摘要：The paper analyses the multiple ways of re-appropriation and rewriting of amateur footage, actions significantly able to turn the original private materials into powerful collective memory-making devices. The Archive – and the multidisciplinary stages of the archival treatment – plays a key-role in this remediation process, giving a new and unexpected life to home movies, in constant transition through their re-use in different contexts, as in the experience here described, an 8mm camera-car by Eros Parmeggiani, filmed in 1969 along the nearly inaugurated beltway north of Bologna.
其他摘要：The paper analyses the multiple ways of re-appropriation and rewriting of amateur footage, actions significantly able to turn the original private materials into powerful collective memory-making devices. The Archive – and the multidisciplinary stages of the archival treatment – plays a key-role in this remediation process, giving a new and unexpected life to home movies, in constant transition through their re-use in different contexts, as in the experience here described, an 8mm camera-car by Eros Parmeggiani, filmed in 1969 along the nearly inaugurated beltway north of Bologna.
