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Small-Gauge Storytelling: Discovering the Amateur Fiction Film PDF

319 Pages·2013·6.01 MB·English
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S M A L S M A L L- G A U G E L - G A U G STO RY TE L L I N G E S T O R Y T E L L I N G E D I AT NE DD I B AY N R CY RA AN V S DISCOVERING THE AMATEUR FICTION FILM E H N A Jacket image: TBC N Jacket design: www.paulsmithdesign.com ISBN 978-0-7486-5634-9 D EDITED BY RYAN SHAND AND IAN CRAVEN www.euppublishing.com small-­gauge­storytelling Andy Jarvis:Users:AndysiMac:Public:ANDY'S IMAC JOBS:13950 - EUP - SHAND:SHAND 9780748656349 PRINT small-­­gauge­storytelling Discovering­the­amateur­Fiction­Film edited­by­ryan­shand­and­ian­Craven Andy Jarvis:Users:AndysiMac:Public:ANDY'S IMAC JOBS:13950 - EUP - SHAND:SHAND 9780748656349 PRINT © the chapters their several authors, 2013 Edinburgh University Press Ltd 22 George Square, Edinburgh EH8 9LF www.euppublishing.com Typeset in 10/12.5 pt Sabon by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 5634 9 (hardback) ISBN 978 0 7486 5635 6 (webready PDF) ISBN 978 0 7486 5637 0 (epub) The right of the contributors to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. Contents List of Illustrations vii Acknowledgements xi Introduction: Ambitions and Arguments – Exploring Amateur Cinema through Fiction 1 Ryan Shand Part I: Framing Fiction 1 Historical, Aesthetic, Cultural: The Problematical Value of Amateur Cine Fiction 33 Guy Edmonds 2 Sewell, Rose and the Aesthetics of Amateur Cine Fiction 55 Ian Craven 3 Crafting Life into Film: Analysing Family Fiction Films from the 1930s 83 Martina Roepke 4 Framing the Welfare State: Swedish Amateur Fiction Film 1930 to 1965 102 Mats Jönsson Part II: Studio Sensibilities 5 Occupying a Distinguished but Lonely Place in the Amateur Movement: Ace Movies 1929 to 1964 125 Francis Dyson 6 ‘High Art’ Locally: The Screen Adaptations of IuG- Film 144 Maria Vinogradova Andy Jarvis:Users:AndysiMac:Public:ANDY'S IMAC JOBS:13950 - EUP - SHAND:SHAND 9780748656349 PRINT small-gauge storytelling 7 Brazilian Amateur Cinema and Fictional Films from Foto- Cine Clube Gaúcho 164 Lila Foster Part III: Single-M inded Scenarios 8 ‘This is not Hollywood!’: Peter Watkins and the Challenge of Amateurism to the Professional 183 John R. Cook 9 ‘Start as You Mean to Go On’: Ken Russell’s Early Amateur Films 201 Brian Hoyle 10 The Nocturnal Affairs of Mr Miletic: Authorship, Genre and Cine- Amateurism in Yugoslavia 221 Greg DeCuir, Jr Part IV: Genres and Genericity 11 The Aesthetic of the Possible: The Green Cockatoo as Bricolage of Heterogeneous Traditions 243 Siegfried Mattl and Vrääth Öhner 12 The Fragile Magic of the Home: Amateur Domestic Comedies and the Intimate Geography of Childhood 260 Karen Lury 13 The Spence Brothers: Amateur Sci-F i and Cine Culture in Northern Ireland 278 Ciara Chambers Notes on Contributors 298 Index 302 ­vi list­oF­illustrations I.1 Promotional image from Coming Shortly (Tony Rose and Christopher Barry, 1954), from Movie Maker Presents the Ten Best Amateur Films of 1976 competition programme (author’s collection). 5 I.2 Frame enlargement from Winner Takes All (Billy Rae, 1968) (Scottish Screen Archive). 8 I.3 Frame enlargement from Winner Takes All (Billy Rae, 1968) (Scottish Screen Archive). 10 I.4 Frame enlargement from Winner Takes All (Billy Rae, 1968) (Scottish Screen Archive). 11 1.1 Frame enlargement from Remember (Ray Papaia, 1977) (author’s collection). 41 1.2 Frame enlargement from Io Bacchoi (Oh, Bacchantes, Lennaert Nijgh, 1964) (EYE Film Institute, Netherlands). 47 1.3 Frame enlargement from Ze Komen (They are Coming, Gé Aarts, 1969) (EYE Film Institute, Netherlands). 48 1.4 Frame enlargement from Drama in de Wildernis (Drama in the Wildernis, A. G. Jurgens, 1930–1) (EYE Film Institute, Netherlands). 49 2.1 Advertisement for the Eumig C16 camera, Amateur Movie Maker, Vol. 1, No. 7, 1958, p. 182 (author’s collection). 59 2.2 Summary illustration from Tony Rose, ‘Three men and a camera’, Amateur Movie Maker, Vol. 1, No. 12, 1958, p. 467 (author’s collection). 63 2.3 Frame enlargement from Petrol (Enrico Cocozza, 1957) (Scottish Screen Archive). 74 2.4 Frame enlargement from Petrol (Enrico Cocozza, 1957) (Scottish Screen Archive). 75 3.1 Instructional illustration from Hermann Lummerzheim, Das Agfa- Schmalfilm- Handbuch (Harzburg: Dr Walter Heering Verlag, 1935), p. 14. 85 vii Andy Jarvis:Users:AndysiMac:Public:ANDY'S IMAC JOBS:13950 - EUP - SHAND:SHAND 9780748656349 PRINT small-gauge storytelling 3.2 Leaflet advertisement for the Siemens- Heimkinoprojektor, c. 1934. 89 3.3 Cover image for Alex Strasser, Mit Kind und Kegel vor der Kamera (Halle/Saale: Wilhelm Knapp, 1932). 93 3.4 Illustration from Alex Strasser, Mit Kind und Kegel vor der Kamera (Halle/Saale: Wilhelm Knapp, 1932), p. 107. 94 4.1 Newspaper illustration from Svenska Dagbladet, 11 February 1964, picturing Eskell with ‘The White Doe’ – a reward obtained for small- gauge filmmaking in the early 1960s. 103 4.2 Advertisements, from the Swedish film journal FOTO, Vol. 1, No. 3 (1939), p. 10. 109 4.3 Magazine cover from the Swedish film journal FOTO, Vol. 1, No. 3 (1939). 113 4.4 Frame enlargement from Depressed (Mauno Eskell, 1960) (Grängesberg Film Archive, National Library of Sweden). 115 5.1 Awards ceremony illustration, Home Movies and Home Talkies, Vol. 9, No. 1 (1940), p. 3. 127 5.2 Club photograph of the Ace film Marionettes (1948) in production in their Wimbledon studio, c. 1939, Home Movies and Home Talkies, Vol. 8, No. 4 (1939), p. 154. 132 5.3 Club photograph of the Ace Movies studio in Barnes, London, in 1959, Amateur Movie Maker, Vol. 2, No. 7 (1959), pp. 344–5. 135 5.4 Club photograph of sets constructed for the Ace Movies production, The Miracle (1939), Amateur Cine World, Vol. 5, No. 5 (1938), p. 236. 139 6.1 Illustration of Grishin’s Cinematograph (author’s collection). 148 6.2 Frame enlargement from Tsvety Zapozdalye (Belated Flowers, 1968) (digital capture by Maria Vinogradova). 152 6.3 Frame enlargement from Polinka Saks (1972) (digital capture by Maria Vinogradova). 153 6.4 Frame enlargement from Mozart and Salieri (Mozart i Salieri, 1995) (digital capture by Maria Vinogradova). 154 7.1 Frame enlargement from Guerra e Paz (War and Peace, Nelson Furtado, 1959) (Cinemateca Capitólio, Porto Alegre). 173 7.2 Frame enlargement from Guerra e Paz (War and Peace, Nelson Furtado, 1959) (Cinemateca Capitólio, Porto Alegre). 174 7.3 Frame enlargement from O Caso da Joalheria (The Jewellery Store Robbery, João Carlos Caldasso, 1960) (Cinemateca Capitól, Porto Alegre). 175 7.4 Frame enlargement from O Padre Nu (The Naked Priest, João Carlos Caldasso, 1962) (Cinemateca Capitólio, Porto Alegre). 177 8.1 Production still from The War Game (Peter Watkins, 1965) (Peter Watkins Archive). 185 ­viii list of illustrations 8.2 Production still from Dust Fever (Peter Watkins, 1962) (Peter Watkins Archive). 190 8.3 Production still from Diary of an Unkown Soldier (Peter Watkins, 1959) (Peter Watkins Archive). 191 8.4 Production still from The Forgotten Faces (Peter Watkins, 1961) (Peter Watkins Archive). 194 9.1 Front cover of Movie Maker featuring Russell’s The Boyfriend, Vol. 6, No. 4 (April 1972). 202 9.2 Advertisement for the Canon Super-8 518 Camera, Movie Maker, Vol. 6, No. 8 (August 1972), p. 563. 204 9.3 Production still from Amelia and the Angel (Ken Russell, 1958) (British Film Institute Collections). 209 9.4 Production still from Amelia and the Angel (Ken Russell, 1958) (British Film Institute Collections). 212 10.1 Miletic pictured in 1948 (Croatian State Archives/Croatian Kinoteka). 224 10.2 Production still, with Miletic working for Zora Film in the 1935–40 era (Croatian State Archives/Croatian Kinoteka). 226 10.3 Miletic’s diploma from the Third International Amateur Film Competition held in Paris, 1933 (Croatian State Archives/ Croatian Kinoteka). 234 10.4 Miletic’s 1936 Venice Biennale diploma (Croatian State Archives/ Croatian Kinoteka). 236 11.1 Frame enlargement from Der grüne Kakadu (The Green Cockatoo, Franz Hohenberger, 1929) (Austrian Film Museum). 244 11.2 Frame enlargement from Der grüne Kakadu (The Green Cockatoo, Franz Hohenberger, 1929) (Austrian Film Museum). 246 11.3 Frame enlargement from Der grüne Kakadu (The Green Cockatoo, Franz Hohenberger, 1929) (Austrian Film Museum). 251 11.4 Frame enlargement from Der grüne Kakadu (The Green Cockatoo, Franz Hohenberger Franz Hohenberger, 1929) (Austrian Film Museum). 254 12.1 Frame enlargement from Early Birds (Frank Marshall, 1956) (Scottish Screen Archive). 263 12.2 Frame enlargement from What A Night! (Frank Marshall, 1939) (Scottish Screen Archive). 264 12.3 Frame enlargement from Early Birds (Frank Marshall, 1956) (Scottish Screen Archive). 268 12.4 Frame enlargement from What a Night! (Frank Marshall, 1939) (Scottish Screen Archive). 273 13.1 Contemporary image of Noel Spence’s ‘Tudor’ cinema, Comber, Co. Down (Kasandra O’Connell Collection). 280 13.2 Contemporary image of Roy Spence’s Excelsior Cinema, Comber, Co. Down (Kasandra O’Connell Collection). 283 ix

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What do you understand by the term 'home movie'? Do you imagine images of babies-on-the lawn, sandcastles on the beach, or travels with the family? Did you know that amateur filmmakers have also explored fictional genres as diverse and fascinating as their professional counterparts, that specific am
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