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 INTRODUCTION / 21

the act of cinema as a contemplative and participatory act that is always a

relation and an encounter, an act of collaboration and dialogue between the
subject and the person filming. MacDougall argues for interconnection
rather than separation to produce a compound work and an elaborative, em-
bodied knowledge. In detailing his ideas about a collaborative ethnography,
he explains, “The goal is not simply to present ‘the indigenous view’ nor to
invade voyeuristically the consciousness of other individuals, but to see
social behavior and indeed culture, as a continual process of interpretation
and invention.”38 In their chapter, archivists Karan Sheldon and Dwight
Swanson, from Northeast Historic Film in Maine, describe the Movie
Queen films of Margaret Cram, an example of community-based amateur
filmmaking that combined traveling actors, local performers, and shots of
local sponsors’ storefronts to tell the story of a local woman who returns
from Hollywood and then is confronted with gangsters. Through interviews
with participants in the small Maine towns where these films were made,
Sheldon and Swanson show how amateur films conflate with community-
based filmmaking in narrative film practice. A form of collaborative history
from the viewpoint of labor is found in Virginia Callanan’s explanation of
trade union films shot by participant observers in New Zealand during the
marches, meetings, protests, and waterfront lockouts of 1951, one of the most
significant moments in New Zealand labor history. MacDougall’s conception
of a collaborative ethnographic film practice is a useful construct for a theo-
rization of amateur film as a form of auto-ethnography, because it is a form
of cinema in which, typically, both sides agree to participate in an act of per-
formativity to make a collaborative history.
In this book, we situate home movies as a collaborative history of trauma.
Home movies, because they are both interactive and subaltern, necessitate a
reexamination of visual evidence, film history, and historiography. The his-
torical reclamation of home movies is linked explicitly with the developing
area of trauma, a response to the surface vacuity of postmodernism and a re-
turn to the referent and the real.39 Home movies are not simply documentary
evidence of some lost event, but are symptomatic tracings of a trauma that
is unresolved yet worked out through images, words, testimonies. In their
chapter, anthropologist John Homiak and archivist Pamela Wintle focus on
three collections from the extensive amateur archival holdings of the Human
Studies Film Archives of the Smithsonian Institution that function as symp-
tomatic microhistorical mappings of geopolitical confl[Link] films discussed
graph the overt political traumas of the Czech invasion in 1968, the complex
identities of a Greek American, and South African apartheid. We define his-
torical trauma in our project as those traumas that exceed the self and are so
22 / INTRODUCTION

large, so contradictory, that they become silenced and invisible. They form
the girders of history, yet are often unseen and unknown, hidden streams be-
neath the larger events. These traumas require testimony with others to
move beyond the symptom into history.40 Public memory is that ephemeral,
constantly shifting, and imagined construct that moves from the private, si-
lenced, and repressed trauma to the public, performative, and activated mode
of historical agency. Public memory speaks beyond the self of a past mobi-
lized for the future.41
As a cinema of recovery, home movies unsettle homogeneous, unified of-
ficial history by locating records as incomplete, fragmentary articulations of
difference—in locale, ethnicity, sexual identity, gender, region, nation—and
hence provoke a reexamination of what constitutes evidence. As a cinema
of memory, home movies not only function as empirical evidence of other-
wise lost events; they are at the same time political interventions, dream-
scapes, and phantasms suggesting collisions among different spheres and
contiguities across differences.
For many ethnic/cultural/regional communities, amateur film footage
may very well be the only source of moving image documentation that ex-
ists. For underrepresented communities, family albums and home movies
provide visions of history and culture that would otherwise go unseen and
unknown by the general public.

Toward Historical Collage

This book confronts a historiographic challenge: how to organize a series of

seemingly disparate texts from multiple theoretical perspectives (such as
those of the scholar, artist, and archivist) and different locations. Some of
our writers analyze the amateur films themselves. Others theorize how am-
ateur films operate within independent documentaries as a form of coun-
terhistory. Another group of essays theorizes the practice of archival recov-
ery and the practice of amateurism as a condensation of psychic and historical
movements.
How can these different approaches be mobilized into a collaborative
project to demonstrate the resonances between amateur film practices sep-
arated by time, geography, and disciplinary approach? It would be far too
facile and ultimately reductive to organize this book according to groupings
by logical type, with all the archives in one section, all the scholarly and the-
oretical essays in another, and all the works that recontextualize amateur
films in another, because that would suggest a separation between each of
 INTRODUCTION / 23

these uses and locations when, in fact, they are interdependent and resonate
with one another. The polyvocality and heterogeneity of materials in this
volume are congruent with theoretical developments asking how to create
explanatory models out of fragmentary evidence, subaltern voices, and
multiple approaches. Rather than continuities or a linear progression, con-
temporary theory has looked toward contiguities, the idea of spatializing
through association and collage, as a way to connect evidence and ideas
through conceptual connections rather than causality.
Contemporary theory in both ethnography and historiography has
grappled with the problem of how to construct historical models based on
heterogeneity, plurality, and polyvocality, moving from one set of eviden-
tiary groups to many different registers and kinds of evidence. Comment-
ing on the need for a transcultural ethnography that takes into account
multiple interstices and disjunctions, David MacDougall has observed that
“the transcultural makes possible an overlapping of experiential horizons,
where certain indirect and interpretive leaps of understanding can take
place.”42 Arguing that the politics of including minorities in the history of
India goes beyond the embrace of a new set of archives and instead raises
questions of explanatory models, Dipesh Chakrabarty claims that the past
is disjoined in nature and always plural: “Thus the writing of history must
implicitly assume a plurality of times existing together, a disjuncture of the
present with itself. Making visible this disjuncture is what subaltern pasts
allow us to do.”43
Robert Berkhofer has pointed out that historiography’s engagement with
Foucault and postmodernism has pushed aside coherency, continuity, and
univocality for fragmentation, differentiality, and polyvocality to demon-
strate how the local and the contingent can become more salient. He shows
how traditional notions of historical continuity are displaced by hetero-
geneity and discontinuity.44 And in cinema studies, Philip Rosen has advo-
cated for a model of temporal hybridity that is counterposed to the linear
coherences of historiography and the pursuit of an authentic, transcendent
“pastness.”45
In history, the process of explaining an event by collecting what seem to
be isolated facts under a general hypothesis is called colligation. In the arts,
the connection of different kinds of materials and forms to create collisions
that in turn generate new ideas is called collage. Montage, the cinematic form
of collage, has a long history in cinema as well, derived from the theories of
Dziga Vertov and Sergei Eisenstein, who advocated for different ideas oper-
ating in collision to create new synthesis and conceptual ideas.46 Mining the
Home Movie takes these ideas about colligation, hybrid temporalities,
24 / INTRODUCTION

polyvocality, and plurality and organizes itself around the idea of collage:
here scholarly essays are intertwined with writing about artifacts by
archivists and mobilization of artifacts by media artists.
In designing this structure, we have created a conceptual model that
moves the reader from essays that recontextualize amateur films to narrate
history from below through difference, to an exploration of the problemat-
ics inherent in the expansion of the amateur film archive, to metatheoreti-
cal essays that propose new models for amateur film analysis and archives.
Throughout, we have sought to create contiguities and congruencies be-
tween and through materials through juxtaposition and resonances. For
example, Rosen’s essay about Something Strong Within is followed by an
essay from Karen Ishizuka describing less traumatic amateur films of daily
life in the Japanese American National Museum, the museum that initially
located these materials. Heather Norris Nicholson’s essay on amateur films
about the workplace is next to the New Zealand Film Archive’s discussion
of material chronicling the labor movement. Ross Lipman’s discussion of
the UCLA Film & Television Archives’ Stephen Lighthill Collection, which
chronicles the antiwar movement and raises the issues of what is amateur
and what is semiprofessional, is placed between Roger Odin’s and my es-
says, which argue for a more complex and more fluid notion of amateur film
practice that involves combining political and psychoanalytical theorization.
Karen Glynn’s essay on amateur films of African American mule racing in
the South as a form of racialized spectacle is bookended by Lynne Kirste’s
discussion of images of the Negro Leagues baseball teams and Carolyn
Faber’s discussion of travelogues and world’s fair films.
Mining the Home Movie reclaims amateur film as an active, constantly
changing historiographic practice that creates contiguities, continuities, col-
laborations, and convergences across borders of nations, identities, genders,
ethnicities, races, sexualities, and politics. Through their different modali-
ties, home movies work through—in the psychoanalytic sense of moving
beyond repetition—memory and meaning, text and context, politics of repre-
sentation, historical inquiry, auto-ethnography, and racialized, localized
histories.47
Yet, overarching these academic concerns, these essays remind us that
the images we recover are always acts of mourning for those who have
passed, markers of loss and trauma. It is our responsibility to name these
ghosts and make them real through materialization. And it is our responsi-
bility to remember, not with nostalgia for that which is lost, but with hope
that the materiality of these images can be restored and opened to the fu-
ture through a reconnection with history and others.
 INTRODUCTION / 25

Notes

1. For an overview of the historical development of amateur film in the United

States, see Patricia R. Zimmermann, Reel Families: A Social History of Amateur
Film (Bloomington and Indianapolis: Indiana University Press, 1995).
2. For discussions of Hollywood narrative, see, for example, Joanne Hollows and
Mark Nacovich, eds., Approaches to Popular Film (Manchester, UK: Manchester
University Press, 1995); Jim Hillier, The New Hollywood (London: Studio Vista,
1992); David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Holly-
wood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia
University Press, 1985); Jon Lewis, The New American Cinema (Durham, NC: Duke
University Press, 1998); and Geoff King, New Hollywood Cinema: An Introduction
(New York: Columbia University Press, 2002).
3. For overviews of the impact of these different schools of historiography, see
Alun Munslow, Deconstructing History (New York: Routledge, 1997); and Vinayak
Chaturvedi, ed., Mapping Subaltern Studies and the Postcolonial (London: Verso,
2000).
4. See E. P. Thompson, “History from Below,” Times Literary Supplement, April
7, 1966, 269–80; E. P. Thompson, The Making of the English Working Class (Lon-
don: Vintage, 1966); Natalie Zemon Davis, Society and Culture in Early Modern
France (Palo Alto, CA: Stanford University Press, 1977); Emmanuel Le Roy Ladurie,
Montaillou: Cathars and Catholics in a French Village, 1294–1324 (London: Pen-
guin Books, 1990); and Eric Foner, Who Owns History? Rethinking the Past in a
Changing World (New York: Hill and Wang, 2002).
5. Jim Sharpe, “History from Below,” in Peter Burke, ed., New Perspectives on
Historical Writing (University Park: Pennsylvania State University Press, 2001), 39.
6. Robert F. Berkhofer Jr., Beyond the Great Story: History as Text and Dis-
course (Cambridge, MA: Harvard University Press, 1995), 53–75.
7. Ranajit Guha, History at the Limit of World-History (New York: Columbia
University Press, 2002), 45.
8. Ibid., 73.
9. Ibid., 22.
10. Ranajit Guha, “On Some Aspects of the Historiography of Colonial India,”
in Vinayak Chaturvedi, ed., Mapping Subaltern Studies and the Postcolonial (Lon-
don: Verso, 2000), 5.
11. Partha Chatterjee, “The Nation and Its Peasants,” in Chaturvedi, Mapping
Subaltern Studies and the Postcolonial, 12–22. See also Partha Chatterjee, The Na-
tion and Its Fragments (Princeton, NJ: Princeton University Press, 1993); and Partha
Chatterjee, Nationalist Thought and the Colonial World: A Derivative Discourse
(Minneapolis: University of Minnesota Press, 1993).
12. For cogent analysis of how history in film articulates and negotiates popular
history, nationalism, and the state, see Marcia Landy, ed., The Historical Film: History
and Memory in Media (New Brunswick, NJ: Rutgers University Press, 2001); Marcia
Landy, Cinematic Uses of the Past (Minneapolis: University of Minnesota Press,
1996); and Robert A. Rosenstone, Visions of the Past: The Challenge of Film to Our
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Energy Forms and Quantum Dynamics 33

Then there are unique self-adjoint operators, H  with D(H  ) ⊂ D(ε̄) ⊂ L 2 (dμ)
with  
ε̄( f, g) = f, H  g ,

and H on L 2 (d x), with

ε̄( f 1 , f 2 ) = (ϕ1 , H ϕ2 ) with ϕi = f i ψ0

whenever f 1 ⊂ D(ε̄) and f 2 ∈ D(H  ).

Example 1 For n = 3 and g ≥ 0 the function


g e−g|x|
ψ0 (x) = (4)
2π |x|

satisfies the conditions of the above theorem, with N = {0} . ψ0 (x) ∈ L 2 (d x), mak-
ing it an eigenstate
H ψ0 = 0.

On the other hand one finds (in the sense of distributions)


ψ0 (x) = g 2 ψ0 (x) − 4πgδ(x),

so that for functions ϕ vanishing at zero

 
H ϕ = − + g 2 ϕ

acts like the “free Hamiltonian” −, shifted by a trivial constant g 2 . The bound state
ψ0 is thus the result of a “zero-range interaction”. These kinds of interactions—aka
“pseudopotentials”—are often invoked more or less heuristically as limits of short
range interactions with bound state energy E 0 = −g 2 , but the definition of a potential
even in the sense of distributions will fail as one sees from (3). On the other hand,
using the ground state representation as above, one can even extend the formalism
to one of n particles with zero-range interactions, setting

 e−g|xi −xk |
ψ0 (x1 , . . . , xn ) = const. . (5)
i<k
|xi − xk |

For much more on such singular perturbations see e.g. [8], and its extensive list
of references.
34 L. Streit

2.2 Barriers

Example 2 Under suitable conditions on the potential V ground state wave functions
do not have zeroes. So what if one chose e.g. not the ground state e0 of the harmonic
oscillator Hamiltonian, but the following one

x2
ψ0 (x) = e1 (x) = const. x exp − ?
2

As it turns out, the construction outlined above will have all the odd numbered
Hermite functions e2n+1 as eigenvectors (all of them with e2n+1 (0) = 0), as well as
their symmetrizations e2n+1 (|x|), with the same energy. Hence, equivalently, one can
(+) (−)
choose the one sided functions e2n+1 (x) and e2n+1 (x) as a complete set of eigenvec-
tors, restricting e2n+1 to the positive and negative half-line, respectively. So the effect
of the zero is to decompose the problem; with

H = H (+) H (−)

acting on
L 2 (R) = L 2 (R+ ) L 2 (R− ).

Sufficient for such a separation is that ψ0 (x) = O (|x|) at least on one side of
zero; ψ0 (x) = O (|x|α ) with α < 1 would not have this effect. A generalization of
separating barriers for quantum dynamics (and diffusions) in Rn can be found in [9];
and a remarkable application to the Titius–Bode law of planetary spacings in [10].

2.3 Approximation by Regular Perturbations

For many computations in quantum mechanics such as e.g. of scattering matrices it

is helpful to approximate singular interactions by more regular ones in a controlled
fashion.
Technically one might want to approximate Hamiltonians H arising from energy
forms 

( f, H g) = ∇ f (x) · ∇g(x)ψ 2 (x) d x
Rn

by sequences of the usual, perturbative form, Hn =  + Vn which would arise from

smoother ground states ψn . Strong resolvent convergence in particular is of interest
because of its relevance for spectra and wave operators.

Theorem 2 [11] Consider an increasing sequence of admissible ψn ∈ L loc 2

(Rn ),
n = 1, 2, . . . , ∞, such that 0 < ψ1 ≤ ψ2 ≤ . . . ≤ ψn ψ∞ for almost all x in Rn .
Then the corresponding operators Hn converge to H∞ in strong resolvent sense.
 Hunt nodded, though his focus remained fixed on the partying crowd.
Even here, people noted from all directions as the Starborn Princess and the
Umbra Mortis arrived. The crowd parted for them, some even backing
away. Bryce stiffened, but Hunt didn’t halt his easy pace. He was
accustomed to this shit—had been for a while now. And though he was no
longer officially the Shadow of Death, people hadn’t forgotten what he had
once done. Who he’d once served.
Hunt aimed for the living room to the left of the foyer, the ridiculous
muscles along his shoulders shifting with the movement. They were put on
near-obscene display by the black tank top he wore. Bryce might have
survived the sight of it, had it not been for the white sunball hat, twisted
backward the way Hunt usually wore it.
She preferred that hat to the fancy suit, actually.
To her shock, Hunt didn’t protest when a reveling air sprite floated past,
crowning him and then Bryce with glow-stick necklaces made from
firstlight. Bryce removed the plastic tube of light and looped it into a
bracelet snaking up her arm. Hunt left his hanging over his chest, the light
casting the deep muscles of his pectorals and shoulders in stark relief. Gods
spare her.
Hunt had only taken one step into the living room when Tristan Flynn’s
voice boomed from the foyer behind them: “The fuck, Ruhn!”
Bryce snorted, and through the crowd she spied the Fae lord at one end
of the beer pong table on which he’d painted an image of an enormous Fae
head devouring an angel whole.
Ruhn stood at the other end of the table, both middle fingers raised to
his opponents, his lip ring glinting in the dim lights of the foyer. “Pay up,
assholes,” her brother said, the rolled cigarette between his lips bobbing
with his words.
Bryce reached a hand for Hunt, fingers grazing his downy soft wings.
He went rigid, twisting to look at her. Angels’ wings were highly sensitive.
She might as well have grabbed him by the balls.
Face flushing, she jabbed a thumb toward her brother. “Tell June and
Fury I’ll be there in a sec,” she called over the noise. “I want to say hi to
Ruhn.” She didn’t wait for Hunt to reply before wending her way over.
Flynn let out a cheer as she appeared, obviously well on his way to
being smashed. Typical Tuesday night for him. She considered sending a
photo of his wasted ass to his parents and sister. They might not sneer so
much at her, then.
Declan Emmett appeared slightly more sober as he said from Flynn’s
side, “Hey, B.”
Bryce waved, not wanting to shout over the crowd gathered in what had
once been a dining room. It had recently been transformed into a billiards
and darts room. Absolutely fitting for the Crown Prince of the Valbaran
Fae, Bryce thought with a half smile as she sidled up to the male beside her
brother. “Hi, Marc.”
The towering leopard shifter, all sleek muscle beneath his dark brown
skin, peered down at her. His striking topaz eyes sparkled. Declan had been
seeing Marc Rosarin for a month now, having met the tech entrepreneur
during some fancy party at one of the big engineering companies in the
Central Business District. “Hey, Princess.”
Flynn demanded, “Since when do you let Marc get away with calling
you Princess?”
“Since I like him better than you,” Bryce shot back, earning a clap on
the shoulder from Marc and a grin from Ruhn. She said to her brother, “A
small get-together, huh?”
Ruhn shrugged, the tattoos along his arms shifting. “I blame Flynn.”
Flynn lifted his last beer up in acknowledgment and chugged.
“Where’s Athalar?” Declan asked.
“With June and Fury in the living room,” Bryce said.
Ruhn waved his greeting to a passing partier before he asked, “How
was the ballet?”
“Awesome. June killed her solos. Brought the house to its feet.” She’d
had chills along her entire body while her friend had danced—and tears in
her eyes when Juniper had received a standing ovation after finishing.
Bryce had never heard the CCB so full of cheering, and from Juniper’s
flushed, joyous face as she’d bowed, Bryce knew her friend realized it, too.
A promotion to principal was sure to come any day now.
“Hottest ticket in town,” Marc said, whistling. “Half my office would
have sold their souls to be there tonight.”
“You should have told me,” Bryce said. “We had a few extra seats in
our box. We could have fit them.”
Marc smiled appreciatively. “Next time.”
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who were by my side, standing behind me,
every step of the way.
CONTENTS

List of Figures viii

1 Perfect Mix or Perfect Mess? 1

2 Conceptual Metaphor Theory 25

3 The Main Reasons Metaphors Mix 47

4 More Exotic Mixes 63

5 Metaphor or Not? How Ambiguity Causes

‘Mixing’ 85
6 Malaphors and Other ‘Ducks Out of Water’ 117

7 Why We Need Multiple Metaphors 147

8 Mixing Metaphors for Fun and Profit 171

9 Making the Most of Your Metaphors 187

Appendix: Index of Metaphors 191

Bibliography 220
Index 226
LIST OF FIGURES

1 It may be difficult to imagine lightning that looks like

a drunken ballerina 9
2 How many mice are in this picture? 30

3 Burning eyes and fiery hair can be hazardous 31

4 Parents are larger than children, which encourages

kids to develop importance is size. In addition,
physical contact between parents and children
leads to the metaphor affection is warmth.
Photograph by Bill Sullivan 34
5 When we open the box and see the kitten, we
understand that we’d better buy cat food, make a
vet appointment, and think of something to tell the
landlord 35
6 Eels are hard to get your head around 41

7 Covered wagons on the Oregon Trail faced many

dangers, but not alligators 51
8 Carrots don’t make good bait 57

9 Most canaries don’t care if a pot boils over 58

10 If I had a car, this would be my bumper sticker 59

11 A rabbit is not a good substitute for a fig leaf 65

12 A Facebook post describes friends as bras 71

13 This meme could be inspiring – unless you’re a

tree. Photograph by Bill Sullivan 74
14 Another inspiring quotation has been sabotaged by
its background image 74
15 Few people want to see their children carried off by
kites 88
16 Trains are better off if they don’t venture off their
tracks 90
17 This meme critiques the proverb When life hands
you lemons, make lemonade 91
18 Cues such as the textured background
encourage readers to first interpret this meme
metaphorically 92
19 This message of hope appeared on a billboard,
photographs of which were circulated online 101
20 Glow sticks are activated by shaking, but human
comprehension is not 106
21 Talking mantises might bite each other’s heads off
either literally or figuratively 107
22 ‘Ducks out of water’ seem fine 126

23 This man needs to ‘hold his lid’ 128

24 The Earth is carried by a giant turtle. Underneath

that, it’s turtles all the way down 137
25 The nuclear genie is here to stay – and he brought
friends 138
26 Molecules are often represented as balls on sticks
(left) or as attached bubbles (right) 152
27 These two characters have different metaphors for
happiness 157
28 Empty minds fill up with monsters 166

List of Figures ix
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