis, I draw on Bergson’s approach of the articulation of time through memory, remembrance and re-presentation.
Mining the home movie Ishizuka, Karen L; Ishizuka, Karen L; Zimmermann, Patricia R
2007., 20071105, 2007, 2007-12-05
eBook
The first international anthology to explore the historical significance of amateur film, Mining the Home Movie makes visible, through image and analysis, the hidden yet ubiquitous world of home ...moviemaking. These essays boldly combine primary research, archival collections, critical analyses, filmmakers' own stories, and new theoretical approaches regarding the meaning and value of amateur and archival films. Editors Karen L. Ishizuka and Patricia R. Zimmermann have fashioned a groundbreaking volume that identifies home movies as vital methods of visually preserving history. The essays cover an enormous range of subject matter, defining an important genre of film studies and establishing the home movie as an invaluable tool for extracting historical and social insights.
Amateur cinema Tepperman, Charles
2014., 20141226, 2014, 2014-12-24
eBook
From the very beginning of cinema, there have been amateur filmmakers at work. It wasn't until Kodak introduced 16mm film in 1923, however, that amateur moviemaking became a widespread reality, and ...by the 1950s, over a million Americans had amateur movie cameras. InAmateur Cinema,Charles Tepperman explores the meaning of the "amateur" in film history and modern visual culture.In the middle decades of the twentieth century-the period that saw Hollywood's rise to dominance in the global film industry-a movement of amateur filmmakers created an alternative world of small-scale movie production and circulation. Organized amateur moviemaking was a significant phenomenon that gave rise to dozens of clubs and thousands of participants producing experimental, nonfiction, or short-subject narratives. Rooted in an examination of surviving films, this book traces the contexts of "advanced" amateur cinema and articulates the broad aesthetic and stylistic tendencies of amateur films.
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