This article focuses on home movies, a topic that has been long-neglected in film studies by exploring their definition, relevant research, and preservation practices in film archives. As a non-mainstream visual record, home movies preserve the life experiences of “the other,” providing alternative texts to transform historical narratives. Using the event Home Movie Day and Night: The 24-Hour Marathon hosted by the USA’s Center for Home Movies as a case study, the article not only examines the curatorship and structure of the webcast screening program but also illustrates the complicated histories and contexts of home movies/amateur films and the cultural and regional differences in research and preservation. The article has found that this global screening was mostly led by archivists and moving-image preservation networks from the United States and Western Europe, with home movies from non-Western cultural regions playing only supplementary roles. The article contends that the development process of consumer technology has led to variations in the ubiquity and accessibility of cameras across different cultures and regions. However, digital technology has made public exhibitions of home movies a preservation trend. Non-Western countries or regions need to preserve their own home movies and establish a solid infrastructure for archiving home movie metadata, making them accessible and interpretable.
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