Hidden in Plain Sight: Attending to Women's Amateur Filmmaking Histories at the Irish Film Archive
Hidden in Plain Sight: Attending to Women's Amateur Filmmaking Histories at the Irish Film Archive
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隐藏在众目睽睽之下：在爱尔兰电影资料馆关注女性业余电影制作历史
DOI：
10.1080/01439685.2023.2296233
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发表时间：
2024
期刊：
影响因子：
--
通讯作者：
Arnold S
中科院分区：
文献类型：
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作者：
Arnold S
本文旨在找出女性业余电影制作在电影档案以及电影和电影制作学术奖学金中被掩盖的各种方式。认识到业余电影相对于商业和专业电影制作而言被边缘化和被低估，本文利用一位爱尔兰业余电影制片人的案例研究来确定导致她的作品被掩盖和忽视的过程和实践。电影制片人莫林·麦克马洪 (Maureen MacMahon) 爵士从 20 世纪 60 年代到 1970 年代一直从事业余电影制作，她的作品现收藏于爱尔兰电影资料馆。对莫林修士电影制作的调查取自多种来源，包括电影和电影材料、档案馆记录的电影元数据、报纸档案、莫林修士宗教团体保存的档案以及对莫林修士的采访。对这些材料的分析得出了三个发现：首先，与莫林修女有关的材料和信息分散在多个地点，这给我们构建有关她的连贯叙述带来了挑战；其次，莫琳修女还涉足了电影制作之外的许多创意和教学活动，而且，在她自己看来，她与其说是电影制片人，不如说是一位艺术教育家；最后，这些电影不易分类，因为它们在总体上和风格上多种多样，这使得作者论方法变得困难。根据这些发现，我们讨论了这对于突出女性对电影的贡献所带来的挑战。
This article aims to identify various ways in which women’s amateur filmmaking becomes obscured in both film archives and in the academic scholarship on film and filmmaking. Recognising that amateur film is marginalised and undervalued in relation to commercial and professional filmmaking, the article uses the case study of one Irish amateur filmmaker to identify the processes and practices that have resulted in her work being obscured and overlooked. The filmmaker, Sr Maureen MacMahon, was practicing amateur filmmaking from the 1960s to the 1970s and her work is held at the Irish Film Archive. Investigation of Sr Maureen’s filmmaking drew from a variety of sources including the films and film materials, film metadata recorded at the archive, newspaper archives, an archive held at Sr Maureen’s religious order and an interview with Sr Maureen. Analyses of these materials has resulted in three findings: firstly, the dispersal of materials and information pertaining to Sr Maureen across multiple sites posed challenges for our construction of a coherent narrative about her; secondly, Sr Maureen turned her hand to many creative and pedagogic activities beyond filmmaking, and, in her own estimation, she was an arts educator more than a filmmaker; and, finally, the films are not easily categorised as they are generically and stylistically diverse, making auteurist approaches difficult. Drawing from these findings we discuss the challenges that this creates for foregrounding women’s contributions to film.