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For too long, the field of amateur cinema has focused on North America and Europe. In Global Perspectives on Amateur Film Histories and Cultures, however, editors Masha Salazkina and Enrique Fibla-Gutiérrez fill the literature gap by extending that focus and increasing inclusivity. Through carefully curated essays, Salazkina and Fibla-Gutiérrez bring wider meaning and significance to the discipline through their study of alternative cinema in new territories, fueled by different historical and political circumstances, innovative technologies, and ambitious practitioners. The essays in this volume work to realize the radical societal democratization that shows up in amateur cinema around the world. In particular, diverse contributors highlight the significance of amateur filmmaking, the exhibition of amateur films, the uses and availability of film technologies, and the inventive and creative approaches of filmmakers and advocates of amateur film. Together, these essays shed new light on alternative cinema in a wide range of cities and countries where amateur films thrive in the shadow of commercial and conventional film industries.
Features essays that combine research, critical analyses and theoretical approaches regarding the meaning and value of amateur and archival films. This book identifies home movies as methods of visually preserving history. It defines a genre of film studies and establishes the home movie as a tool for extracting historical and social insights.
The portrayal of Ireland on screen has been problematic due to a lack of a sustained indigenous film industry before the establishment of the Irish Film Board in 1980 and the Northern Ireland Film Council in 1989. However, before this, many talented and proficient non-professional filmmakers were capturing events that hold valuable clues to an internal social and historical perspective on twentieth-century Ireland. ???????Northern Ireland has a rich heritage of amateur and independent cinema that includes several prolific filmmakers and collectives. Many of these image makers garnered awards on the prestigious international independent film circuit and had their work shown in film festivals and on television. Crucially, they offered an alternative and illuminating view to the mainstream-cinema and broadcast-media imagery of a conflicted region that was often filmed but little understood. They also laid the groundwork for the vibrant film culture that exists in Northern Ireland today. This book will offer the first scholarly exploration of these 'cine auteurs'.
"See yourself in the movies!" Prior to the advent of the home movie camera and the ubiquitousness of the camera phone, there was the local film. This cultural phenomenon, produced across the country from the 1890s to the 1950s, gave ordinary people a chance to be on the silver screen without leaving their hometowns. Through these movies, residents could see themselves in the same theaters where they saw major Hollywood motion pictures. Traveling filmmakers plied their trade in small towns and cities, where these films were received by locals as being part of the larger cinema experience. With access to the rare film clips under discussion, Main Street Movies documents the diversity and longevity of local film production and examines how itinerant filmmakers responded to industry changes to keep sponsors and audiences satisfied. From town pride films in the 1910s to Hollywood knockoffs in the 1930s, local films captured not just images of local people and places but also ideas about the function and meaning of cinema that continue to resonate today.
This volume begins by defining the challenges that rural and small libraries face before shifting to an analysis of ways that these obstacles can be overcome or mitigated. The authors explore ideas for enhancing community partnerships and outreach by using rural and small public libraries as centers for local cultural heritage activities.
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