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Dissertation Docteur De L'université Du Luxembourg PhD-FLSHASE-2017-01 UFR d’Etudes anglophones The Faculty of Language and Literature, Humanities, Arts and Education DISSERTATION Defence held on 22/02/2017 in Luxembourg to obtain the degree of DOCTEUR DE L’UNIVERSITÉ DU LUXEMBOURG EN SCIENCES SOCIALES AND DOCTEUR DE L’UNIVERSITÉ PARIS DIDEROT EN LANGUE ET CULTURE DES SOCIETES ANGLOPHONES by Danièle Anne Irène WECKER Born on 22 January 1984 in Luxembourg ‘WHAT DO YOU MEAN YOU LOST THE PAST?’ AGENCY, EXPRESSION AND SPECTACLE IN AMATEUR FILMMAKING Dissertation defense committee Dr Sonja Kmec, dissertation supervisor Associate Professor, Université du Luxembourg Dr Martine Beugnet, dissertation supervisor Professor, Université Denis Diderot, Paris VII Dr Karin Priem, Chairman Associate Professor, Université du Luxembourg Dr Karen Lury, Vice Chairman Professor, University of Glasgow Dr Thomas Eberle Professor, University of St. Gallen Dr Frédérique Berthet Université Denis Diderot, Paris VII ABSTRACT The following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from the images. A filmic mode is related to as a concomitance of style and choice in subject matter. Without original context, these films lose their most important means of meaning generation, namely the recollective narratives that are constructed by the intended audience in the viewing situation. This work operates from a basis of analysis that takes these images as remnants of a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that what was filmed had significance for these filmmakers and how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first part of this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-inscription and self- narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. It relates to amateur film and practice from a basis of primary Becoming rather than a fixed Being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning coming-into- being. Film is related to as the opening of a filmic universe that presents its own structures and engagements and not as visualization of a profilmic world from the past. Research funded by the Fonds National de la Recherche (FNR) Luxembourg TABLE OF CONTENTS Table of Films Table of Illustrations Part I Introduction 1. The Amateur Film vii 2. Material xi 3. Archive xiii 4. Luxembourg xiv 5. Schobermesse xvii 6. Corpus xix 7. Lack of meta-context xxi 8. Structure xxiv 9. Opening amateur film: A Phenomenological Approach xxvii 10. Study xxix I. The Family Chronicle 1. Introduction 1 2. The Family Film 3 2.1. The family chronicle image: standardization and cliché 3 2.2. The Imagery of the Family Film: a year in the filmic family 7 2.2.1. Summer 8 2.2.2. Autumn 8 2.2.3. Winter 8 2.2.4. Spring 9 2.3. Style 11 2.4. Familialism 13 2.5. Filmmaking as practice: Identity construction in the familial 16 3. Visual Narration 19 3.1. Visual clues in vernacular narrative 26 3.2. Fragment and selectivity 28 3.4. The Narrator: The male gaze and control over visual narration 30 3.5. Aesthetics and style: cultural codes of representation 38 3.5.1. Childhood as ideal space 40 3.5.2. Visual taboos 47 3.5.3. First times 51 3.5.4. Favoritism 52 3.5.5. Interpretation 54 3.5.6. Consumption in and of the family: display 57 4. The function and structure of the family chronicle 67 4.1. Authenticity 67 4.2. Loss, pain, and suffering in the visual 70 4.3. Melancholy in the family film 73 4.4. Resistance and Relationality 74 4.5. Relationality in the filmic space 78 4.6. Relationality in the familial space 80 5. Verbal Narrative—Viewing in the Family Circle 83 5.1. Fragment and selectivity: the structures of film collection as family photo album 83 5.2. Happy family narratives 86 5.3. The Viewing Situation 90 5.3.1. Recollection in the familial 96 5.3.2. Forgetting 98 6. Conclusion 100 II. The Documenting and Archiving Drive 1. Introduction 103 2. Filmmaking as memorial practice 111 3. The Archival Promise 116 4. Documentation 122 4.1. The camera as eyewitness 129 4.2. The forefather of the d&a drive: actualités 130 4.3. The positivist dream 131 4.4. Visual Narration as Self-Narration 137 5. Films of a documenting and archiving drive—A Typology 138 5.1. Type A: Narrating the self in sociality 139 5.1.1. Parades, processions, public displays 139 5.1.2. Communality and sociality 152 5.2. Type B: Inscribing the self in socio-historical narratives 161 5.2.1. Historical sights—historical sites 161 5.2.2. Emplacement and emplotment through cultural memory artifacts 177 5.3. Type C: Narrating the private through documentation 195 5.3.1. The home 196 5.3.2. The workspace 202 5.3.3. The private space as progressive 206 6. Conclusion 218 III. Views of an attractional display 1. Introduction 221 1.1. Ad Views: visual outbursts throughout the film corpus 225 2. From Modernity to Modernism 226 2.2. Perceptual restructuration as effect of modern innovations 229 2.3. Views hitherto unseen: The close-up 233 2.4. Visuality, Visibility, and the Body 235 2.5. Attention, Spectacle, and Attraction 237 2.6. Contingency 239 2.7. The Fairground as paradigm of the modern experience 243 3. Views of an attractional display 246 3.1. Ad-1 hydraulics in motion 246 3.1.1. Ad-1 in the family chronicle 247 3.1.2. Ad-1 in d&a mode 252 3.2. Ad-3: Phantom Rides 258 3.2.1. The thrill ride 261 3.2.2. The Ferris wheel 270 3.3. Ad-2: Lights in motion 279 3.3.1. Electrification as attraction 281 3.3.2. Circularity and Repeatability: the structural organization of attractions 288 3.3.3. Blinking lights 293 3.3.4. Resistance and Creativity 305 5. Afterthoughts: Reflections on amateur filmmaking as remnant of a cinema of attractions 315 5.1. The attraction of moving images 317 5.2. Display as Attraction 319 5.4. Montage, or lack thereof 323 5.5. Monstration 324 5.6. Silent Cinema—Mute Cinema 326 6. Conclusion 327 PART II. IV Film Production 1. What is Phenomenology? 330 1.1. Intentionality 332 1.2. The body 335 1.3. The Lifeworld 336 1.4. Pontean Perception as Husserlian Experience 336 1.5. Amateur filmmaking—a phenomenon 338 2. Technë 342 2.1. Technological Mediation and the role of the camera 346 2.2. Breakdown in and of the intentional relation 347 3. Embodiment relations in the flesh 352 4. Feeling as E-motion: The Family Chronicle 359 5. The acculturation of visual gestalting 367 6. Macro-and microperception in filmmaking 372 7. Beauty and the World 377 8. Films of a documenting and archiving drive: expressing the social 385 9. Temporal Synthesis in d&a motivation: The intersubjectivity of temporal experience 390 10. Films of an attractional display: the technologized lifeworld 396 10.1. Attention and distraction at the fairground 399 10.2. Distraction 402 10.3. The Phantom Ride 406 10.4. Celebration of sensual onslaught 413 10.5. Lights in movement 422 11. Conclusion 425 V. What do you mean you lost the past? Film Viewership in the Flesh 1. Introduction 428 2. Film Viewership: the researcher and the object 431 3. Equipment or how that projector was finally on offer in the shop 437 4. Film Viewership in the Flesh 453 5. Synaesthesia and Coenaesthesia 462 6. Punctum 467 7. Immersion 481 8. Intersubjectivity in the flesh 496 8.1. Film-intentionality as quasi-subjectivity 497 8.2. Filmmaker’s presence 503 8.3. The filmed subject and the look beyond the camera 507 9. Macroperception: the lived body as socioculturally positioned 520 9.1. Memory in the flesh – the thickening of the filmic world 533 10. The potential of opening amateur films 542 11. Protention and Retention as Bridging 547 12. Death as Punctum 553 13. Ethics as primordial gestural stance 560 14. Conclusion: 564 Conclusion Where to from here? 568 Bibliography 572-580 TABLE OF FILMS Name Date Material Reference Style 1 Q.M. 1929 9,5 mm AV009596_m.wmv / D&a black and white IA_AMA_004418 f.c 2 S.-W. 1945-1958 8mm, color and AV011520 f.c. A. b&w /IA_AMA_005245 3 H.G. Ca. 1950 8mm, color AV009649 / D&a IA_AMA_002220 4 K.C. 1950 (?) 8mm, b&w, color AV033117 / f.c. IA_AMA_003005 d&a ad 5 B.J. 1951-1952 No info on VII2034/000013 D&a material, f.c. B&w 6 W.G. 1951-1954 No info on AV032407 D&a material, f.c. B&w ad 7 A.F. Ca. 1957, 8mm, colour and AV010425 / D&a ca.
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