Finished "Mining the Home Movie; excavations in histories and memories" edited by Karen Ishizuka and Patricia Zimmermann. Notes on pages 73-286:
Most of book alternates between very short chapter which summarizes an archive or collection or important recognition of home movies and chapters which delve deeper into cultural or theoretical or historical significance/interpretation of amateur or home movies. The book is best read in order as the short chapters tend to give context to the longer ones. Many interesting things said but I don't necessary have quotes/references from every chapter.
Page 70, "nostodisiac, a stimulant of nostalgia"
Page 76: discusses old (90s and prior) vs new preservation of 8mm film.
Page 92, "Florida Moving Images Archive formerly Louis Wolfson II Media History Center"
Page 222, re: silent film, "Could the absence of local people's voices disclose middle-class attitudes towards the ownership of knowledge and indeed the nature of knowledge itself?"
Page 255, "semio-pragmatic model" - 9 modes named (relates to spectator-ship and text of film)
[good article for Kallie?]
Page 256-7, "In family cinema, the production of the film is not a primary goal. The filmmaker films to play with the camera and its various gadgets. He/she films for the pleasure of gathering the members of the family. ... to look at the camera together testifies to the unity of the familial unit. The family filmmaker's camera functions first as a go-between and only secondly as a recording instrument".
Page 257, The film visualizes how the father used cinema to rule over his family.
Page 258, traumatizing children through filming them.
Page 259, "the home movie does not communicate. Instead, it invites us to use a double process of remembering"
Page 263, "endotic" (vs exotic)
Page 263, "I can position the cameraman as enunciator ... The film then becomes a documentary on the filmmaker".
Page 276, home movies discussed in terms of "national cinema".
Page 277, uses Foucault to discuss gaps in history inherent in home movies.
Page 277-8, feminism: "professional film is masculine while amateur film is feminine"
Page 279, constructivism promoted to 1920s amateurs with "Eisenstein as teh greatest amateur of all time because he used real people and shot on location"
Page 281, "A study in Reds" interesting sounding film about women who live in fantasy communist world.
Most of book alternates between very short chapter which summarizes an archive or collection or important recognition of home movies and chapters which delve deeper into cultural or theoretical or historical significance/interpretation of amateur or home movies. The book is best read in order as the short chapters tend to give context to the longer ones. Many interesting things said but I don't necessary have quotes/references from every chapter.
Page 70, "nostodisiac, a stimulant of nostalgia"
Page 76: discusses old (90s and prior) vs new preservation of 8mm film.
Page 83, Quoting Zaldivar: "I found that by having the camera and asking the questions, you get answers. With no objection! ... even though I was close to them, I felt a gap between me and my father. Pretty soon the film became about trying to breach that gap and asking him questions and talking about things we hadn't talked about before".
[show this article to An]
Page 86, expensive use of "Bewitched" in film opposed to less expensive archival film.
Page 92, "Florida Moving Images Archive formerly Louis Wolfson II Media History Center"
Page 94, Miami bus tours have tvs with archival films playing.
Deja View - touring home movies.
Page 116: "Spectators do not come to a film as empty vessels passively waiting to be filled. Rather, they are purposive social actors with specific cultural and historical baggage"
Page 122, Robert A. Nakamura one of two who established Moving Image Archive of the National Museum.
Page 126, memory is always incomplete. Topaz, a different film about Japanese internment i USA.
Page 130, first hand description of subjects never being dejected on camera.
Page 132, "No historical record is ever finished; it is always an open text, continually exposed to revision and expansion.... all history bears the stigmata of its own silences and exclusions".
Page 134, "Snow Falling on Cedars" and Topaz footage as reference.
Page 142, Netherlands archive most proud of five rare episodes of 1919 Hollywood star doc.
Page 148 "home movies have participants rather than spectators"
Page 150 "without the original participants, home movies have no meaningfully reconstructable order. Yet, that does not mean that they have no sense or significance at all"
Page 153, "Films commissioned by the Colonial Institute in Amsterdam"
Page 173-4, documentary paves way for "middle cinema" between industry and government propaganda in India.
Page 176, cost of 16mm in 1970s discussed.
Page 180, "Iqbal Khan reveals his own narcissistic desire to be seen"
Page 181, cyanide used in developing.
Page 186-187, "Our town" or "see yourself in motion pictures" genre described.
Page 194, vinegar syndrome on film described with link to website.
-Post American revolution change in symbolic status/attitude about the mule; interesting bit of history in comparison/relation to racisim.
Page 173-4, documentary paves way for "middle cinema" between industry and government propaganda in India.
Page 176, cost of 16mm in 1970s discussed.
Page 180, "Iqbal Khan reveals his own narcissistic desire to be seen"
Page 181, cyanide used in developing.
Page 186-187, "Our town" or "see yourself in motion pictures" genre described.
Page 194, vinegar syndrome on film described with link to website.
-Post American revolution change in symbolic status/attitude about the mule; interesting bit of history in comparison/relation to racisim.
Page 222, re: silent film, "Could the absence of local people's voices disclose middle-class attitudes towards the ownership of knowledge and indeed the nature of knowledge itself?"
Page 255, "semio-pragmatic model" - 9 modes named (relates to spectator-ship and text of film)
[good article for Kallie?]
Page 256-7, "In family cinema, the production of the film is not a primary goal. The filmmaker films to play with the camera and its various gadgets. He/she films for the pleasure of gathering the members of the family. ... to look at the camera together testifies to the unity of the familial unit. The family filmmaker's camera functions first as a go-between and only secondly as a recording instrument".
Page 257, The film visualizes how the father used cinema to rule over his family.
Page 258, traumatizing children through filming them.
Page 259, "the home movie does not communicate. Instead, it invites us to use a double process of remembering"
Page 263, "endotic" (vs exotic)
Page 263, "I can position the cameraman as enunciator ... The film then becomes a documentary on the filmmaker".
Page 276, home movies discussed in terms of "national cinema".
Page 277, uses Foucault to discuss gaps in history inherent in home movies.
Page 277-8, feminism: "professional film is masculine while amateur film is feminine"
Page 279, constructivism promoted to 1920s amateurs with "Eisenstein as teh greatest amateur of all time because he used real people and shot on location"
Page 281, "A study in Reds" interesting sounding film about women who live in fantasy communist world.
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