The practice of “recycling” existing documentary film material in contemporary documentary making: various examples which take different approaches to the use of archive footage will be presented and discussed. The journey will begin from the director’s own experience of working with archive footage, and the questions she has asked herself in various situations, depending on the nature of the project and the archive material used.
Through viewings of extracts of Marazzi’s and other directors’ films, the participants will be invited to reflect on the “reading” of historical images, both private and public, the cultural and gender interpretation, both conscious and unconscious, of visual representation, and the many ways of giving new meaning to the material. Alina Marazzi
Alina Marazzi
Documentary, film and theatre director. She trained in London in the 1980’s. Initially, she collaborated with production companies (Studio Azzurro, Fabrica) and offered courses in socially disadvantage contexts (e.g. video workshops in prison). Her main research topics are feminine subjectivity and the usage of memory images.
Un’ora sola ti vorrei (2002) is her first documentary film where the foundations of her poetry are laid, and it is created entirely from family footage – a portrait of a mother who died prematurely. Subsequently, she made Per Sempre (2005) on cloistered nuns, and the full-length archive film Vogliamo anche le rose (2007), on stories of women in the decade of sexual liberation. Both works are an investigation of femininity, which is also at the heart of her work of fiction, Tutto parla di te (2012) with Charlotte Rampling, a feature film on the dark side of motherhood.
