Examines amateur film, filmmaking, and equipment from the late 1890s to the present, focusing on the emerging and changing discourse of aesthetics, creativity and innovation, and standards of production.

As the cradle-religion I belong to has been, at every age, probing into her managing and conserving of the Mmysterious Ttreasures entrusted to her, with the enlightenment, offered by Vatican Council II, I too longed to scrutinize my own handling of Catholic Christian Ffaith. I wanted to examine whether the religion I practice personally was real or reel? tTrue or false? gGenuine or false? aAuthentic or artificial? hHeartfelt or routine? fFruitful or poisonous? oOriginal or counterfeit? sSingle-hearted or double-hearted? Certainly, as a priest I had lot of occasions like recollections and retreats regularly to regularly assess the genuineness of my religious holdings and practices. Though I began 10ten years back, gathering all my scribbles and journals of evaluation about my personal religion, I started putting them seriously into a book form only after Pope Benedict XVI announced year 2012 as the Year of Faith. I considered it a call from God who wanted to befriend me more intensely and to promote to my friends this habit of assessing ones own faith. This is how this book was conceived and shaped. This book can be considered as a self-imposed act of examining my conscience about the identity, nature, and application, and practice of religion in my life. I hope and pray this effort of mine will surely assist my readers do the same, not only during this Year of Faith as it would be ended 24 November 24, 2013;, but also later on in life when tumult of waves and trials is daunting against our faith and religion.

Proefschrift. - Fotomech. herdr. van 1e uitg.: University of Wisconsin-Madison, cop. 1985. - Met bibliogr. - p. 27 ontbreekt. Ook aanwezig: Bewerkte handelsuitgave o.d.t.: Reel families : a social history of amateur film. - Bloomington [etc.] : Indiana University Press, cop. 1995. - [XX], 187 p. ; 24 cm. - ISBN 0-253-20944-7.

Haidee Wasson provides a rich cultural history of cinema's transformation from a passing amusement to an enduring art form by mapping the creation of the Film Library of the Museum of Modern Art (MoMA), New York, established in 1935. The first North American film archive and museum, the film library pioneered an expansive moving image network, comprising popular, abstract, animated, American, Canadian, and European films. More than a repository, MoMA circulated these films nationally and internationally, connecting the modern art museum to universities, libraries, women's clubs, unions, archives, and department stores. Under the aegis of the museum, cinema also changed. Like books, paintings, and photographs, films became discrete objects, integral to thinking about art, history, and the politics of modern life.

Annotation Using a half-century of films from the archival collection of the National Film Board, NFB Kids overcomes a long-standing impasse about what films may be credibly said to document. Here they document not "reality" but social images preserved over time - the "NFB Society"--An evolving, cinematic representation of Canadian families, schools and communities.

A compelling regional and historical study that transforms our understanding of film history, Amateur Movie Making demonstrates how amateur films and home movies stand as testaments to the creative lives of ordinary people, enriching our experience of art and the everyday. Here we encounter the lyrical and visually expressive qualities of films produced in New England between 1915 and 1960 and held in the collections of Northeast Historic Film, a moving image repository and study center that was established to collect, preserve, and interpret the audiovisual record of northern New England. Contributors from diverse backgrounds examine the visual aesthetics of these films while placing them in their social, political, and historical contexts. Each discussion is enhanced by technical notes and the analyses are also juxtaposed with personal reflections by artists who have close connections to particular amateur filmmakers. These reflections reanimate the original private contexts of the home movies before they were recast as objects of study and artifacts of public history.