Amateur film: meaning and practice, 1927-1977
'Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the well to do, following the launch of lightweight handheld cine equipment by Kodak and Pathé in Britain...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Manchester, UK
Manchester University Press
2019
©2012 |
| Online-Zugang: | FKWA1 |
| Zusammenfassung: | 'Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the well to do, following the launch of lightweight handheld cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level. The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book is an unprecedented thematic exploration of family life, working experience, locality and social issues, leisure time and recreational travel in urban and rural areas of northern and northwest England. This study of visual memory, identity and status sets camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces. It will appeal to readers with interests in histories of film and visual practice, memory, regional, social and locality change, family life, gender, tourism and leisure as well as contemporary archive practice' --Back cover Amateur film: Meaning and practice 1927–77 plunges readers into the world of home movies making and reveals that behind popular perceptions of clichéd family scenes shakily shot at home or by the sea, there is much more to discover. Exploring who, how, where, when and why amateur enthusiasts made and shared their films provides fascinating insights into an often misunderstood aspect of national visual history. This study of how non-professional filmmakers responded to the new possibilities of moving image places decades of cine use into a history of changing visual technologies that span from Edwardian visual toys to mobile phones. Using northern cine club records, interviews and amateur films, the author reveals how film-making practices ranged from family footage to highly crafted edited productions about local life and distant places made by enthusiasts who sought to ‘educate, inspire and entertain’ armchair audiences during the early decades of British television |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | 1 online resource (xiii, 279 pages) illustrations; digital, PDF file(s) |
| ISBN: | 9781526141187 |
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| 100 | 1 | |a Nicholson, Heather Norris |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Amateur film |b meaning and practice, 1927-1977 |c Heather Norris Nicholson |
| 264 | 1 | |a Manchester, UK |b Manchester University Press |c 2019 | |
| 264 | 1 | |c ©2012 | |
| 300 | |a 1 online resource (xiii, 279 pages) |b illustrations; digital, PDF file(s) | ||
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| 500 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Preface and acknowledgements --1. Making space for a neglected visual history --2.The amateur club scene --3.The rise of a hobby press --4. Family life as fact and fiction --5. Local lives and communities --6. Gazing at other people working.--7. An indispensable travel accessory --8. Socially engaged filmmaking --9. Moving pictures, moving on --Bibliography --Index | |
| 520 | |a 'Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the well to do, following the launch of lightweight handheld cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level. The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book is an unprecedented thematic exploration of family life, working experience, locality and social issues, leisure time and recreational travel in urban and rural areas of northern and northwest England. This study of visual memory, identity and status sets camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces. It will appeal to readers with interests in histories of film and visual practice, memory, regional, social and locality change, family life, gender, tourism and leisure as well as contemporary archive practice' --Back cover | ||
| 520 | |a Amateur film: Meaning and practice 1927–77 plunges readers into the world of home movies making and reveals that behind popular perceptions of clichéd family scenes shakily shot at home or by the sea, there is much more to discover. Exploring who, how, where, when and why amateur enthusiasts made and shared their films provides fascinating insights into an often misunderstood aspect of national visual history. This study of how non-professional filmmakers responded to the new possibilities of moving image places decades of cine use into a history of changing visual technologies that span from Edwardian visual toys to mobile phones. Using northern cine club records, interviews and amateur films, the author reveals how film-making practices ranged from family footage to highly crafted edited productions about local life and distant places made by enthusiasts who sought to ‘educate, inspire and entertain’ armchair audiences during the early decades of British television | ||
| 710 | 2 | |a Manchester University Press |e Sonstige |4 oth | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-034668785 | ||
| 966 | e | |u https://dx.doi.org/10.7765/9781526141187 |3 Volltext |l FKWA1 | |
Datensatz im Suchindex
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| author | Nicholson, Heather Norris |
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| author_sort | Nicholson, Heather Norris |
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| building | Verbundindex |
| bvnumber | BV048724604 |
| contents | Preface and acknowledgements --1. Making space for a neglected visual history --2.The amateur club scene --3.The rise of a hobby press --4. Family life as fact and fiction --5. Local lives and communities --6. Gazing at other people working.--7. An indispensable travel accessory --8. Socially engaged filmmaking --9. Moving pictures, moving on --Bibliography --Index |
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| format | Electronic eBook |
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Making space for a neglected visual history --2.The amateur club scene --3.The rise of a hobby press --4. Family life as fact and fiction --5. Local lives and communities --6. Gazing at other people working.--7. An indispensable travel accessory --8. Socially engaged filmmaking --9. Moving pictures, moving on --Bibliography --Index</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">'Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the well to do, following the launch of lightweight handheld cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. 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| illustrated | Illustrated |
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| indexdate | 2024-07-10T10:04:18Z |
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| isbn | 9781526141187 |
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| spelling | Nicholson, Heather Norris Verfasser aut Amateur film meaning and practice, 1927-1977 Heather Norris Nicholson Manchester, UK Manchester University Press 2019 ©2012 1 online resource (xiii, 279 pages) illustrations; digital, PDF file(s) txt rdacontent c rdamedia cr rdacarrier Includes bibliographical references and index Preface and acknowledgements --1. Making space for a neglected visual history --2.The amateur club scene --3.The rise of a hobby press --4. Family life as fact and fiction --5. Local lives and communities --6. Gazing at other people working.--7. An indispensable travel accessory --8. Socially engaged filmmaking --9. Moving pictures, moving on --Bibliography --Index 'Amateur film: Meaning and practice 1927–77 traces the development of non-professional interests in making and showing film. It explores how amateur cinematography gained a following among the well to do, following the launch of lightweight handheld cine equipment by Kodak and Pathé in Britain during the early 1920s. As social access to the new hobby widened, enthusiasts began to use cine equipment at home, work, on holiday and elsewhere. Some amateurs made films only for themselves while others became cine club members, contributors to the hobby literature and participated in film competitions from local to international level. The stories of individual filmmakers, clubs and the emergence of an independent hobby press, as well as the non-fiction films made by groups and individuals, provide a unique lens through which contemporary responses to daily experience may be understood over fifty years of profound social, cultural and economic change. Using regional film archive collections, oral testimony and textual sources, this book is an unprecedented thematic exploration of family life, working experience, locality and social issues, leisure time and recreational travel in urban and rural areas of northern and northwest England. This study of visual memory, identity and status sets camera use within a wider trajectory of personal record making, and discusses the implications of footage moving from private to public spaces. It will appeal to readers with interests in histories of film and visual practice, memory, regional, social and locality change, family life, gender, tourism and leisure as well as contemporary archive practice' --Back cover Amateur film: Meaning and practice 1927–77 plunges readers into the world of home movies making and reveals that behind popular perceptions of clichéd family scenes shakily shot at home or by the sea, there is much more to discover. Exploring who, how, where, when and why amateur enthusiasts made and shared their films provides fascinating insights into an often misunderstood aspect of national visual history. This study of how non-professional filmmakers responded to the new possibilities of moving image places decades of cine use into a history of changing visual technologies that span from Edwardian visual toys to mobile phones. Using northern cine club records, interviews and amateur films, the author reveals how film-making practices ranged from family footage to highly crafted edited productions about local life and distant places made by enthusiasts who sought to ‘educate, inspire and entertain’ armchair audiences during the early decades of British television Manchester University Press Sonstige oth |
| spellingShingle | Nicholson, Heather Norris Amateur film meaning and practice, 1927-1977 Preface and acknowledgements --1. Making space for a neglected visual history --2.The amateur club scene --3.The rise of a hobby press --4. Family life as fact and fiction --5. Local lives and communities --6. Gazing at other people working.--7. An indispensable travel accessory --8. Socially engaged filmmaking --9. Moving pictures, moving on --Bibliography --Index |
| title | Amateur film meaning and practice, 1927-1977 |
| title_auth | Amateur film meaning and practice, 1927-1977 |
| title_exact_search | Amateur film meaning and practice, 1927-1977 |
| title_exact_search_txtP | Amateur film meaning and practice, 1927-1977 |
| title_full | Amateur film meaning and practice, 1927-1977 Heather Norris Nicholson |
| title_fullStr | Amateur film meaning and practice, 1927-1977 Heather Norris Nicholson |
| title_full_unstemmed | Amateur film meaning and practice, 1927-1977 Heather Norris Nicholson |
| title_short | Amateur film |
| title_sort | amateur film meaning and practice 1927 1977 |
| title_sub | meaning and practice, 1927-1977 |
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