The Tantalizing Challenges of the Home Movie Archive

Swanson, Dwight

doi:10.1353/vlt.2012.0025

Cited by 1 publication

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Artifacts of the domestic sphere and community life that typically wound up as part of the detritus and heirlooms of estates, their full context was unlikely to be understood by outsiders well enough for archival or even screening purposes. 30 Even most of the home movies that found their way into museum or library archives had very few people involved interacting with them. Home movies were also, by-and-large, not monetisedwith the notable exceptions of Kato-chan Ken-chan Gokigen TV in Japan (1986 debut), the long-running hit television program and franchise America's Funniest Home Videos (1989 debut), and other international spinoffs which solicited viewers to submit videotaped clips of home movies for possible broadcast and prize money.…”

Section: Platforms As Archive and Curatormentioning

confidence: 99%

Whatever Happened to Home Movies? Self-representation from Family Archives to Online Algorithms

Berliner¹

2022

Frames

View full text Add to dashboard Cite

Home movies are cultural acts and artifacts that have much to teach us about the way we use media technologies to situate ourselves in contemporary and past cultures, and how we use them to store and reshape our images of self, family and community. Archives of personal, family, or community media have always been rich and complex, albeit relatively bound sites of analysis, however when we now upload personal media to video sharing platforms we subject them not only to new economies of scale, but of meaning and audience as well. The prolific use of platforms such as YouTube and TikTok now requires us to take stock of how systems of producing, organizing, and circulating self-made media are impacted by corporate profit motives and backend functionalities. The capacities and uses of digital recording technologies and online file sharing platforms have complicated the status of the category of home movies and necessitate a revision to the analytical frameworks that several scholars of Cinema and Media Studies have offered in the past. Through a discussion of several user-produced media texts on video sharing platforms, I aim to elucidate the ways in which the platform is now apparatus that structures new social and affective relations and how we conceive of and represent our personal worlds, drawing attention to how capital flows through these systems, commodifying images, affect, gestures, expression, movement, sounds, and desire, and how and where existing social biases are reproduced or challenged.

show abstract

Section: Platforms As Archive and Curatormentioning

confidence: 99%

Whatever Happened to Home Movies? Self-representation from Family Archives to Online Algorithms

Berliner¹

2022

Frames

View full text Add to dashboard Cite

show abstract

The Tantalizing Challenges of the Home Movie Archive

Cited by 1 publication

References 0 publications

Whatever Happened to Home Movies? Self-representation from Family Archives to Online Algorithms

Whatever Happened to Home Movies? Self-representation from Family Archives to Online Algorithms

Contact Info

Product

Resources

About