Small-Gauge Storytelling: Discovering the Amateur Fiction by Ryan Shand, Ian Craven

By Ryan Shand, Ian Craven

What do you already know by means of the time period 'home movie'? Do you think photographs of babies-on-the garden, sandcastles at the seashore, or travels with the kin? were you aware that novice filmmakers have additionally explored fictional genres as varied and interesting as their expert opposite numbers, that categorical beginner movie studios have risen and fallen, or that household-name administrators owe their origins and inspirations to the novice movie flow? throughout various settings from the Canadian north-west to the Russian far-east, this e-book deals an creation to the beginner maker of movie comedies, thrillers, diversifications and sci-fi. It documents the targets and achievements of fanatics suffering to emulate the mainstream and inform their very own tales, armed with restricted assets and never-ending initiative.

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15, No. 2, 2003, pp. ), Movies on Home Ground: Explorations in Amateur Cinema (Newcastle-­upon-­Tyne: Cambridge Scholars, 2009), pp. 156–81; and Ian Craven, ‘Hitchcock and small-­gauge: Shaping the amateur fiction film’, Journal of Media Practice, Vol. 13, No. 1, 2012, pp. 19–44. 14. Fred Camper, ‘Some notes on the home movie’, Journal of Film and Video, No. 3–4, 1986, p. 9. 15. ), The Film Spectator: From Sign to Mind (Amsterdam: Amsterdam University Press, 1995), p. 228. 16. The term ‘Screen theory’ is used by David Bordwell and Noël Carroll in their Post-­Theory: Reconstructing Film Studies (London: University of Wisconsin Press, 1996), and refers to the scholarly film and television journal Screen, now published by Oxford University Press.

With reference to this second criterion, effectively any film made in the north-­west region could seemingly be selected, whether it showed recognisable north-­west content or not. Acceptance of such a policy is, of course, necessary to the effective collection of amateur fiction films, as they will not always show recognisable local content, and may indeed work very hard to disguise it. Acceptance of less content-­oriented criteria for collection does seem to be spreading; at a national level, Nigel Algar of the British Film Institute (BFI) National Archive believes it would be more than possible to interpret their policy of collecting material that relates to the art, history or impact of film, to favour the acquisition of a desired amateur fiction film.

3/10/10. 24. Note: while this film was originally made as a silent production in the late 1960s, George Morice (club president from 1991 to 1993) later added a voiceover some twenty years later, which illustrates the interior thoughts of the main character. The film therefore pre-­dates the similarly titled Abba song ‘The Winner Takes It All’ (1980). This 1980s version is the one available to view in the archive, so it is to the later version that my analysis refers. 25. Robert Castel and Dominique Schnapper, ‘Aesthetic ambitions and social aspirations: The camera club as a secondary group’, in Pierre Bourdieu, with Luc Boltanski, Robert Castel, Jean-­Claude Chamboredon and Dominique Schnapper, Photography: A Middle-­Brow Art (Cambridge: Polity, 1996), p.

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