Home Movies as Reliquaries of Memory: A Phenomenological Perspective

Home Movies as Reliquaries of Memory: A Phenomenological Perspective

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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 cyspera cream where to buy spectator, eliciting a particular emotional and cognitive response.But these authors’ models depend 12n/1200 wella 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.