vibramycin 500

Selected Bibliography

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      • The Timeline (1981-2003) for Amateur film preservation in the context of the Association of Moving Image Archivists © AMIA.

 

Selected Bibliography:

‘21 Years of Amateur Movies’, Amateur Cine World, Vol. 19, No.1, May 1955.

ABRAHAM, A. 2007. ‘Deteriorating Memories: Blurring Fact and Fiction in Home Movies in India’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 168-184.

Amateur Cinema League. 1944. The ACL Data Booklet. New York: The League.

ALLARD, L. 2010. ‘Un encuentro entre el cine doméstico y el experimental: el cine personal’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

__________.1999. ‘L’amateur: une figure de la modernité esthétique’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

__________.1999. ‘Espace public et sociabilité esthétique’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

ANDERSSON, L.G., SUNDHOLM, J. 2009. ‘Amateur and avant-garde: minor cinemas and public sphere in 1950s Sweden’, In Studies in European Cinema 5:3.

ANONYMOUS. 1950. ‘The Industry: 1923-1950. Here are the highlights of our hobby’s industrial history, as the tools of amateur movies developed’ (ed.), Movie Makers, December, pp. 450-75.

AASMAN, S. (forthcoming 2012) “Smile, Wave or Blow a Kiss.”. Home movies and Tele-technologies from the Hearth”. In: Sonja Kmec and Viviane Thill (ed.), Tourists and nomads. Amateur images of migration, Jonas Verlag.

__________.2012, ‘From archival desire to performative pleasures. The changing status of home movies in the digital age’.Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

__________.2010. ‘Archival Desires Versus Performative Pleasures: Archiving User Generated Content (Formerly Known As Home Movies) in the Digital Age’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2009. ‘Home movies: a new technology, a new duty, a new cultural practice’, in: Viviane Thill (ed.), Amateur images, valorisation and manipulation (Centre national de l’audiovisuel Luxembourg).

__________.2007.“Gladly Breaking Bread : Religious repertoires and family film”, in: Film History. An international Journal,  Vol. 19, No. 4, pp 361-371.

__________.2004. ‘Ritueel van huiselijk geluk. Een cultuurhistorische verkenning van de familiefilm’. Thesis. Amsterdam. Het Spinhuis.

__________.2000. ‘De man met de camera. Amateurfilm als ritueel van het twintigste-eeuwse vaderschap’, TMG, tijdschrift voor mediageschiedenis , Jaargang 3, nummer 1, Juni , pp. 51-73.

__________.1998. ‘Het knikje van de koningin. Amateurfilms en de monarchie’, TMG, tijdschrift voor mediageschiedenis , Jaargang 1, nummer2, December , pp. 95-113.

__________.1997. ‘History, memory and commemoration. Amateur film-makers looking back at resistance’, Essays on Amateur film. Jubilee book Inedits, Charleroi, pp. 81-91.

__________.1995. ‘Le film de famille comme document historique’. In: Roger Odin (ed.), Le film de famille. Usage privé, usage public, Paris, p. 97-113.

__________.1994. ‘De traditie van de familie-iconografie in de familiefilm’, in: GBG-Nieuws, nr. 31,.

__________.1994. Bibliografie van de amateurfilm” (i.s.m. Paul Kusters), in: GBG-Nieuws, nr. 31.

ANZOLA, A.J. 2010. ‘El misterio de los ojos escarlata. Entrevista’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

ARLYCK, R. 2010. ‘Following Sean. “Bebida casera”’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

BALINT, R. 2010. ‘The Visual Orchestration of History: Péter Forgács, ‘Private Hungary’ and the audiovisual archive’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

BANGERT, A. 2012. ‘From Private Records to Public Views: Amateur Films and Televisual Memory of the Nazi Past in Contemporary Germany’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

BELTRAMO, M. 1999. ‘Quand les grévistes (nous) font leur cinema…’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

BERGALA, A. 1999. ‘Le mariage mis à  nu par ses cinéastes, même’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

BERLINER, L. 2010. ‘The Home Movie Archive in the Digital Age: A Comparison of America’s Funniest Home Videos and YouTube’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2010. (I). ‘The Family Album. Diario de trabajo’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

__________.2010. (I). ‘Como mi padre antes que yo’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

BLOS, M. 2010. ‘Paradigms of the Evidentiary Status of Home Movies and Autobiographical Films’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

BLUHER, D. 2010. ‘Making A Virtue out of Necessity – Joseph Morder’s Super 8 Fictions’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

BOYLE, D. 2010. ‘Family Film/Political Film: The Documentaries of Yonghi Yang and Kamal Aljafari’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

BRUNOW, D. 2012. ‘Amateur home movies and the archive of migration: Sandhya Suri’s ‘I for India’ (UK, 2005)’ In: Tourist and Nomads. Amateur Images of Migration. Ed. by Sonja Kmec and Viviane Thill.Marburg: Jonas Verlag, 2012, p. 153-160.

BURKHARD, C. 2010 ‘Engelchen, flieg/Vuela, angelito. “Recuerdos y anotaciones acerca de un proceso de excavación fílmica”. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

CALLANAN, V. 2007. ‘The New Zealand Film Archive/Nga Kaitiaki o Nga Taonga Whitiahua’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 231-234.

CAMMER, G. 2010. ‘A Rare Glimpse of Postwar Belgium Through the Lens of Nelle Mertens’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

CARDENAS, P. N. and FERNANDEZ, J. C. S. 2010. ‘Evolución histórica y temática del cine doméstico español’. In Efrén Cuevas Álvarez(ed.) La Casa  Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

CATALA, J.M. 2010. ‘El presente perpetuo. Mekas en el siglo XXI. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

CENTER FOR HOME MOVIES. 2011. HMS Final Report Final draft (January).

CHALFEN, R. 1987. Snapshot Versions of Life. Bowling Green State University Popular Press.

CHAMBERS, C. 2013. ‘The Spence Brothers: Amateur Sci-fi and Cine Culture in Northern Ireland’. In: Small-gauge Storytelling: Discovering the Amateur Fiction Film. (Eds: Shand, Ryan and Craven, Ian), Edinburgh University Press, pp. 373-399.

________. 2012. ‘Capturing Ireland: The Travelogues of JJ Tohill’. In: Tourists & Nomads: Amateur Images of Migration. (Eds: Kmec, Sonja and Thill, Vivane), Jonas Verlag, Marburg, pp. 57-65.

_________.2012. ‘Cine-culture in Northern Ireland: the influences, productions and screening spaces of the Spence brothers’. Paper presented at Reflections on the Study of Amateur Cinema Symposium, University of Glasgow, 24 April.

__________.2010. ‘Beyond the Conflict: The Amateur Gaze in Northern Ireland’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

CITRON, M. 1999. Home movies and other necessary fictions. University of Minnesota Press.

COLLIER, L. 1934. ‘There is real talent amongst the amateurs’, Picturegoer, Vol.3, Issue 146, 10 March.

COMPTON, M.A. 2003. ‘Periodicals & pamphlets’, Film History. Vol. 15, pp. 270-71.

__________.2003. ‘Small-gauge and amateur film bibliography’, Film History.Vol.15, pp. 252-269.

COSTA VALENTE, A. 2010. ‘Fans from a Small City and the Portuguese Amateur Cinema during the 70s’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

CRAVEN, I.  (forthcoming). (co-ed. Shand, R.) Small-Gauge Storytelling: Discovering the Amateur Fiction Film. Edinburgh; Edinburgh University Press.

__________.2009. (ed.) Movies on Home Ground: Explorations in Amateur Cinema. Cambridge Scholars Press, Cambridge.

__________.2010.’Hitchcock and The Amateurs: Shaping the Amateur Cine Story Short’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

CRETON, L. 1999. ‘L’économie et les marchés de l’amateur’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

CUEVAS, E. 2013.”Home Movies as Personal Archives in Autobiographical Documentaries,” Studies in Documentary Film, vol. 17, n. 1, pp. 17–29.

__________.2012.’The aura of home movies: time and memory in the transition from analogical to digital film’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

__________.2010. La Casa Abierta: El cine doméstico y sus reciclajes contemporáneos. Madrid: Ocho y medio.

__________.2010.’De vuelta a casa. Variaciones del documental realizado con cine doméstico’. In Efrén Cuevas Álvarez(ed.), La casa abierta. El cine doméstico y sus reciclajes contemporáneos, Ocho y Medio, Madrid, 2010, pp. 121-166. Here is a copy of the article provided by the author.

__________.2010. ‘The Sadness of (Recycled) Home Movies’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2008. ‘Del cine doméstico al autobiográfico: caminos de ida y vuelta’. In Gregorio Martín Gutiérrez (ed.), Cineastas frente al espejo, T&B Editores, Madrid, pp. 101-120.Here is a copy of the article provided by the author.

CZACH, L. 2012. ‘Acting and Performance in Home Movies and Amateur Film’. In Theorizing Film Acting. Ed. Aaron Taylor. New York: Routledge, pp. 52-166.

__________.2010. ‘Cómo ‘mejorar’ las películas. El discurso perfeccionmiento y la interpretación en el cine doméstico’. In Efrén Cuevaz Álvarez (ed.) La Casa Abierta: El cine doméstico y sus reciclajes contemporáneos. Madrid: Ocho y medio, pp. 61-87.

__________.2010. ‘Home Movies as National Cinema’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2002. ‘The Catherine Films: Rethinking our national cinema from an amateur perspective’ (2002), http://findarticles.com/p/articles/mi_m0JSF/is_38_11/ai_90305396/pg_1

_________.2002.’Polavision: Edwin Land’s Quest for a New Medium’, The Moving Image, Fall, pp.1-24.

DANKS, A. 2010. ‘Domesticating The Archive: Re-Presenting The Australian Home Movie’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2009. Review of Mining the Home Movie: Excavations in Histories and Memories edited by Karen L. Ishizuka and Patricia R. Zimmermann, Senses of Cinema, issue 49.

__________.2008. ““You Press the Button, We Do the Rest”: Some Thoughts on Péter Forgács’ The Land of Nothing”, Senses of Cinema issue 46.

__________.2002. “Photographs in Haunted Rooms: The Found Home Experimental Film and Merilee Bennett’s A Song of Air”, Senses of Cinema, issue 23.

DAVIDSON, S. 2007. ‘The Florida Moving Image Archive’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 92-97.

De CUIR, Jr., G. (forthcoming, 2012). ‘The Nocturnal Affairs of Mr Miletić: Oktavijan’s Career, Genre Hybridity, and Ciné-Amateurism in Yugoslavia’, In Shand Ryan and Craven Ian, Small-Gauge Storytelling: Discovering the Amateur Fiction Film, Edinburgh: Edinburgh University Press.

__________.2011.’Yugoslav Ciné-Enthusiasm: Ciné-club Culture and the Institutionalization of Amateur Filmmaking in the Territory of Yugoslavia from 1924-68′, in Romanian Review of Political Sciences and International Relations, ed. Ion Bulei, Vol. VIII, No. 2.

__________.2011.’Yugoslav Ciné-Enthusiasm: Ciné-club Culture and the Institutionalization of Amateur Filmmaking in the Territory of Yugoslavia from 1924-68′, in Beyond Propaganda: A Historical and Political Instrumentation of the Romanian Film, ed. Viorella Manolache, Sibiu: Editura Techno Media.

DYSON, F.2012. ‘Challenging the Expectations of Amateur Film: Ace Movies and the Cine-club Film’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

__________.2012. ‘”They all sort of mucked in”: Reflections on the process and problems in researching creativity and authorship in Ace Movies’. Paper presented at Reflections on the Study of Amateur Cinema Symposium, University of Glasgow, 24 April.

__________.2010. ‘Taking Up “[T]he Mantle of Caligari […]”: A Review of the Amateur Film-Making Activities of Ace Movies’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

EDMONDS, G. (forthcoming) ‘Historical, Aesthetic, Cultural: The Problematical Value of Amateur Cine Fiction’ (co-ed. Craven, I. and Shand, R.) Small-Gauge Storytelling: Discovering the Amateur Fiction Film. Edinburgh; Edinburgh University Press.

___________2012. ‘Conserving the Unwieldy Body – A Material Approach to the Cinematographic Remains of Paul Julien’ in: Tourists and Nomads. Amateur Images of Migration. Marburg: Jonas Verlag, – forthcoming.

___________2011. Public lecture. ‘Smalfilmtechniek: uit de apparaten collectie van EYE’. On the occasion of Home Movie Day, EYE Film Instituut Nederland, 15 October.

___________2011.Plenary lecture. ‘Why Old Film Looks Old. The role of technology in forming film aesthetics’. At ‘Moving Image and Institution. Cinema and the museum in the 21st Century’, Fitzwilliam College, Cambridge, 6-8 July.

___________2010. Plenary lecture. ‘Aesthetics Filtered Through Technology – The production and Preservation of Amateur Films and Home Movies’. At ‘Home Away from Home: the displacement of amateur films’, 4th Collection Seminar, EYE Film Institute Netherlands, 14 October.

___________2010. Plenary lecture and panelist with, B. Andre, E. Hielscher, R. Hinkel-Pevzner, S. Monizza. ‘From A to A, The Five As of Amateur Film Preservation’. At ‘Saving Private Reels’, University of Cork, 18 September.

___________2010. Plenary lecture. ‘‘Remember, remember…’ An amateur narrative film and its half-remembered context’. At ‘Small-Gauge Storytelling: The Amateur Fiction Film’, University of Liverpool, 9 June.

___________2010. Plenary lecture. ‘Conserving the Unwieldy Body – The Cinematographic Remains of Paul Julien’. At ‘Tourists and Nomads – Amateur Images of Migration’, Centre National de l’Audiovisuel, Luxembourg, 22-24 April.

___________2010.Plenary lecture. ‘Necromancy At Home and in the Workplace’. At ‘Uncanny Media’, University of Utrecht, 7-9 August.

___________2008. ‘Necromancy at Home and in the Workplace’ in: Blik, October 2008, 34-39.

___________2008. ‘Verborgen levens’ in: Skrien jrgl. 40, no. 4, juni/juli 2008, 12-13.

___________2008. ‘Liefde voor de amateur’ in: Skrien jrgl. 40, no. 4, juni / juli 2008, 61.

___________2007. ‘Amateur Widescreen, or some forgotten skirmishes in the battle of the gauges’, in: Film History: An International Journal Dec 2007, Vol. 19, No. 4: 401-413.

___________2007. ‘Associazione Home Movies, l’Archivio Nazionale del Film di Famiglia: An interview with Paolo Simoni and Karianne Fiorini of Italy’s amateur-film archive’ in: Film History: An International Journal, Dec 2007, Vol. 19, No. 4: 423-428.

___________2007. Plenary lecture. ‘Home Movie Day: Turning the archive inside out’. At AHRC Workshop, ‘Cine Film – Working with Private Media Materials in the Public Realm’, Herbert Media, Coventry, 30 January.

FABER, C. 2007. ‘The WPA Film Library’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 191-194.

FEIGELSON, K. 2006. ‘Entretien avec Peter Forgács’, Positif, April, No. 542, pp.104-108.

__________.1999. ‘Télévisions de proximité’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

FERNIOT, M. 1999. ‘Mon oncle et le poulet noir”. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

FITZGIBBON, M. 2010. ‘Reel Life Tales: Reconstructing an Irish Immigrant story in 1950s London through moving image, audio, text and artefacts’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

FORGACS, P. 2010. ‘Entrevista’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

__________.2007. ‘Wittgenstein Tractatus: Personal Reflections on Home Movies’.  In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 47-56.

FOSTER, Lila Silva. Brazilian Amateur Cinema: history, discourses and practices: 1926-1959 (Cinema Amador Brasileiro: história, discursos e práticas: 1926-1959), PhD Dissertation, Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-10032017-164617/pt-br.php
See additional research by Foster at https://usp-br.academia.edu/LilaFoster

__________.2016. ‘Figuras do amador na história do cinema brasileiro’. Aniki : Revista Portuguesa da Imagem em Movimento, v. 3, p. 228-245. http://aim.org.pt/ojs/index.php/revista/article/view/221

__________. 2015.  O cinema amador em Memória de Helena: verdade e sentimento. Rio de Janeiro: Dilúvio Produções.

__________ and Leao, R. S. 2015.  ‘A presença da Pathé-Baby no Rio de Janeiro e a coleção Paschoal Nardone no acervo AGCRJ’. Revista do Arquivo Geral da Cidade do Rio de Janeiro, v. n.09, p. 341-353.

__________. 2013.  ‘Brazilian Amateur Cinema and Fictional Films from Foto-Cine Clube Gaúcho‘ In: Ian Craven; Ryan Shand, eds., Small-Gauge Storytelling Discovering the Amateur Fiction Film. 1ed.Edinburgh: Edinburgh University Press,  v. 1, p. 164-180.

__________. 2010. Home movies: an analysis of the film collection of Cinemateca Brasileira (Filmes domésticos: uma abordagem a partir do acervo da Cinemateca Brasileira), MD. Dissertation, Universidade Federal de São Carlos. https://repositorio.ufscar.br/handle/ufscar/5586

FRYE, B.L. 2006. ‘Three Great Filmmakers: Haldeman, Ehrlichman & Chapin… or, Nixon’s Home Movies’, Cineaste, Summer, Vol. 31, No. 3, pp 36-37.

FUNG, R. 2007. ‘Remaking Home Movies. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 29-40.

GEIGER, J. 2013 (forthcoming). ‘Color, Tourism, and the “American Pacific”: Amateur Views’. In Michelle Keown, Andrew Taylor, and Mandy Treagus (eds.) Anglo-American Imperialism and the Pacific, New York: Routledge.

__________. 2011. American Documentary Film: Projecting the Nation. Edinburgh University Press.

 __________. 2009. ‘Kodachrome and the 1930s World Tour’. Paper presented to the ‘Colour and the Moving Image’ Conference (sponsored by Screen), Bristol, UK.

GELLEREAU, M., MOLINIÉ, M. 1999. ‘La lettre video’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

GERMAIN, B. 1999. ”Madame Kodak contre l’amateur, ou les conquêtes du super-8′. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

GLADSTONE, K. 2007. ‘The Imperial War Museum Film and Video Archive’.  In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 73-77.

GLYNN, K. 2007. ‘Mule Racing in the Mississippi Delta’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 195-208.

GOODE, I.2012. ‘The rural cinema operator: exhibiting non-theatrical cinema in the Highlands and Islands of Scotland (1946-1970)’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

__________.2009. ‘Locating the family film: the critics, the competition and the archive’. In: Craven, I. (ed.) Movies on Home Ground: Explorations in Amateur Cinema. Cambridge Scholars Press, pp. 182-207.

GOODING, F., OSBORNE, R., and RICE, T. 2010. Colonial Film: Moving Images of the British Empire online catalogue.

GOMES, M. 2007. ‘Working People, Topical Films, and Home Movies: The Case of the North West Film Archive’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 235-248.

HAGGITH, T. 1998. ‘Castles in the air: British film and the reconstruction of the built environment, 1939-51‘. PhD thesis, University of Warwick. (the dissertation includes valuable references to amateur films).

HALLAM, J. 2010. ‘City of Change and Challenge: the cine societies’ response to re-development in Liverpool in the 1960s’. In: Koeck R. and Roberts L. ed(s). The City and the Moving Image; Urban Projections. Basingstoke, Palgrave Macmillan.

__________. 2009. ‘The amateur and the moving image archive: collective ownership and institutional context’. Paper presented at The Visual Archive: The Moving Image and Memory, CRESC, 28-29 May.

__________. 2007. ‘Mapping city space: independent filmmakers as urban gazetteers’, Journal of British Cinema and Television Edinburgh University Press, Vol. 4 no. 2 pp 272-84.

__________. 2007.‘Mapping city space: Independent Filmmakers as Urban Gazetteers’, paper presented at the Making Visual Histories: Critical Perspectives on Amateur Film Practice Conference. Manchester Metropolitan University, 14 September.

HIELSCHER, E. 2007. MA thesis. ‘Towards a Definition of Amateur Film. Amateur film, Benjamin’s Aura and the Archive‘, University of Amsterdam.

HIRSCHFELD, M. 2010. ‘The Generation Gap: The Intersection of Audiovisual Technologies in Egoyan’s Family Viewing’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

HOMIAK, J., WINTLE, P. 2007. ‘The Human Studies Film Archives, Smithsonian Institution’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 41-46.

HORAK, J.C. 1998. ‘Out of the Attic: Archiving Amateur Film’, Journal of Film Preservation, No.56 June, pp. 50-53.

HOWE, M. 2010. ‘’The Photographic Hangover’: Reconsidering the Aesthetics of the 8mm Home Movie’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

HUET, A. 1999. ‘Au-delà des images inédites’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

HUTCHESSON, D. 2010. ‘SHEILAS: 28 YEARS ON – Framing Past and Present’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

IRIGOYEN, J. 2010. ‘El horizonte artificial. Entrevista’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

ISHIZUKA, K. 2010. ‘Making Movies with Japanese American Home Movies’. In Cuevas Álvarez, Efrén (ed.), La casa abierta. El cine doméstico y sus reciclajes contemporáneos, Ocho y Medio, Madrid, pp. 207-223.

__________.2010. ‘A través de nuestros propios ojos. El cine realizado con metraje doméstico japonés-americano’. In Efrén Cuevas Álvarez(ed.), La Casa  Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

__________.2007.(with Zimmermann, P.). Mining the Home Movie. Excavations in Histories and Memories, University of California Press.

__________.2007 ‘The Home Movie and the National Film Registry: The Story of Topaz’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 126-141.

__________.2007.(with Robert A. Nakamura). ‘Something Strong Within: A Visual Essay’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 98-106.

__________.2007. ‘The Moving Image Archive of the Japanese American National Museum’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 122-125.

__________.1996. ‘Artifacts of Culture’, Journal of Film Preservation, FIAF, Issue 52, pp.15-20.

JONES, J. 2010. ‘Mapping the Amateur Film: Tad Nichols’ 1939 Navajo Rug Weaving’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

KAHN, A. 2012. ‘Captured by Women’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

KAPSTEIN, N. (ed.) 1997. The Jubilee Book. Essays on amateur film. Charleroi, France: Association Européene des Inédits.

KATTELLE, A.D. 2003. ‘The Amateur Cinema League and its films’, Film History, pp. 238-251.

__________. 2003. ‘A Brief History of Amateur Film Gauges and Related Equipment, 1899-2001’. http://www.oldfilm.org/symp_2003_amateur

KATTELLE, Alan. 2000. Home movies : a history of the American industry, 1897-1979. Nashua, N.H. : Transition Pub.

KEATING, A.2012. ‘The Interactive Home Movie: Individual and Collective Memory in the Age of Web 2.0’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

__________.2010. ‘Private Places, Global Spaces: Subverting the Amateur Aesthetic of Recent YouTube Phenomena’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September .

KERLEY, A. 2010. ‘Thundering Through the Countryside: the Memorialisation of Steam on Film by Australian Rail Enthusiasts’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

KILBORN, R. 2010. ‘Archaeology or Alchemy? Some reflections on the documentary practice of Péter Forgács’.Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

KIRSTE, L. 2007. ‘The Academy Film Archive’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 209-213.

KLERK de, N. 2008. ‘No more holy innocents’, in: Cultural memory. Amsterdam: Praemium Erasmianum Foundation, pp. 8-15.

__________. 2007. ‘The Nederlands Archive/Museum Institute’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 142-147.

__________. 2007. ‘Home Away from Home: Private Films from the Dutch East Indies’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 148-162.
See also Nico de Klerk’s video clip from The 7th Orphan Film Symposium, 2010. © Orphan Film Symposium

KRIBS, M. 2007. ‘The Oregon State Historical Society’s Moving Image Archives’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 249-254.

LANGFORD, R. 2007. ‘How Amateur Films of French Colonialism Construct African Space and Place’, paper presented at the Making Visual Histories: Critical Perspectives on Amateur Film Practice Conference. Manchester Metropolitan University, 14 September.

LEBLANC, G. 1999. ‘Le Petit Autre’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

LE NEVE, F. 1935. ‘Amateur Film Maker’, Sight and Sound, Spring. No. 4 (13), p. 7-9.

LIPMAN, R. 2007. ‘The Stephen Lighthill Collection at the UCLA Film & Television Archive’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 272-274.

LURY, K. 2012 (in press). ‘The fragile magic of the home: Amateur domestic comedies and the intimate geography of childhood’. In: Craven, I. and Shand, R. (eds.) Small Gauge Storytelling: Discovering the Amateur Fiction Film. Edinburgh University Press.

 __________. 2010. ‘The Policeman Framed: Wee Willie Merrilees, children and animals’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September .

MACNAMARA, P. 1996. ‘Amateur Film as Historical Record – A Democratic History?’, Journal of Film Preservation, Issue 53, pp. 41-45.

MAESTRO S., MURATORI, CESARI, F., PECINI, A., APICELLA, C., STERN, F. 2006. ‘A view to regressive autism through home movies. Is early development really normal?’, in Acta Psychiatrica Scandinavica, Vol. 113, number 1, pp. 68-72.

MagSHAMHRAIN, R. 2010. ‘Adolf Talks! The Afterlife of Hitler’s Home Movies’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

MARTEL, C. 2012. ‘Whose Memory? Industrial Images and Representations’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

McGRATH, C. 2011. Article on the New York World’s Fair and amateur creator Cyrus Pinkham, Moving Image Review, Summer. McGrath – Ph.D., recipient of the William S. O’Farrell Fellowship at Northeast Historic Film. Download Article.

MORAN, J. M. 2010. ‘Cine doméstico, amateur y de vanguardia: modos de distinción’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

__________. 2002. There’s No Place Like Home Video. Minneapolis: University of Minnesota Press.

MOTRESCU-MAYES, A. (forthcoming, 2017). Amateur Media: Film, Digital Media and Participatory Cultures, co-authored with Susan Aasman. Under contract with Routledge. Expected in print in August 2017.

________. (forthcoming, 2017). British women amateur filmmakers: national memories and global identities, co-authored with Heather Norris Nicholson. Under contract with Edinburgh University Press. Expected in print in March 2017.

________. (forthcoming, 2016). ‘Soldiers, Amateur Media and the Unbearable Intimacy of War Memories’, In Changing Platforms of Mediated Memory Practices: Dispositifs, Generations and Amateurs, Susan Aasman, Andreas Fickers and Joseph Wachelder (eds.), New York: Bloomsbury Academic. (Forthcoming 2016)

________. (forthcoming, 2016). ‘Constantin Brancusi’s “double-take”: working in stone and 16mm film’. In Close-Up, Film and Media Studies, Vol. 1, No. 3.

________. 2015. ‘Britische Frauen mit imperialer Mission und ihre Amateurfilme’, in Abenteuer Alltag. Zur Archäologie des Amateurfilms, eds. S. Mattl, C. Lesky, V. Ohner and I. Rechner. Osterreichisches Eilmuseum, Synema, 2015, pp. 172-182.

________. 2014. Personal films in the Digital Space, a guest-edited special issue for the New Cinemas: Journal of Contemporary Film, Vol. 11, Issue 2-3.

_________. 2014. ‘Uncensored imperial politics in British home movies from 1920s-1950s’. In  Amateur Filmmaking. The Home Movie, the Archive, the Web, eds. Laura Rascaroli, Gwenda Young, with Barry Monahan. London, New York: Bloomsbury Academic, pp. 95-107.

________. 2014. ‘Growing-up in the Empire: amateur films of the ‘never home’. Paper presented at the ‘Children and nontheatrical media: from film to video’ conference, University of Glasgow, 11 April, 2014.

_________. 2014. Amateur media, open-ended memory, and visual constructions of Tamil identities. Paper presented at the ‘Visual Anthropology and Contemporary South Asian History’ Conference, University of Cambridge, 5 April 2014.

__________. 2014. ‘Imperial imagination and colonial cities in inter-war amateur films’, In (In)visibles cités colonials. Domination and Resistance Strategies from the end of the XIXth century until today, eds. Choné A., Granchamp-Florentino F. and Repussard C. Paris: Orizons., PP. 103-114.

_________. 2013. ‘Women, personal films and colonial intimacies’. In  Close Up: Film and Media Studies, Vol. 1, No. 2, pp. 37-49

__________. 2012.’Amateur films and the silent migration of female colonial identities‘. Paper presented at the Screen Studies Conference, University of Glasgow, 30 June.

__________. 2012. ‘Cross-genre’ home movies, religious narratives and British imperial studies’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra, 21 June.

__________. 2012. “Stimulating empire consciousness” with colonial amateur films. Paper presented at Reflections on the Study of Amateur Cinema Symposium, University of Glasgow, 24 April.

__________. 2012. ‘Imperial imagination and colonial cities in inter-war amateur films’. Paper presented at Invisible Cités Coloniales Conférence, Université de Strasbourg, France.

__________. 2011. ‘Imperial narratives displaced by subaltern Indian identities in early amateur films’, Journal of Early Popular Visual Culture, Routledge, Volume 9, Issue 2.

__________. 2011.  ‘Uncharted Masonic identities in British colonial amateur films, 1920-1940’. Paper presented at  Freemasonry and Empire Conference, Canonbury Masonic Research Centre, London.

__________.2011. ‘Locating imaginary cartographies of the 1911 Coronation Durbar in colonial amateur photographs and films’. Paper presented at the Staging Empire – New Perspectives on the 1911 Coronation Durbar Conference, University of Manchester.

__________. 2011.  ‘Rethinking colonial amateur cinema as a new source for the European imperial history curriculum’. Paper presented at Screen Studies Conference, University of Glasgow.

__________. 2011. ‘Colonial South Asian visual records as key pedagogical tools in teaching women’s studies’. Paper presented at National Consultation on Using Visuals as a Pedagogical Aid for Gender Sensitivity Conference, New Delhi, India.

__________. 2011. ‘Eroticizing the Empire: voyeurs, imperial fetishes and colonial amateur films’. Paper presented at  The Erotic – Exploring Critical Issues Conference, Prague, Czech Republic.

__________. 2011. ‘Colonial South Asian visual records as key pedagogical tools in teaching women’s studies’, http://hayfestival.dilmot.com/annamaria-motrescu-17-11-2011/

__________. 2011. http://news.admin.cam.ac.uk/news/2011/02/14/imagesofempireheadfortheclassroom/

__________.2010. http://news.admin.cam.ac.uk/news/2010/03/04/homemovieschroniclingendofempirereleasedonline/

__________.2010. ‘Private Australia: re-imagined nationhood in inter-war colonial home movies’, Journal of Australian Studies, Routledge, Volume 34, Issue 3

__________. 2010. ‘Uncensored Imperial Politics in British Home Movies from 1920s-1950s’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2010.  ‘Digital colonial amateur film collections and the study of imperial history’. Paper presented at World History and Digital Scholarship Conference, University of Cambridge.

__________.2010. ‘Uncensored imperial politics in British home movies from 1920s-1950s’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2009.  ‘Memsahibs’ amateur films and British imperial agency in the 1930s’.  Paper presented at Women, Gender and Political Spaces: Historical Perspectives – Women’s History Network 18th Annual Conference, St. Hilda’s College, Oxford.

__________.2009.  ‘Rare colour footage and unofficial testimonials to the Malayan Emergency’. Paper presented at Colour and the Moving Image: History, Theory, Aesthetics, Archive Conference, University of Bristol.

__________.2009. ‘Visual imperial memories and online scholarship’. Paper presented at The Visual Archive: The Moving Image and Memory, CRESC, 28-29 May.

__________.2009.  ‘‘Displaced Indian identities in early colonial amateur films’. Paper presented at Visual Empires Conference, University of Sheffield.

__________.2008.  ‘ ‘Muted imperial identities: British amateur films from the 1920s-1940s’. Paper presented at Screen Studies Conference, University of Glasgow.

__________.2008.  ‘Instances of trans-national Britishness in colonial amateur films: the British Raj’. Paper presented at Britishness, Identity, and Citizenship: the View from Abroad Conference, University of Huddersfield.

__________.2008. Ph.D.  dissertation on ‘British Identities in Amateur Films from India and Australia, 1920s – 1940s’ (University of Bristol. A copy of the dissertation is available at the BFI Library).

__________.2007. ‘Images of Empire: online amateur footage and the re-interpretation of British colonial identities’. Paper presented at Future Histories of the Moving Image Conference, University of Sunderland.

__________. 2005. ‘British Identities in Amateur Films from India and Australia, 1920-1940s’. Paper presented at British World Conference IV, University of Auckland, NZ.

NEUMANN, M. 2010. ‘Amateur Film, Automobility and the Cinematic Aesthetics of Leisure Along Route 66’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________. 2001. ‘Home Movies on Freud’s Couch. An Exploration of Spontaneous Performance, Gender, and Latent Meanings in Amateur Films’, Northeast Historic Film’s Symposiumhttp://www.oldfilm.org/nhfWeb/ed/essays/NeumannEssay2001.htm

NOGALES CARDENAS, P. 2005, Ph.D. thesis ‘Cinema Amateur i Història local de Reus‘, Universitat Rovira i Virgili, Spain.

NORRIS NICHOLSON, H. 2012.  Amateur Film: Meaning and Practice, 1927 -1977. Manchester University Press.

__________.2012.‘Seeing differently- women’s amateur film practice in Britain’s cine era’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

__________.2012. ‘‘Give us ordinary people, people we can be interested in…”: locating meanings in amateur films from the Pennine valleys’. Paper presented at Reflections on the Study of Amateur Cinema Symposium, University of Glasgow, 24 April.

__________. 2012. ‘Cultural relations and comfortable curiosity: Manchester’s Cold War tourism in archive film’. In: Manchester/St Petersburg Friendship Society 50th Anniversary . Moscow: Europe House Publications.

 __________.2012. ‘Moving bodies and the amateur gaze: An historical perspective’. In: Theory, Art and Practice of Movement Capture, Analysis and Preservation. Intellect.

__________.2012. ‘Manchester’s Moving Memories: Tales from Moss Side and Hulme: archive film and community history-making’. In Tourists and Nomads. Amateur Images of Migration. Jonas-Verlag.

__________.2010. ‘Cinemas of Catastrophe and Continuity: Mapping Out Amateur Practices of Intentional History-making in North West England, c. 1927-1977’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2010. ‘’Old World Traditions…and Modernity’ in Cunard’s Transatlantic Films, c.1920-35: Making Connections between Early Promotional Films and Urban Change’. In: The City and the Moving Image. Palgrave Macmillan. pp. 21-35.

__________.2009. ‘Framing the view: holiday recording and Britain’s amateur film movement c.1925-1950’. In: Movies on Home Ground: Explorations in Amateur Cinema. Cambridge Scholars Publishing. pp. 93-127.

__________.2009. ‘Moving pictures, moving memories: framing the interpretative gaze’. In: Private Eyes and the Public Gaze – The Manipulation and Valorisation of Amateur Images. Kliomedia.

__________.2009. ‘Handle with Care! Working with other people’s memories’. Paper presented at The Visual Archive: The Moving Image and Memory, CRESC, 28-29 May.

__________.2009. ‘Through the Balkan States: Home movies as travel texts and tourism histories in the Mediterranean, c.1923-39’ Panoptikum, 8 (15).

__________.2009.‘Floating Hotels: Cruise Holidays and Amateur Film-making in the Inter-War Period’. In: Moving Pictures/Stopping Places: Hotels & Motels on Film. Lexington Books. pp. 49-71.

__________.2009. ‘Journeys into Seeing: Amateur Film-making and Tourist Encounters in Soviet Russia, c. 1932’ New Readings, 10, pp. 57-71.

__________.2008. ‘”Old world traditions… and modernity” in Cunard’s transatlantic films, c.1920 – 35: making connections between early promotional films and urban change’. In: Cities In Film: Architecture, Urban Space And The Moving Image Conference Proceedings. : University of Liverpool. pp. 163-169.

__________.2007. ‘“As If by Magic”: Authority, Aesthetics, and Visions of the Workplace in Home Movies, circa 1931–1949’. In: Mining the Home Movie Excavations in Histories and Memories. University of California Press. pp. 214-230.

__________.2006. ‘Shooting in Paradise: Conflict, Compassion and Amateur Filmmaking During the Spanish Civil War’ Journal of Intercultural Studies , 27 (3), pp. 313-330.

__________.2006. ‘Sites of Meaning: picturing Mediterranean and other landscapes in British home movies, c. 1928-1965’. In: Landscape and Film. Routledge. pp. 167-188.

__________.2006 ‘Through the Balkan States: Home movies as travel texts and tourism histories in the Mediterranean, c.1923-39’ Tourist Studies , 6 (1), pp. 13-36.

__________.2004. ‘At home and abroad with cine enthusiasts: Regional amateur filmmaking and visualizing the Mediterranean, ca. 1928–1962’ GeoJournal , 59 (4), pp. 323-333.

__________.2003. ‘British Holiday Films of the Mediterranean: At Home and Abroad with Home Movies, ca. 1925-1936’ Film History, 15 (2), pp. 102-116.

__________.2002. ‘Picturing the Past: Archival Film and Historical Landscape Change’ Landscapes , 3 (1), pp. 81-100.

__________.2002. ‘Telling travellers’ tales: framing the world in home movies, c.1935 – 1967’. In: Engaging Film: Geographies of Mobility and Identity. Rowman & Littlefield Publishers. pp. 47-68.

__________.2001 ‘Regionally Specific, Globally Significant: Who’s Responsible for the Regional Record?’ The Moving Image, 1 (2), pp. 152-163.

__________.2001. ‘Two tales of a city: Salford in regional filmmaking, 1957-1973’ Manchester Region History Review , 15, pp. 41-53.

__________.2001. ‘Seeing how it was?: childhood geographies and memories in home movies’ Area, 33 (2), pp. 128-140.

__________.1997. ‘Moving memories: image and identity in home movies’. In: The Jubilee book: essays on amatuer film. Charleroi: Association européene des inédits.

__________.1997. ‘In amateur hands: framing time and space in home-movies’ History Workshop Journal (43), pp. 198-213.

__________.1994. ‘”At Ilkley they sell lovely”: regional memory and experience in amateur movies’. In: You Can’t See What You Don’t Know: Amateur Film as Evidence. Association Européenne Inédits Colloquium.

ODIN, R. 2010. ‘Home Movie and the Notion of “Space of Communication”’. Keynote at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2010. ‘El cine doméstico en la institución familiar’. In Efrén Cuevas Álvarez(ed.) La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

__________.2007. ‘ Reflections on the Family Home Movie as Document: A Semio-Pragmatic Approach’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 255-271.

__________.2007. ‘Archives et cinéma amateur. Une étude de cas: la cinémathèque de Saint-Etienne’. In Kristian Feigelson and Mehmet Ozturk (eds.), Villes et cinéma: lieux, mémoires et désirs. Istanbul, éditions Kabalci.

__________.2005. ‘Kino « mit klopfendem Herzen » : Anmerkungen zu den Emotionen im Familienfilm’. In Mattias Brütsch, Vinzenz Hediger, Alexandra Schneider, Margrit Tröler and Ursula Von Keitz (eds.), Kinogefühle. Emotionalität und Film, Schüren, pp. 103-120.

__________.1999. ‘La question de l’amateur’.  In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

__________.1999. (with Gabriel Menager), ‘La presse du cinéma amateur: brève note et bibliographie’.  In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

__________.1995. Le film de famille: usage privé, usage public. Paris, Éditions Méridiens Klincksieck.

ODORICO, S. 2010. ‘Errol Morris Plays with Home Movies and Metalanguages’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

OLLIVIER, G. 1999. ‘Pierre Guérin, amateur de cinéma et cinéaste amateur’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

O’SULLIVAN, M. 2000. ‘Amateur Australian Women Film-makers of the 1930s and 1940s’, Metro Magazine, No.123, pp.20 – 24.

PAASCHE, J. 2010. ‘Professional Soldiers/Amateur Filmmakers: Home Movies Far Away From Home’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

PELLETIER, L. 2012. ‘Showmanship in the Home: The Multiple Temporalities of Amateur Cinema’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

PILBOROUGH, G. 1977. ‘Home Movies in the 30s’, Film Making, Vol.15, No. 9.

POIRIER, E. 2012. ‘Archives of Happiness: the Social Role of Home Movies’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

PRAMAGGIORE, M. 2010.’You’re Gonna Miss Me (Perform): Amateur Filmmaking as Personal and Collective History’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

RENOV, M. 2010.’Discursos históricos de lo inimaginable: The Maelstrom’. In Efrén Cuevas Álvarez(ed.) La Casa  Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

RICE, A. 2010. The “Crisis Documentary” as a YouTube Database. reflection on amateur video production in the movement for public higher education in the State of California. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

ROEPKE, M. (forthcoming 2013) ‘Familyfilms as collaborative story-telling, In Ian Craven and Ryan Shand (eds.) Small-Gauge Storytelling: Discovering the Amateur Fiction Film. Edinburgh; Edinburgh University Press.

__________.2012.’Framing the family: Analyzing home movies with Goffman’. Paper presented at Reflections on the Study of Amateur Cinema Symposium, University of Glasgow, 24 April.

__________.2010. Keynote-lecture:’From the Margins to the Center: How filmarchives could benefit from their amateurfilm collections’, Annual Collection seminar at Eyefilm, Amsterdam.

__________.2008. ‘Bastler, Sammler, Familienvater Archeologie einer Medienpraxis‘, presentation held at the conference ‘Medienamateure: wie verändern Laien unsere visuelle Kultur”, Siegen University, Germany. 5th July.

__________.2007. ‘Tracing 17.5mm practices in Germany (1902–1908)’, 
Film History, Vol 19, No 4, pp. 344-352.

__________.2007. ‘Bringing movies into the home. Distribution strategies for 17,5mm film (1903-1908)’. In F. Kessler, N. Verhoeff (eds.) Networks of Entertainment, New York: John Libbey publishing, pp. 275-283.

__________.2006. ‘Privat-Vorstellung. Heimkino in Deutschland vor 1945’. Olms: Hildesheim/Zürich/New York. Review Englishwith Hans J. Wulff: ‘Ensemble’. In: Lexikon der Filmbegriffe, Hrsg. von Hans. J. Wulff und Theo Bender. Roepke Privat-Vorstellung Review.

_________.2005.’Amateurfilm online.Een nieuwe blik op oude films’. (with Julia Noordergraaf), Nieuwsbrief Smalfilmmuseum, Nr. 1, May, pp. 3-5.

_________.2005. ‘Bewegen und Bewahren. Die Wirklichkeit im Heimkino’. In Peter Zimmermann, Kay Hoffmann (eds.) Geschichte des dokumentarischen Films in Deutschland, Bd. 3 (1933-1945), Reclam Verlag, pp. 285-298.

__________.2004. Eerste resultaten van het Ernemann onderzoek (Results of the Ernemann-research, Nieuwsbrief Smalfilmmuseum, Nr. 4, Oktober: 8-10.

__________.2002. ‘Honderd jaar Ernemann Heimkino voor 17,5mm film’. (100 years of Ernemanns Heimkino) (with Henk Verheul), Nieuwsbrief Smalfilmmuseum, Nr.1, januari, 2003: 7-10.

__________.2001. ‘Feiern im Ausnahmezustand. Ein privater Film aus dem Luftschutzkeller’. Montage a/v 2001/2: 59-66. Download pdf.Feiern im Ausnahmezustand Ein privater Film aus dem Luftschutzkeller

__________.1999. ‘Lichtspiele im Wohnzimmer. Der Filmamateur und sein Heimkino’. Cinema 44 (Das Private): 22-34.

ROSEN, R. 2007. ‘Something Strong Within as Historical Memory’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 107-121.

ROTH, M.S. 2007. ‘Ordinary Film: Péter Forgács’s The Maelstrom’.  In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 62-71.

RUFFINELLI, J. 2010. ‘Del cine doméstico al documental personal en América Latina. Cinco casos’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

SAGEHORN, D. 2010. ‘Glut and the Zombie Girl: Two Case Studies in the Circulation and Appeal of Amateur Genre Narratives’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

SAPIO, G. 2012. “Reels Memories”: Home Movies and Family Memory’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

SAVAGE, R. 2010. ‘The Space Between: Towards Ethnography of Filmic Space Engaging with Mexican Migrant Event Videos through Found Footage Filmmaking’.Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

SCHNEIDER, A.  2012. ‘Towards a Media Archaeology of the Home Movie – Private Filmmaking in the Age of Network Culture’. Paper presented at the NECS Conference: Time Networks: Screen Media and Memory, New University of Lisbon and the University of Coimbra.

__________. 2007. ‘Time travel with Pathé Baby: the small-gauge film collection as historical archive’, In Film History. Bd. 19, H. 4. Bloomington, Ind.: Indiana Univ. Press, pp. 353 – 360.

__________. 2006. ‘Homemade travelogues : Autosonntag – a film safari in the Swiss Alps’, In Ruoff, Jeffrey (Hrsg.), Virtual voyages : cinema and travel, Durham: Duke University Press, pp. 157 – 173

__________.2004. Die Stars sind wir: Heimkino als filmische Praxis, in the series Zürcher Filmstudien, no. 9, Marburg: Schüren.

SCHAEFER, E. 2001. ‘Plain brown paper: adult films for the home market, 1930-1970’, Northeast Historic Film’s Symposium on Home Movies and Privacyhttp://www.oldfilm.org/nhfWeb/ed/essays/SchaeferEssay2001.htm

SCHWARTZ, E.J. 2001. ‘Intellectual property law and rights of privacy in relation to home movies’, Northeast Historic Film’s Symposium on Home Movies and Privacy. http://www.oldfilm.org/nhfWeb/ed/01Symp/01Symp_Schwartz.htm

SELFE, M. 2009. ‘Putting film on Nottingham’s cultural map: film production and the festival of Britain’. In: Craven, I. (ed.) Movies on Home Ground : Explorations in Amateur Cinema. Cambridge Scholars, pp. 130-155.

SEWELL, G.H. 1951. Amateur film making. 2nd edn. London: British Film Institute.

SHAND, R.(forthcoming). (co-ed. Craven, I.) Small-Gauge Storytelling: Discovering the Amateur Fiction Film. Edinburgh; Edinburgh University Press.

__________.2012. ‘Making Amateur Action Films in Scotland: The Participation of Children in Group 5’s Productions’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

__________.2010. ‘Humour in the Home: The Family Films of Frank Marshall’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September .

__________.2010. ‘Visions of community: the post-war housing problem in sponsored and amateur films’. In Roberts, L. and Koeck, R. (eds.) The City and the Moving Image: Urban Projections. Palgrave.

__________.2009. ‘Amateur cinema re-located: localism in fact and fiction’. In Craven, I. (ed.) Movies on Home Ground: Explorations in Amateur Cinema. Cambridge Scholars Publishing, pp. 156-181.

__________.2009. ‘The incomplete archive: amateur films and issues of context’. Paper presented at The Visual Archive: The Moving Image and Memory, CRESC, 28-29 May.

__________.2008.’Theorizing amateur cinema: limitations and possibilities’. The Moving Image: the Journal of the Association of Moving Image Archivists, 8 (2). pp. 36-60.

__________. 2007. ‘Children in Charge’: The Use of Child Actors in the Amateur ‘Film Play’, paper presented at the Making Visual Histories: Critical Perspectives on Amateur Film Practice Conference. Manchester Metropolitan University, 14 September.

SHELDON, K.  Home Movies and From Stump to Ship, Forgotten Film to the Formation of a Film Archives.

__________.2012. ‘Considering the Aesthetics of Amateur Films’. Paper presented at the Screen Studies Conference 2012, University of Glasgow. For a selection of the material discussed in this presentation click here.

__________. 2007. (with Swanson, D.). ‘The Movie Queen: Northeast Historic Film’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 185-190.

SIMONI, P. 2010. ‘Expanded Archives: How to Exhibit Amateur Film Collections—The Experience of Associazione Home Movies, Archivio Nazionale del Film di Famiglia (Italy)’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

__________.2010. ‘Antonio Marchi, cinesperimentalista (1940-1945)’. In M. Grasso (ed.) Cinema primo amore. Storia del regista Antonio Marchi, Kurumuny.

__________.2006. ‘Non basta premere un bottone. Riflessioni sul cinema amatoriale. Le fasi tecnologiche, i contributi teorici, le pratiche culturali e artistiche’. In Ansano Giannarelli, Annali Aamod (eds.) Il film documentario nell’era digitale, no.9.

__________.2005. La nascita di un archivio per il cinema amatoriale: il caso dell’Associazione Home Movies (Comunicazioni Sociali n°3)

__________.2005. ‘8mm e Super8’. In Giacomo Manzoli e Guglielmo Pescatore (eds.) L’arte del risparmio: stile e tecnologia: il cinema a basso costo in Italia negli anni Sessanta, Roma.

__________.2005. ‘Il film di famiglia. L’ambiguità delle immagini felici’. In Marco Bertozzi (ed.) Schermi di pace, Annali AAMOD 8.

__________.2003. ‘Alla ricerca di immagini private. Un progetto per la memoria filmica di famiglia. In Marco Bertozzi (ed.) L’idea documentaria, Torino.

__________.2003.’La morte al lavoro. E in vacanza. Film di famiglia tra riscoperta e oblio’, Cinegrafie n°16.

__________.2003. ‘Archeologia della memoria privata. La ricontestualizzazione filmica di Péter Forgács’. In Private Europe. Il cinema di Péter Forgács, quaderno di “Filmmaker”, Milano.For online access to some of Simoni’s papers click here

SMITH, I. 2012. ‘Collecting the Trash: Amateur Archives of Screen Detritus’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

SPURR, G. 2016.  ‘Amateur Video: Technology, Behaviour and Practice 1965-2015’ (PhD dissertation, Theatre, Film and Television subject area, University of Glasgow). See here an updated list of his publications and talks.

__________.2012. ‘Polavision: A Failed Amateur Technology’. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

__________.2012. ‘Polavision: The End of Cine? The End of Eumig?’. Paper presented at Historical Perspectives 2012: Fresh Perspectives on the Past, Department of Economic History, University of Glasgow, 10th May.

__________.2010. ”Away and get yer bike!’: Defending the Local Fictional Film in Largs 1969-2005”. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

SURI, S. 2010. ‘I for India. Entrevista’. In Efrén Cuevas Álvarez(ed.), La Casa Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

SWANSON, D. 2003. ‘Inventing amateur film: Marion Norris Gleason, Eastman Kodak and the Rochester scene, 1921 – 1932’, Film History 15(2), pp.126-136.

SZCZELKUN, S. 2000. ‘Amateur films / Home Movies / underground film’http://www.stefan-szczelkun.org.uk/phd206.htm#_edn1. [accessed December 2006].

TAVES, B. 2007. ‘The Library of Congress’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 163-167.

TEPPERMAN, C. Amateur Cinema and the 1939 New York World’s Fair. Download Article.

__________. 2017.  ‘Amateur Movie Database project

__________.2014. Amateur Cinema: The Rise of North American Moviemaking, 1923-1960. University of California Press.

__________. 2012. “Color Unlimited: Amateur Color Cinema in the 1930s” In Color and the Moving Image, edited by Simon Brown, Sarah Street and Liz Watkins. London: Routledge.

__________. 2011. “Mechanical Craftsmanship: Amateurs Making Practical Films.” In Useful Cinema, edited by Charles Acland and Haidee Wasson, 289-314. Durham: Duke University Press.

__________. 2003. and Mebold, Anke. “Resurrecting the Lost History of 28mm Film,” Film History, Vol. 15, 2 (Fall 2003): 137-151.

TRUJILO, I. 2007. ‘La Filmoteca de la Universidad Nacional Autónoma de México’.  In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 57-61.

VAGNES, Ø. 2010. ‘Pleasing to the Eye: The Zapruder Film’s Transformation from Evidentiary to Aesthetic Image’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

VASUDEVAN, R. 2011. ‘Official and Amateur: Exploring Information Film in India, 1920s–40s’. In Film and the End of Empire, Grieveson, l. and MacCabe, C. (eds.). London: BFI Palgrave Macmillan.

VELEZ-SERNA, M. 2012. ‘Early non-commercial cinema exhibition in Scotland’. Paper presented at the Screen Studies Conference 2012, Glasgow.

VILLAREJO, A. 2007. ‘90 Miles: The Politics and Aesthetics of Personal Documentary’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 78-91.

VINOGRADOVA, M.2012. “High Art’ Locally: Amateur Screen Adaptations by IUG-Film”. Paper presented at the Screen Studies Conference 2012, University of Glasgow.

__________.2010. ‘The “Golden Age” of the Soviet Amateur Cinema: an Overview of Amateur Film Studios in Leningrad’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

YU, T. 2010. ‘The ‘Self’ Under ‘My’ Camera – The Familial Self in Contemporary Chinese First Person Videos’. Paper presented at Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 17-19 September.

YUE, G. 2005. ‘Jonas Mekas’, Sense of Cinema, Issue No. 34, January- March, quoted in FRYE, B.L. 2006. ‘Three Great Filmmakers: Haldeman, Ehrlichman & Chapin… or, Nixon’s Home Movies’, Cineaste, Summer, Vol. 31, No. 3, p.37.

WEES, W.C. 2010.'”Cómo era entonces”. El cine doméstico como Historia en Meanwhile Somewhere…’. In Efrén Cuevas Álvarez(ed.) La Casa  Abierta. El cine doméstico y sus reciclajes contemporáneos. Ocho y Medio, Madrid.

ZIMMERMANN, P. 2010. ‘The Home Movie Archive Live’, keynote address at the Saving Private Reels Presentation, Appropriation and Re-contextualisation of the Amateur Moving Image Conference, Cork, Ireland, 19 September.

__________.2007. Mining the Home Movie. Excavations in Histories and Memories, co-ed. with Karen Ishizuka, University of California Press.

__________.2007. ‘The Home Movie Movement: Excavations, Artifacts, Minings’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp. 1-28.

__________.2007. ‘Morphing History into Histories: From Amateur Film to the Archive of the Future’. In Karen L. Ishizuka and Patricia R. Zimmermann (eds.) Mining the Home Movie. Excavations in Histories and Memories, University of California Press, pp.275-288.

__________.2001. ‘Morphing History into Histories’, Northeast Historic Film’s Symposium on Home Movies and Privacy. http://www.oldfilm.org/nhfWeb/ed/essays/ZimmermannEssay2001.htm

__________.1999. ‘Cinéma amateur et démocratie’. In Le Cinéma en Amateur. Revue Communications, n° 68, Paris: Seuil.

__________.1997. ‘Democracy and cinema: A history of amateur film’. In The Jubilee Book. Essays on amateur film, ed. Kapstein, N., Charleroi, France: Association Européene des Inédits, pp. 73 – 80.

__________.1996. ‘Startling Angles. Amateur Film and the Early Avant-Garde’. In Jan-Christopher Horak (ed.) Lovers of Cinema. The First American Film Avant-Garde 1919–1945. University of Wisconsin Press

__________.1996. ‘Geographies of desire: cartographies of gender, race, nation and empire in amateur film’, Film History, Vol. 8, pp.85-98.

__________.1995. Reel Families: A Social History of Amateur Film. Indiana University Press: Bloomington.

__________.1988. ‘Hollywood, Home Movies and Common Sense’. Cinema Journal, Vol. 27, Issue 4, pp. 23-44.

 

JOURNALS (more titles will be added ASAP)

Amateur Cine World

Amateur Film Maker

Amateur Movie Maker

Journal of Film Preservation, FIAF, No. 52, April 1996.

Making Better Movies

Movie Maker

Videomaker

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