Lila Silva Foster, ‘Brazilian amateur cinema: history, discourses and practices (1926-1959) /Cinema amador brasileiro: história, discursos e práticas (1926-1959)’ – doctoral thesis, 2016, Escola de Comunicações e Artes, Universidade de São Paulo.
Bryan Forbes Home Movies (No. 43 1968) on BFI player – features Giulietta Masina, Katharine Hepburn, Yul Brynner, Charles Boyer, Nanette Newman and Donald Pleasence.
Amateur cinematography (1948): ‘[d]emonstration on how to make a film, made as a trailer for the 10th Scottish Amateur Film Festival held in the Cosmo Cinema, Glasgow’.
“Amateur cinema and its multiple film sub-genres“, 21 April 2017, BAFTSS Amateur Cinema SIG panel, BAFTTS Conference, Bristol, UK
Overview: There is an urgency to circumscribe, re-define and develop a critical language able to cope with the rapid shift between what was conventionally categorised as private and personal – i.e. home movies watched and distributed as ‘home entertainment’ – and what has become in the digital space a public, global privacy where the image-maker adopts the amateur’s creatively liberating status. The three speakers will place their core research agenda at the confluence of such clashing and yet co- dependent moving-image production and distribution practices and will consider possible new directions in inter-disciplinary scholarship. Each speaker will explore methodical, extensive approaches addressing developments in amateur cinema practice and studies while relying on the intrinsic interdisciplinary approach dictated by specific questions of technology, social and political dynamics, economic structures, changing aesthetic cannons, and contemporary cultural patterns. They will consider new insights regarding the ways in which visual and memory experiences are currently shaped, stored and re-distributed across new amateur cinema/media technologies and visual channels, and will discuss several examples of visual methodologies relevant to collective memory and representation studies within the global framework of amateur/user- generated film and media.
For further details about the three papers presented see BAFTSS Amateur Cinema SIG panel
Forthcoming Film History special issue titled ‘Towards a global history of amateur film practices and institutions’ (2017), guest edited by Enrique Fibla-Gutiérrez and Masha Salazkina.
‘Cinema of Exploration: Essays on an Adventurous Film Practice‘, Editors: James Leo Cahill (University of Toronto) and Luca Caminati (Concordia University, Montreal)
Deadline for abstracts: March 15, 2017
Contributions are invited on topics such as:
– The auteur as explorer (Antonioni, Herzog, Rossellini, Rouch, Wenders, etc.)
– Space travel; science fiction travelogues; NASA and other space agencies image making productions
– Underwater filmmaking
– Scientific filmmaking; micro-cinema; medical image-making
– Non-professional filmmakers, amateur explorers, DIY technologies and aesthetics of exploration; home-made or family travelogues; Go-Pro films.
– Media arts productions; gallery and museum installations
– Film festival devoted to travel and exploration films
– Experimental/avant-garde cinema of exploration; experimental anthropology
– Nature as spectacle; National Geographic-style and its earlier versions (safari and expedition films, etc.)
– Cinema of exploration in relation to didactic and educational films (National Outdoors Leadership School, Exploration Film Tour, etc.)
– Military filmmaking
– Histories of critical debates about the status of the cinema of exploration in film and media
– The impact of the study of cinema of exploration on film historiography – Ecological impact of filmmaking on the environments and species
“Film and media scholars have begun to pay increasing attention to the entangled histories of cinematic media and forms of exploration: from audiovisual documentation of explorations of nature, people, and places, on the one hand, to what Stan Brakhage has called “adventures in perception,” or the manner in which these media may also be instruments of exploration in their own right, tracing the depths and limits of perception and the perceivable. From early cinema’s panoramas and travelogues, to more recent made-for-TV spectacles and immersive IMAX experiences, scholars have begun to examine and conceptualize the histories of this heterogeneous mode of filmmaking, demonstrating its often underexamined importance to some of the key questions posed by cinema and media studies. In light of postcolonial and globalization theories, as well as ecological and environmental criticism, attention has been given to filmic practices perceived as instruments of colonization, conquest, and ecological devastation through visual surveying, capture, and domestication. The legacies of imperialism, racism, and orientalism haunt the history and even present practice of the cinema of exploration. This mode of production has been tightly entwined with the extraction and exploitation of resources, territories, and species that have become increasingly politicized and urgent in an era of increasing ecological precarity. But these same practices have also been instrumental in cultivating wonder about the world and its multifarious inhabitants, and even serving as sites for reimagining one’s relations to them.
With these ideas in mind, we invite contributions to an anthology on “Cinema of Exploration: Essays on an Adventurous Film Practice.” We seek essays that discuss the implications of exploration filmmaking around the world in relation to the technological, social, cultural, and economic developments that marked its emergence and import in different geopolitical contexts. We welcome essays that tackle the global tradition of travel films from early anthropological reportages to different contemporary variations on the theme of the travelogue, presented through a wide array of modes of filmmaking (anthropological, “national geographic”, documentary, experimental, avant-garde, “fakes”, etc.). Of interest are explorations of film genres contingent on the trope of cinematic exploration (wild-life documentaries, Westerns, space operas, etc.). We are also looking for contributions focused on a wide variety of scientific exploration through film, from early examples of science documentaries and theoretical discourses, to the contemporary debates on the role of micro-cinema in the recording of experiments and other audiovisual technologies of life sciences.
Some questions that animate our endeavors are: How does the development of these practices and discourses impact our understanding of the history and geography of moving images? How do they both reflect and impact the actual technological and sociocultural developments of our age? What role have these traditions played in the development of film theory, media epistemology, and concepts of perception, world, and universe? How have exploration films changed in the Anthropocene?
Send a 500-600 word abstract and a brief biographical note to email@example.com and firstname.lastname@example.org by March 15th, 2017. The editorial team will notify selected proposals by April 15th, 2017. We expect completed manuscripts (between 7,000 and 9,000 words) be due December 1st, 2017, and accepted for publication pending editorial and external readers evaluation. All submissions will be subjected to double blind peer review.”
‘Regional Film and Audiovisual Archives in the 21st Century’ – July 27-29, 2017, Northeast Historic Film Summer Symposium, Bucksport, Maine, USA
Twenty-first century regional moving image archives discover and collect increasingly diverse audiovisual artifacts that represent increasingly diverse media-making populations. This year we seek to bring together archivists, collectors, scholars, and practitioners involved with regional AV archives—and regional AV collections within a general archives—to consider best practices in expanding the reach and content of the regional moving image archive. Both “real world” and aspirational presentations are welcome.
Calling upon the regional moving image archive community internationally, we hope to create an atmosphere for sharing case studies, developing collaborative initiatives, discussing what works and what doesn’t, and screening representative material from the world’s regional film and AV archives.
Some topics to consider, and all others are welcome:
–Ways of affirming regional moving image identity
–How to raise money for general day-to-day activities
–How to put together a publication project highlighting your archive’s material
–How to set up a research scholarship? Benefits/drawbacks
–How to identify sources of income
—Cataloging nontheatrical/home movies for maximum benefit
–Stock footage sales, advantages and adventures
–Dealing with vendors on a small scale
–Scholarship that foregrounds regional material: methodologies and outcomes
–Regional material as capsules of broader cultural trends
–Teaching with regional moving image materials
Please send a 250-500 word abstract outlining your presentation idea and a brief cv via e-mail to: email@example.com. The Summer Symposium Program Committee is: Jennifer Jenkins, University of Arizona; Audrey Amidon, National Archives and Records Administration; Liz Czach, University of Alberta; Dino Everett, University of Southern California; Heidi Holmstrom, National Archives and Records Administration; and Devin Orgeron, North Carolina State University. We are happy to discuss your presentation ideas with you in advance of a formal submission. The Symposium Program Committee will begin reviewing proposals on March 15, 2017 and will finalize the program by April 10, 2017.