Amateur Filmmaking: The Home Movie, the Archive, the Web PDF
Preview Amateur Filmmaking: The Home Movie, the Archive, the Web
Amateur Filmmaking Amateur Filmmaking The Home Movie, the Archive, the Web EDITED BY LAURA RASCAROLI AND GWENDA YOUNG, WITH BARRY MONAHAN Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway 50 Bedford Square New York London NY 10018 WC1B 3DP USA UK www.bloomsbury.com Bloomsbury is a registered trade mark of Bloomsbury Publishing Plc First published 2014 © Laura Rascaroli, Gwenda Young, Barry Monahan, and Contributors 2014 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress ISBN: ePDF: 978-1-4411-0193-8 Typeset by Fakenham Prepress Solitions, Fakenham, Norfolk NR21 8NN Contents Contributors ix Introduction. Amateur Filmmaking: New Developments and Directions 1 Laura Rascaroli, Gwenda Young, Barry Monahan PART ONE Reframing the Home Movie 13 1 The Home Movie and Space of Communication 15 Roger Odin 2 Home Movies and Amateur Film as National Cinema 27 Liz Czach 3 The Photographic Hangover: Reconsidering the Aesthetics of the Postwar 8mm Home Movie 39 Maija Howe 4 Amateur Film, Automobility and the Cinematic Aesthetics of Leisure 51 Mark Neumann PART TWO Private Reels, Historiographical Concerns 65 5 Cinemas of Catastrophe and Continuity: Mapping Out Twentieth-Century Amateur Practices of Intentional History- Making in Northern England 67 Heather Norris Nicholson vi CONTENTS 6 Glimpses of a Hidden History: Exploring Irish Amateur Collections, 1930–70 81 Gwenda Young 7 Uncensored British Imperial Politics in Late Colonial Home Movies: Memsahibs, Indian Bearers and Chinese Communist Insurgents 95 Annamaria Motrescu-Mayes 8 The Amateur Film: From Artifact to Anecdote 109 Karen Lury 9 Starring Sally Peshlakai: Rewriting the Script for Tad Nichols’s 1939 Navajo Rug Weaving 123 Janna Jones PART THREE Nonfictional Recontextualizations 137 10 Change of Scale: Home Movies as Microhistory in Documentary Films 139 Efrén Cuevas 11 Creating Historiography: Alan Gilsenan’s Formal Reframing of Amateur Archival Footage in Home Movie Nights 153 Barry Monahan 12 “That would be wrong”: Errol Morris and his Use of Home Movies (as Metalanguages) in Feature Documentaries 163 Stefano Odorico PART FOUR Amateur Auteur 177 13 “I am a time archaeologist”: Some Reflections on the Filmmaking Practice of Péter Forgács 179 Richard Kilborn CONTENTS vii 14 Representing the Past and the Meaning of Home in Péter Forgács’s Private Hungary 193 Ruth Balint 15 Necessity Is the Mother of Invention, or Morder’s Amateur Toolkit 207 Dominique Bluher 16 Joseph Morder, the “Filmateur”: An Interview with Joseph Morder 223 Dominique Bluher 17 Working at Home: Tarnation, Amateur Authorship, and Self- Inscription in the Digital Age 229 Laura Rascaroli PART FIVE New Directions: The Digital Age 243 18 Saving Private Reels: Archival Practices and Digital Memories (Formerly Known as Home Movies) in the Digital Age 245 Susan Aasman 19 The Home Movie Archive Live 257 Patricia R. Zimmermann 20 An Inward Gaze at Home: Amateur First Person DV Documentary Filmmaking in Twenty-First Century China 271 Tianqi Yu 21 Shooting for Profit: The Monetary Logic of the YouTube Home Movie 289 Lauren S. Berliner viii CONTENTS 22 Home Movies in the Age of Web 2.0: The Case of “Star Wars Kid” 301 Abigail Keating 23 Towards Mobile Filmmaking 2.0: Amateur Filmmaking as an Alternative Cultural Practice 315 Max Schleser Works Cited 329 Audiovisual Sources 351 Index 359 Contributors Susan Aasman is a Senior Lecturer in the History Department and the Department of Arts, Culture, and Media at the University of Groningen, the Netherlands. She has written several books and articles on the history of home movies. She is currently working on a large international research project on “Changing platforms of ritualized memory practices. The cultural dynamics of home movies” (http://homemoviesproject.wordpress.com/). Ruth Balint is a senior lecturer in History in the School of Humanities and Languages at the University of New South Wales in Sydney, Australia. Her writing and documentaries have addressed transnational histories of immigration, borders, documentary film, and contemporary Australian history. She is the author of Troubled Waters: Borders, Boundaries and Possession in the Timor Sea (Allen and Unwin, 2005). Her documentaries include Troubled Waters for SBS Television and The Unknown Man for the Australian Broadcasting Commission. Lauren S. Berliner is a filmmaker and Assistant Professor of Media and Communication and Cultural Studies in the school of Interdisciplinary Arts and Sciences at University of Washington Bothell. She is currently working on a book based on her research involving queer youth, self-produced media, and pedagogy, and is co-curator of The Festival of (In)Appropriation. Dominique Bluher studied in Berlin, and received her Ph.D. in film studies from Université de Paris 3. Prior to her appointment at the University of Chicago, she has been Lecturer in the Department of Visual and Environmental Studies at Harvard, and Maître de conférences at the Université Rennes 2. She coedited two anthologies devoted to French nonfiction short films in the 1950s and 1960s, and her publications on French film theory, French cinema, and autobiographical filmmaking have appeared in many international journals of film theory. She is currently completing a book on Joseph Morder – le filmateur (forthcoming 2014), and working on a book on autobiography in cinema, Framing the I: Film and Autobiography.
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