vibramycin 500


“Homeless Movies”

The House of Alijn (Ghent, BE) is hosting an exhibition titled “Homeless Movies” until 15th January 2017.

Paying tribute to 16mm & 35mm

Celluloid” exhibition at the EYE Filmmuseum, Amsterdam, 17 September 2016 – 8 January 2017

CFP: Amateur Film and the Institution (Film History Special Issue)

See CFP below:

Film History – Special Issue: “Amateur Film and the Institution

Guest Editors: Enrique Fibla, Masha Salazkina (Concordia University)

Deadline for abstracts: October 15th, 2016

In recent years, Film Studies scholarship began to pay more attention to the effects that various non-theatrical film initiatives – such as educational, industrial, and other institutional productions – have had on the way modern life is ordered, experienced and imagined. Although amateur film initiatives have sometimes been included in such debates, their relationship to professional film expressions and institutions has not yet been explored in depth. Shifting discourses on the status of amateurism vs. professional aesthetics have shaped much of film criticism and theory, emerging with particular force at certain moments in history. Yet, usually deemed a mere hobby devoted to recording family gatherings and trips, amateur cinema’s rich history as a vernacular media form, with its own journals, circulation circuits, and particular relationship to actuality is yet to be fully explored. Likewise, the current amateur digital media explosion has gathered scholarly attention, but it remains to be articulated in relation to a more comprehensive history of vernacular media. Such histories can potentially allow for a new map and timeline of moving image production to emerge: countries or regions previously deemed peripheral for film history due to their lack of a strong film industry may become relevant to rethink the space that film occupies in cultural history globally.

With these ideas in mind, the Amateur Film and the Institution special issue looks to discuss the different implications of amateur cinema around the world in relation to the technological, social, cultural, and economic developments that marked its emergence in different contexts. A central task of the special issue will be to interrogate the relationship between amateur practices and broader film institutional developments and open a conversation by addressing a range of questions, such as: What role did amateur production play in the institutionalization of film? What kind of alternative institutions did amateurs create? How does the development of these practices and discourses impact our understanding of the history and geography of moving images?

We invite contributions from scholars and practitioners to submit paper proposal on the history of film amateur practices around the world. Topics may include, but are not limited to:

-Archival institutions and non-professional film
-Non-professional film movements, journals, and festivals
-Amateur pornography
-Political potential of amateur cinema
-Amateur filmmaking and experimental/avant-garde cinema
-Self-made productions and the contemporary digital culture
-DIY technologies and aesthetics
-Amateur film in relation to industrial and educational films
-Histories of critical debates about the status of “the amateur” in film and media
-New geographies of moving image history beyond commercial film
-The impact of the study of amateur cinema on film historiography

Send a 500-600 word abstract and a brief biographical note to  and  by October 15th 2016. The editorial team will notify selected proposals by November 1st 2016. Completed manuscripts (up to 9,000 words) will be due February 1st 2017, and will be accepted for publication pending editorial and external readers evaluation. All submissions will be subjected to double blind peer review.

For further information on Film History journal submission guidelines see: http://www.iupress. CDpath=4

In addition to scholarly articles, we invite submissions of relevant previously unpublished original documents on this topic, in English or in translation, to be included in the special issue.

“No Home Movie”

No Home Movie, dir. Chantal Akerman, 2015 – special screenings at the Institute of Contemporary Arts, London, 24 – 30 Jun 2016.

‘Expo Homeless Movies’

Forthcoming exhibition: ‘Expo Homeless Movies‘ (The House of Alijn, Ghent, BE), 26 June 2016 – 15 January 2017.

‘Home Cinema: from Projector to Smartphone’

Current exhibition: ‘Home Cinema: from Projector to Smartphone’ (Limburgs Museum, Venlo, NL), 27 May – 30 October 2016.

‘The Amateur Cinema Project’

4 May 2016: The Amateur Cinema Project (NYU Tisch School of the Arts)

Des ciné-clubs aux cinémathèques, 7-8 April 2016

Cinémathèque suisse: “Des ciné-clubs aux cinémathèques : l’institution du patrimoine cinématographique” sous la direction de François Albera et Pierre-Emmanuel Jaques, 7-8 avril 2016

Summary: Organisé dans le cadre du projet soutenu par le Fonds national suisse de la recherche scientifique, « Cinémathèque suisse : une histoire institutionnelle », dirigé par François Albera, le présent colloque se propose de revenir sur les modalités d’émergence des archives cinématographiques en Europe et dans le monde, à partir du milieu des années 1930 et au lendemain de la Deuxième Guerre mondiale. Partant du cas des Archives cinématographiques suisses de Bâle (1943-1948) et de la fondation de la Cinémathèque suisse à Lausanne (1948), les chercheuses et chercheurs sont invités à exposer les histoires singulières des organismes (cinémathèques, archives cinématographiques) ayant développé un projet similaire.  Il s’agira à la fois d’en questionner les spécificités et d’éprouver l’existence d’éventuels schémas transnationaux, en confrontant notamment les contextes politiques et culturels, le rôle des ciné-clubs, la part des pouvoirs publics, le poids et la nature des réseaux ou encore la définition des missions que se donnent les cinémathèques en leur début. En stimulant le partage de connaissances sur cette époque pionnière, alors même que les institutions patrimoniales cinématographiques sont nombreuses à affronter aujourd’hui crises de croissance et nouveaux défis technologiques, on interrogera l’histoire d’un passage et d’une institutionnalisation : celle du patrimoine cinématographique, des ciné-clubs aux cinémathèques.

Intervenants: Francois Albera; Alessia Bottani; Christophe Dupin; Marie Frappat; Christophe Gauthier; Pierre-Emmanuel Jaques; Adilson Mendes; André Stufkens; Thomas Tode; Valérie Vignaux. Avec la participation de Freddy Buache, Frédéric Maire.
Le colloque se déroule le jeudi 7 (9h30 – 17h30; projection à 18h30) et vendredi 8 avril de 9h30 à 16h00.

Cine Camera Club de Cannes, 4 June 2016

IAC News: “The Cine Camera Club de Cannes 2016. The Competition is open to non-professional video makers, audio-visual makers, students, film-school students and youth organisations. Any theme or subject will be accepted. The entries will be assessed on creativity and originality. The prize categories are animation, general video or audio-visual sequence. Maximum length 12 minutes. Commentary or dialogue must be in French or subtitled in French.

Deadline for entries is March 15th 2016. There is no entry fee.

The Festival will be on Saturday 4th June 2016.”


Rediscovered amateur film “Venus and Adonis”

Blake McDowell (Smithsonian NMAAHC) will present a paper on ‘Paul Bowles Film Scores and the rediscovered amateur surrealist film Venus and Adonis (Harry Dunham and Jules V. D. Bucher, 1935) ‘ at Orphans X : Sound, April 6-9, 2016.

© 2012 Amateur Cinema Studies Network (ACSN)