Filmer le quotidien : de l’intime au patrimonial

Abstract

For a 1960s home movie maker, filming very often meant shooting private, everyday life experience. This article offers a case study about a personal collection of home movies deposited at the dedicated French regional agency Ciclic, in the Centre-Val de Loire region. This initiative has helped requalify those amateur films into testimonies of a cultural heritage, whose images of daily life take on a memorial and ethnographic value, thanks to their online broadcasting on the agency website: a new spectatorship, outside of the original family circle screenings, induces a novel dialectic relationship and reception, because of the mimetic quality of films. Such a move puts into question the concepts of proximity and familiarity usually associated to everyday life. In this paper, I first establish the relationship between daily life and home movies, and then introduce the specific curatorial institutions dealing with such films, before focusing on Robert Brisset’s footings. I aim at examining how the latter ones map the links among memory, history and everyday life. To carry out this analysis, I draw on Bergson’s approach of the articulation of time through memory, remembrance and re-presentation.

Keywords

• amateur films
• home movies
• daily life
• cultural heritage
• privacy
• memory