Nicholson Heather Norris
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780719077739
- eISBN:
- 9781781704547
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719077739.003.0009
- Subject:
- History, Cultural History
Chapter 9 is both reflective and forward-looking. Discussion acknowledges the broad shifts within amateur activity, its variety and also the profound scope for further activity as amateur film gains ...
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Chapter 9 is both reflective and forward-looking. Discussion acknowledges the broad shifts within amateur activity, its variety and also the profound scope for further activity as amateur film gains new visibility and as digitisation widens access and opens new opportunities in archival practice and outreach. Interests in amateur cinema have mushroomed during the writing of this book amongst scholars, archival circles and other users. The writing seeks to reflect that dynamism and diversity of intellectual, creative and other possibilities, whilst remaining faithful to the multiple stories and memories represented by the filmmakers and films that have contributed to the book. Links to media archaeology, memory studies and the repositioning of amateur practice within more integrated understanding of visual cultural history spanning cinema and television are suggested. Challenges and possibilities lie ahead. Acquisition, conservation and interpretation for films must continue as must the alternative framings of conceptual, theoretical and disciplinary interests that will emerge, refine or replace those offered here. This book seeks to further stimulate wider curiosity, critical understanding and enjoyment of amateur film practice as its approaches its centenary.Less
Chapter 9 is both reflective and forward-looking. Discussion acknowledges the broad shifts within amateur activity, its variety and also the profound scope for further activity as amateur film gains new visibility and as digitisation widens access and opens new opportunities in archival practice and outreach. Interests in amateur cinema have mushroomed during the writing of this book amongst scholars, archival circles and other users. The writing seeks to reflect that dynamism and diversity of intellectual, creative and other possibilities, whilst remaining faithful to the multiple stories and memories represented by the filmmakers and films that have contributed to the book. Links to media archaeology, memory studies and the repositioning of amateur practice within more integrated understanding of visual cultural history spanning cinema and television are suggested. Challenges and possibilities lie ahead. Acquisition, conservation and interpretation for films must continue as must the alternative framings of conceptual, theoretical and disciplinary interests that will emerge, refine or replace those offered here. This book seeks to further stimulate wider curiosity, critical understanding and enjoyment of amateur film practice as its approaches its centenary.
