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Sample text

These general ideas about learning and creativity might therefore offer some ways of understanding the social dimensions of amateur (or, for that matter, professional) media production. Rather than simply celebrating popular creativity, they enable us to address the social conventions on which it depends, and the social contexts and processes that make it possible. Yet they also allow a space for individual agency – for innovation and rule-breaking, or simply personal talent or ‘feel’. indd 40 5/27/2009 11:45:45 AM David Buckingham 41 Changing media power As I have noted, one of the recurring claims about amateur media production is the idea that it can permit a form of democratisation of media.

She also draws attention to the social organisation of amateur production, notably in regional cineclubs (Norris Nicholson, 2004), and more broadly to the emergence of movie-making as a popular leisure activity that was strongly associated both with family life and with tourism. Nevertheless, these are far from typical ‘family films’. ) The histories provided by such authors generally end before the advent of video, although both Chalfen and Zimmerman do discuss the possible implications of this new technology in their closing pages.

Indd 43 5/27/2009 11:45:46 AM 44 A Commonplace Art? Amateur Media Production practices at the expense of more ‘ordinary’, less obviously innovative ones. Digital storytelling, in which people create short autobiographical films or multimedia presentations, is one example of the more mainstream ‘vernacular creativity’ that Burgess explores – although, as she makes clear, it is a workshop-based process that tends to occur in quite specific institutional settings (in the UK, for example, it has largely been pioneered by the BBC).

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