Yes, it's true. It's been a bit 'of time from the first post in the series. I'll try to be faster with the next. For now, I wonder with Troisi
And now we resume from where we had stopped. Question 3
There seems to be a tendency of contemporary historians
to consider the document for audiovisual content (image) rather than the form in which it was
product. In the case of film amateur film are used almost exclusively
video copies and almost never in the original copy only.
seems to lack a specific expertise in analyzing the source
in its intrinsic character, not directly related to the content, but the
support (the film). Elements that characterize and give a specific form
to document and describe it as such, and that in principle
should be included in the rating. Often in reference to
private cinema, there is, for example. the confusion between 8mm and Super8,
two media that belong to a periodization only partly overlapping, but especially
assume that a technique, practice, social use of amateur cinema
different.
necessary or desirable at least one training
historical analysis of audiovisual documents, in particular the audiovisual heritage
private? It might be useful rivspecifico a seminar to train new professionals?
Answer
Who uses this type of source should be aware of the differences between the various camera formats, the different social customs that have been made of the tools of recovery and so on. Moreover, any historical source must be studied and used in relation to his time, otherwise you may run into anachronisms interpretation. However, there is a risk
contrary, one of a kind of fetishism of the source that may restrict the possibilities analytical and interpretive.
There is also a fundamental difference between the case study as a source of family films and their use as a means of narration: and if the former elements of exegesis of the source are central in the second I think they might be considered of secondary importance, although - of course - can not be ignored. When you decide to use a group of family films as a means of storytelling, he inevitably handling (editing, adding music, etc..) de facto change in the meaning and the original destination: the problem in this case it is to respect the content of the material used and not its form.
Regarding the issue of training of the historical use of audiovisual materials, do not doubt that anyone who tries to use these analytical tools to form that will allow him to use that specific source. This does not preclude moments of confrontation with diverse skills are always welcome.
As for the training of new professionals, I wonder what could be more than anything else.
Question 4
The family movie and a document produced in a well defined.
Similar to written sources such as diaries, belongs to the private sphere, even if
is in a different form at the semantic and syntactic. These visual records of experience
(person / times / rituals / places), to investigate and compare with other documents
for a historical reconstruction of
family and his environment ("image only if it can not recognize and
true or false ", L. Wittgenstein).
How important are the visual memories
individual for the reconstruction of the history of a large group as a social class? In what field of study
especially family films can be useful? History and Social: family, the mentality, rituals, consumption, customs, landscape ...
Answer
The use of family film as a tool for reconstructing the history of the families is only the first and most immediate uses to which they can do for the purpose of historical research.
I think that they can be useful in a broad sense, for a history of society as a whole: they are definitely for the analysis of certain processes or events in the long run, such as, for example, emigration. In regard to the reference video Viewpoints on, on this very subject.
But it is only one of the examples.
All topics that are listed in the application may be I think, profitably through the extensive family film, too - I repeat - outside the narrow confines family. This is particularly true for highly cohesive groups: I happened to be working with such materials shot from the '50s and '70s in a small mountain village, very isolated. Through these materials emerge, rather than the history of the family of the operator in the strict sense of the country as a whole, taken almost as if the village community was an extended family: The objective of the camera only stops on the doorstep of the houses, right next to the meeting between private and public spheres.
Regarding the question of the social classes, I am convinced that the use of family film could tell us a lot, provided you have enough materials.
Perhaps the only area on which the film can tell us a little family history is the political: although adjacent to the fields of study such as political anthropology, may benefit from a similar source. For example, if there were pictures of parades or political demonstrations (and something there), I am convinced that they could tell us a lot about not only their organization but on the symbolic elements of the choreography and so on.
This time we stop here, see you soon
AS
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