At home and abroad with cine enthusiasts: Regional amateur filmmaking and visualizing the Mediterranean, ca. 1928–1962

After the appearance of a portable Kodak cine camera in 1923, home moving making grew steadily in popularity in the years leading up to and following World War II. Cine enthusiasts, particularly in the pre-war period, tended to be male, white and middle class, although exceptions exist, and they tended to travel with their cameras much as earlier generations had documented their experiences in written and artistic form. Despite their amateur status, they were often very professional in their approach to cinematography and they produced material for a range of domestic and public audiences on varied topics and in different genres. Specialist publications and the rapid growth of local amateur film societies fostered the rise of an active non-professional film movement; the result is a highly distinctive although neglected component of film history. With reference to materials held at the North West Film Archives in Manchester, England, this discussion considers the rise of non-professional filmmaking at the regional level during the decades before and after the second world war. Making and showing home movies is placed within various socio-cultural contexts. The imagery discloses much about visual practice, including filmmakers' perceptions and their relationships with different kinds of subject matter. The making of holiday footage, in Mediterranean settings, and its subsequent screening in domestic or public places, connects with broader issues of visualization, social practice and leisure-related consumption.