Home Movies as Reliquaries of Memory: A Phenomenological Perspective

Abstract

If film immortalises the ephemeral and presentifies the past, this is especially true of home movies, whose content is not the result of a narrative composition or an invention of fiction, but the product of fragments of reality. These three categories – fiction, documentary, and the home movie – have been analysed by Jean-Pierre Meunier and Vivian Sobchack, with an emphasis on the effect that each film mode can have on the spectator, eliciting a particular emotional and cognitive response. But these authors’ models depend entirely on the spectator’s experience to identify each mode, with the home movie being limited to footage in which we can recognise our own families. Nevertheless, a stranger’s home movie can elicit an act of recognition through an intersubjectivity that arises from the footage. On this basis, this article proposes a reading of the home movie as a reliquary of memory, where content and medium intersect to give rise to the particular experience associated with this film mode.

Keywords

• Home movies
• reliquary of memory
• intersubjectivity
• phenomenology
• authenticity
• recognition