Amateur Filmmaking: The Home Movie, the Archive, the Web

ISBN-13: 9781441191496 / Angielski / Miękka / 2014 / 392 str.

Laura Rascaroli; Barry Monahan; Gwenda Young

Opis

With the advent of digital filmmaking and critical recognition of the relevance of self expression, first-person narratives, and personal practices of memorialization, interest in the amateur moving image has never been stronger. Bringing together key scholars in the field, and revealing the rich variety of amateur filmmaking--from home movies of Imperial India and film diaries of life in contemporary China, to the work of leading auteurs such as Joseph Morder and Peter Forgacs--Amateur Filmmaking highlights the importance of amateur cinema as a core object of critical interest across an array of disciplines. With contributions on the role of the archive, on YouTube, and on the impact of new technologies on amateur filmmaking, these essays offer the first comprehensive examination of this growing field.

Recenzje

Amateur Filmmaking is certainly a widely varied and eclectic collection of articles, but also delightful in its discovery of a territory largely ignored by scholars until very recently. Enrique Fibla Gutiérrez Synoptique

Spis treści

Contributors Laura Rascaroli, Gwenda Young, Barry Monahan: Introduction. Amateur Filmmaking: New Developments and Directions SECTION ONE: REFRAMING THE HOME MOVIE 1. Roger Odin: The Home Movie and Space of Communication 2. Liz Czach: Home Movies and Amateur Film as National Cinema 3. Maija Howe: The Photographic Hangover: Reconsidering the Aesthetics of the Postwar 8mm Home Movie 4. Mark Neumann: Amateur Film, Automobility and the Cinematic Aesthetics of Leisure SECTION TWO: PRIVATE REELS, HISTORIOGRAPHICAL CONCERNS 5. Heather Norris Nicholson: Cinemas of Catastrophe and Continuity: Mapping Out Twentieth-Century Amateur Practices of Intentional History-Making in Northern England 6. Gwenda Young: Glimpses of a Hidden History: Exploring Irish Amateur Collections, 1930–1970 7. Annamaria Motrescu-Mayes: Uncensored British Imperial Politics in Late Colonial Home Movies: Memsahibs, Indian Bearers and Chinese Communist Insurgents 8. Karen Lury: The Amateur Film: From Artifact to Anecdote 9. Janna Jones: Starring Sally Peshlakai: Rewriting the Script for Tad Nichols’s 1939 Navajo Rug Weaving SECTION THREE: NONFICTIONAL RECONTEXTUALISATIONS 10. Efrén Cuevas: Change of Scale: Home Movies as Microhistory in Documentary Films 11. Barry Monahan: Creating Historiography: Alan Gilsenan’s Formal Reframing of Amateur Archival Footage in Home Movie Nights 12. Stefano Odorico: “That Would Be Wrong”: Errol Morris and His Use of Home Movies (As Metalanguages) in Feature Documentaries SECTION FOUR: AMATEUR AUTEUR 13. Richard Kilborn: “I am a Time Archaeologist”: Some Reflections on the Filmmaking Practice of Péter Forgács 14. Ruth Balint: Representing the Past and the Meaning of Home in Péter Forgács’s Private Hungary 15. Dominique Bluher: Necessity Is the Mother of Invention, or Morder’s Amateur Toolkit 16. Dominique Bluher: Joseph Morder, the “Filmateur”: An Interview with Joseph Morder 17. Laura Rascaroli: Working at Home: Tarnation, Amateur Authorship, and Self-inscription in the Digital Age SECTION FIVE: NEW DIRECTIONS: THE DIGITAL AGE 18. Susan Aasman: Saving Private Reels: Archival Practices and Digital Memories (Formerly Known as Home Movies) in the Digital Age 19. Patricia R. Zimmerman: The Home Movie Archive Live 20. Tianqi Yu: An Inward Gaze at Home: Amateur First Person DV Documentary Filmmaking in Twenty-First Century China 21. Lauren S. Berliner: Shooting for Profit: The Monetary Logic of the YouTube Home Movie 22. Abigail Keating: Home Movies in the Age of Web 2.0: The Case of “Star Wars Kid” 23. Max Schleser: Towards Mobile Filmmaking 2.0: Amateur Filmmaking as an Alternative Cultural Practice Bibliography Further Resources Index

O autorze

Laura Rascaroli is Senior Lecturer and Co-director, Film and Screen Media, University College Cork, Ireland. She is the author of The Personal Camera: Subjective Cinema and the Essay Film (2009) and, with Ewa Mazierska, of From Moscow to Madrid: European Cities, Postmodern Cinema (2003), The Cinema of Nanni Moretti: Dreams and Diaries (2004) and Crossing New Europe: Postmodern Travel and the European Road Movie (2006). She has edited the volumes The Cause of Cosmopolitanism: Dispositions, Models, Transformations (2010), with Patrick O'Donovan, and Antonioni: Centenary Essays (2011), with John David Rhodes. Gwenda Young is Lecturer in Film Studies and Co-director of Film and Screen Media at University College Cork, Ireland. Her work has appeared in a variety of national and international journals, including Sight and Sound; Popular Culture Review; Film/Film Culture; Film Ireland; Journal of Irish Association for American Studies and in edited collections on American cinema of the 1920s and Irish American cinema. She has also contributed to radio programmes on the national broadcaster, Raidió Teilifís Éireann, on local radio, and on Irish national television. Her monograph on American director Clarence Brown will be published in 2014. Barry Monahan is Lecturer in Film Studies at University College Cork, Ireland. He has written on, and researched, the relationship between the Abbey Theatre and cinema from the beginning of the sound period until the 1960s, something he explores in his monograph Ireland's Theatre on Film: Style, Stories and the National Stage on Screen (2009).