1,720,990 research outputs found
Journeys into Seeing: Amateur Film-making and Tourist Encounters in Soviet Russia, c. 1932
Full text linkThis article examines in detail amateur film imagery of Soviet-era Russia held in the North West Film Archive at Manchester Metropolitan University. It discusses footage made and shown during the early 1930s by an early regional cine enthusiast, and places the material within the context of contemporary developments of amateur film aesthetics, of meta-narratives of international relations, and most significantly of local inflections in the Manchester area of cultural exchange between the United Kingdom and the USSR. The article explores issues of East-West relations, identities and visual memory-making within broader considerations of amateur film practice, travel narration and tourism history
‘At the centre of it all are the children’: Aboriginal Childhoods and the National Film Board
No full textGiven the overall young age of Canada's Aboriginal population, it is unsurprising that so much concern focuses upon trying to find ways to meet the diverse and complex present and future needs of children more appropriately than in the past. Over ten years after the grim findings of No Quiet Place (1982) in which child welfare practice was likened to 'the road to hell […] paved with good intentions and the child welfare system was the paving contractor', the Royal Commission on Aboriginal Peoples (1996) highlighted the continuing challenges faced by Aboriginal children in rural and urban settings. Over the same period, the National Film Board of Canada (NFB), has produced material in both documentary and fictional form on diverse aspects of Aboriginal childhood experience. This presentation uses NFB material to consider how filmic versions of Aboriginal children's experiences are constructed and presented to their viewers. Imagery, sound, narrative themes and filming offer contrasting perspectives and prompt questions about the production, consumption and interpretation of film material on children where opportunities to show and be seen on screen remain unequally distributed through society - even for the young
Two tales of a city: Salford in regional filmmaking, 1957-1973
No full textThis discussion considers the role of moving image in constructing aspects of regional identity, with particular reference to footage produced by two very different filmmakers who filmed in Ordsall, Salford during the 1960s. Their respective footage covers a period of profound social and physical change associated with housing clearance and urban renewal schemes. This article, which is based upon archival film footage in the North West Film Archive at Manchester Metropolitan University, seeks to convey the richness and multi-facetted nature of this footage and to highlight its value in the historical exploration of identity formation. The piece begins with a brief consideration of archival film as a source of historical evidence and associated issues of interpretation. This is followed by an introduction to the locality that features in the two filmmakers’ work and brief reference to how it has been represented in the past. Attention then turns to each of the filmmakers: first, John Michael Goodger, former lecturer at the University of Salford, who made a trilogy of films to chart the changing character of Ordsall in the late 1960s; second, Ralph Brookes, an amateur home movie maker who also documented the transformation of the terraced streets around where he lived. These contrasting versions of Ordsall highlight some of the challenges offered by using film in a study of regional identities. They also illustrate the enormous potential of such material in helping to elucidate the shifting and multiple nature of place meanings
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
“As If by Magic”: Authority, Aesthetics, and Visions of the Workplace in Home Movies, circa 1931–1949
No full textShooting in Paradise: Conflict, Compassion and Amateur Filmmaking During the Spanish Civil War
No full textFollowing the launch of Kodak's lightweight cine camera in c. 1923, early amateur cine enthusiasts soon featured among the growing numbers of people able to afford overseas visits. As the Mediterranean rapidly regained its pre-war popularity as a travel destination, evidence of its more militarised character and strategic significance recur in the glimpses of veterans and uniformed service personnel, vessels, medals and border securities found in interwar amateur film footage. Deliberate filming of discord is much rarer and gives particular value to the focus here upon the work of an amateur filmmaker who visited Spain during the Civil War on behalf of the Society of Friends (Britain's Quaker movement). The article discusses scenes of relief work, people queuing at feeding centres and refugee movements, and places the footage within a wider consideration of filmic responses to the Civil War and international relief operations. The relevance of such amateur imagery for its contemporary home audience is also explored, in relation to prevailing perceptions of the Mediterranean and, more widely, within a context of socially engaged filmmaking that links to strong British documentary making traditions during the interwar years. Discussion forms part of a broader study of Mediterranean imagery shot by British home movie makers during the 1920s and 1930s and recently studied at the North West Film Archive, Manchester Metropolitan University and at the British Film Institute, London
In amateur hands: framing time and space in home-movies
No full textAmateur movies are a window upon past geographies and memories. The following discussion identifies some practical and intellectual issues associated with using archival film in the study of historical and geographical change. Mapping the unofficial sources of historical knowledge produces ever-changing versions of events, people and places through time and space. Early amateur film is one way of tapping into people's memories about themselves and how they relate to others in contrasting contexts. These images allow for the kind of knowledge which. as Raphael Samuel suggests, creeps in sideways as a by-product of studying something else.
Historians. geographers and others often revel in the kaleidoscopic gaze given by each twist of view as different stances, sources and situations provoke alternative interpretations. The camera lens of the early amateur film-maker framed subject-matter now laden with issues of racism, sexism and colonialism. This article considers how amateur film may relate to and inform contemporary interests in spatial and social relations, as well as changing notions of place and identity.
As with most sources of evidence, however, amateur film poses both practical and intellectual challenges. Both the quantity and the quality of amateur footage raise important questions for archivists of moving imagery as they address problems of storage. conservation and access. Given the diversity found within early amateur films and some of their resemblances to modern home video-making, the growing interest in amateur footage cannot be isolated from more practical concerns. Accordingly, this article recognises three clusters of inter-related issues: availability, interpretation and future application
Sites of Meaning: picturing Mediterranean and other landscapes in British home movies, c. 1928-1965
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