By Charles Tepperman

From the very starting of cinema, there were novice filmmakers at paintings. It wasn’t until eventually Kodak brought 16mm movie in 1923, even if, that novice moviemaking grew to become a frequent truth, and via the Fifties, over one million americans had novice motion picture cameras. In novice Cinema, Charles Tepperman explores the that means of the “amateur” in movie heritage and glossy 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 circulate of novice filmmakers created another global of small-scale motion picture creation and stream. geared up novice moviemaking used to be an important phenomenon that gave upward push to dozens of golf equipment and hundreds of thousands of individuals generating experimental, nonfiction, or short-subject narratives. Rooted in an exam of surviving motion pictures, this publication lines the contexts of “advanced” beginner cinema and articulates the wide aesthetic and stylistic trends of beginner movies.

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Extra resources for Amateur Cinema: The Rise of North American Moviemaking, 1923-1960

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This chapter examines the emergence of amateur film culture in the mid1920s, in particular, around the founding and first years of the Amateur Cinema League. Guiding this examination is a consideration of the amateur as seen in the multifaceted reflection of the Amateur Movie Makers magazine. Maxim and the editors of this magazine would return often, over the years, to its significance as a crucial venue for presenting the face of amateur movies and the ACL. Indeed, the magazine was the organization’s principal medium of contact with both its membership and the public.

61 Though Amateur Movie Makers describes Rochester as “the Kodak City,” it doesn’t note the professional connection to the filming. But as Dwight Swanson points out, the film’s camera operators were Harris Tuttle and Allan Mogensen, two Kodak employees who were instrumental in the development of the 16mm amateur camera technology. 63 One of the long-lasting functions of the Amateur Cinema League was the extended distribution of amateur films by initiating an amateur film 4 0 / C O N T E X T S O F A M AT E U R C I N E M A Figure 3.

In these different visions of amateur film and in the interrelationships suggested between film and other media, we see an aesthetic horizon for amateur film culture that was both rich in possibility and filled with contradictions. This is not just the question of whether film was best thought of as a medium of broadcasting or a new art form; nor is it simply the tension between popular film, conservative taste, and experimentation; nor, finally, is the position of amateur film complicated by its comparison to amateur activities in radio, theatre, and photography.

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