Read "Jubilee Book, essays on amateur film" from AEI (Association Europeenne Inedits) from 1997. It contains articles by:
Andre Huet
David Cleveland
Heather Norris Nicholson
Karen L. Ishizuka
Andre Colleu
Ole Brage
Patricia R. Zimmermann
Susan Aasman and Klaas Gert Lugtenborg
Jean-Claude Guezennec
Janet McBain
Bert Hogenkamp and Mieke Lauwers
Suzanne Capiau
Gerald Saul
Alan Burton
with introduction by Jean-Philippe Art
I have had this book since it was published with my article in it but only sampled from it and never read it cover to cover. Now I have (except for the articles in French). Much of this book anticipates the writings in the "Mining the Home Movie" book which has numerous articles by the same writers (but not me). Therefore, my notes are less extensive.
Page 41, "amateur movies ... use a borrowed visual vocabulary and reproduce stereotypes"
Page 46, "Their naivete, immediacy and reflexivity are the very qualities that provide a 'veil of poetry' over ordinary events"
Page 73, "Amateur film's exile from the world of legitimate film discourse constitues the very reason why it should be preserved. Its status as a cultural exile demonstrates its potential threat to the dominant visual order"
Page 75, "the notion of 'professional' developed to describe desirable attributes of intellectual workers and managers within the increasingly corporate economy. The professional was committed to a profession rather than to the self. He possessed reproducible skills that accrued monopoly control. He was a team player without passion".
Page 78, "amateur films lack form, structure, style and coherence ... these ruptures and fissures, as identified by French historian Michel Foucault, suggest that the text alone is insufficient."
Page 87, "Resistance is a perfect example of how memory turned into commemoration can manipulate history"
Page 98-99, Norman McLaren enters Scottish Amateur Film Festival with his student film in 1934.
Page 109, define amateur but also negative connotations of adverb "amateurish".
Page 110, "American Avant Garde turns cliches of amateur filmmaking into aesthetic virtue".
Page 113, "The typical amateur filmmaker wants to fix happiness".
Page 114, "hobby film" defined.
Page 139, "see yourself in the movies" schemes discussed again with comparison/justification for showing alongside professional films.
Last article is overall a chronicle of the co-op movement beginning in 1898 with them making various films since the beginning, created and funded film unit for worker films to create propaganda over next half century, peaking in 1930s and fading with prosperity of 1950s.
Andre Huet
David Cleveland
Heather Norris Nicholson
Karen L. Ishizuka
Andre Colleu
Ole Brage
Patricia R. Zimmermann
Susan Aasman and Klaas Gert Lugtenborg
Jean-Claude Guezennec
Janet McBain
Bert Hogenkamp and Mieke Lauwers
Suzanne Capiau
Gerald Saul
Alan Burton
with introduction by Jean-Philippe Art
I have had this book since it was published with my article in it but only sampled from it and never read it cover to cover. Now I have (except for the articles in French). Much of this book anticipates the writings in the "Mining the Home Movie" book which has numerous articles by the same writers (but not me). Therefore, my notes are less extensive.
Page 41, "amateur movies ... use a borrowed visual vocabulary and reproduce stereotypes"
Page 46, "Their naivete, immediacy and reflexivity are the very qualities that provide a 'veil of poetry' over ordinary events"
Page 73, "Amateur film's exile from the world of legitimate film discourse constitues the very reason why it should be preserved. Its status as a cultural exile demonstrates its potential threat to the dominant visual order"
Page 75, "the notion of 'professional' developed to describe desirable attributes of intellectual workers and managers within the increasingly corporate economy. The professional was committed to a profession rather than to the self. He possessed reproducible skills that accrued monopoly control. He was a team player without passion".
Page 78, "amateur films lack form, structure, style and coherence ... these ruptures and fissures, as identified by French historian Michel Foucault, suggest that the text alone is insufficient."
Page 87, "Resistance is a perfect example of how memory turned into commemoration can manipulate history"
Page 98-99, Norman McLaren enters Scottish Amateur Film Festival with his student film in 1934.
Page 109, define amateur but also negative connotations of adverb "amateurish".
Page 110, "American Avant Garde turns cliches of amateur filmmaking into aesthetic virtue".
Page 113, "The typical amateur filmmaker wants to fix happiness".
Page 114, "hobby film" defined.
Page 139, "see yourself in the movies" schemes discussed again with comparison/justification for showing alongside professional films.
Last article is overall a chronicle of the co-op movement beginning in 1898 with them making various films since the beginning, created and funded film unit for worker films to create propaganda over next half century, peaking in 1930s and fading with prosperity of 1950s.
