By Charles Tepperman
From the very starting of cinema, there were novice filmmakers at paintings. It wasn’t till Kodak brought 16mm movie in 1923, despite the fact that, that novice moviemaking turned a frequent truth, and by way of the Fifties, over one million american citizens had beginner motion picture cameras. In beginner Cinema, Charles Tepperman explores the that means of the “amateur” in movie heritage and sleek visible culture.
In the center many years of the 20th century—the interval that observed Hollywood’s upward push to dominance within the worldwide movie industry—a circulation of beginner filmmakers created another global of small-scale motion picture construction and move. prepared beginner moviemaking was once an important phenomenon that gave upward thrust to dozens of golf equipment and millions of contributors generating experimental, nonfiction, or short-subject narratives. Rooted in an exam of surviving motion pictures, this booklet strains the contexts of “advanced” novice cinema and articulates the vast aesthetic and stylistic traits of beginner movies.
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Additional resources for Amateur Cinema: The Rise of North American Moviemaking, 1923-1960
But because this group included producers of films for professional purposes (educational, business, religious), it is hard to see how we can think of them as belonging to the category of amateur filmmakers. Certainly, part of the justification for doing so relates to the group’s use of amateur equipment, and they also worked outside a professional production context. But the practical amateur certainly appears to be of a radically different kind from the film amateur as an aesthetic patron. One way of bridging the gap between artistic and applied amateur filmmaking can be found in a profile about photographer Edward Steichen in the July 1927 issue of Amateur Movie Makers.
This article demonstrates that the travelogue was understood to be a natural genre of the amateur filmmaker and that exotic or primitive “Others”—with all of the racism and cultural superiority those terms imply—could be found as close as the backwoods of the American South. We will return to these issues in chapter 6, which discusses amateur travelogues and ethnographic film in more detail. CINÉ-PROPHECY / 33 While the growth of an audience for art and travel films in the United States provided some context for the emergence of amateur filmmaking, their attention to specific qualities of films in release (both artistic and popular) provided a significant tool for study.
1 In the amateur’s hands the cinema becomes a modern talisman designed for both the making up and the making over of a range of different types of desire: from the transformation of social status and sexual longing, to the amelioration of the old with the new, to a playful CINÉ-PROPHECY / 19 Figure 2. The Amateur Cinema League’s first motto. Amateur Movie Makers, March 1927, 3. Courtesy Media History Digital Library. intercourse between everyday life and commercial culture. In its juxtapositioning of old and new, country and city, mysterious talisman and modern automobile, Mag the Hag offers us a glimpse of the tensions that informed the emergence of amateur film culture in the mid-1920s.
Amateur Cinema: The Rise of North American Moviemaking, 1923-1960 by Charles Tepperman