BLACK AMERICAN SUPER 8
PLEASURES IN THE EVERYDAY THROUGH HOME MOVIE FILM
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Super 8 home movies of Black American life, spanning roughly from the mid-1940s to the early 1970s, serve as vital, intimate records of Black joy, resilience, and daily existence. These personal archives capture, in color, moments often missed by mainstream media, including family cookouts, backyard parties, church gatherings and community life in major U.S. cities.
The history of American home movies began as a luxury hobby for the wealthy in the 1920s and evolved into a near universal family ritual by the late 20th century. This evolution was driven by key technological shifts, moving from expensive 16mm reels to more affordable 8mm film. These
Filming with his new 8mm homie movie camera. The Brownie cameras, known for their simplicity, became a household name. In many ways, they were like the social media of their time.
Filming with his new 8mm homie movie camera. The Brownie cameras, known for their simplicity, became a household name. In many ways, they were like the social media of their time.
early film devices not only captured the essence of their time, but also transformed the way people immortalized memories and documented life’s most precious moments - however, this medium was not always affordable for most Black American consumers.
A moment of Black American celebration filmed in Chicago, 1955.
A moment of Black American celebration filmed in Chicago, 1955.
During the early 20th century, 16mm became the de facto winner of "the just-good-enough to be professional, just-cheap-enough to be amateur sweepstakes". After the armed forces adopted it during World War II, it became an expensive pro gauge, but for several decades or so, 16mm held on as the home movie choice of the upper middle class and above. It’s one reason why mid-century famous rich families like the Kennedys, Fords, and Romneys have such sharp, clear, presentable film archives.
When it came to Black consumer affordability, 16mm cameras were not only large and heavy, but very expensive to buy. They were for dedicated hobbyists, not casual family use. In 1965, a new amateur film size was introduced that would eventually take over the field of home movies - 8mm - a clever adaptation for cheapness’ sake: The roll you loaded in the camera was actually 16mm film with twice the number of sprocket holes, filmed on one side and then flipped over to photograph on the other side.
Depression-bred parents enjoyed prosperity they’d never known by the 1950s. One big beneficiary of this baby boom was Eastman Kodak. Black American consumers found ways to also afford this luxury.
Depression-bred parents enjoyed prosperity they’d never known by the 1950s. One big beneficiary of this baby boom was Eastman Kodak. Black American consumers found ways to also afford this luxury.
Historically, Super 8 film was a reversal stock for home projection used primarily for the creation of home movies. It became an extremely popular consumer product throughout the 1960s through the '70s, but was largely replaced in the 1980s by the use of video tape. During the mid-to-late 1980s Super 8 began to re-emerge as an alternative method for movie production, beginning with its use in MTV music videos in 1981.
The Bell & Howell 70-DR Filmo was one of the first 16mm cameras, introduced in the 1920's for amateur home movie making. Its ruggedness and compact size made it a common motion picture camera during WW2 and Viet Nam era. It also served as a popular silent newsgathering camera in the 60's and 70's before the onset of video news gathering.
THE BELL & HOWELL FILMO
When newly purchased, the Bell & Howell 70DR was a basic, affordable package consisting of 3 lenses with matching viewfinder objective lenses, a back wind for special effects, empty take-up reel, oiler, lens cleaner, lens caps, manual and fitted case.
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When newly purchased, the Bell & Howell 70DR was a basic, affordable package consisting of 3 lenses with matching viewfinder objective lenses, a back wind for special effects, empty take-up reel, oiler, lens cleaner, lens caps, manual and fitted case.
Malcolm X smiles as he conducts a test-run on his 70-DR Filmo inside the Semoramis Hotel in Cairo, Egypt. It was fitted with an Angenieux 25mm F. 95 lens. Although the lens didn’t have a focus collar, Malcolm X relyed on hyper focal distance to film his image properly in the mirror--setting the lens focus at a point that provided a correctly focused image of himself.
Malcolm X in Cairo, 1964
Anna Levi, Alice and I went looking for 16mm movie film. After going to several places, we found 3 rolls at Kingsway at $15.00 per roll. It was too late to cash a traveler’s check so, I got one roll and the white clerk promised to hold the other two rolls for me.
Anna Levi, Alice and I went looking for 16mm movie film. After going to several places, we found 3 rolls at Kingsway at $15.00 per roll. It was too late to cash a traveler’s check so, I got one roll and the white clerk promised to hold the other two rolls for me.
Malcolm X: Accra, Ghana, May 11, 1964
Malcolm X: Accra, Ghana, May 11, 1964
The Muslim firebrand was briefed on how the handy Filmo camera operated by his trusted friend. He understood the relationship between the image and the struggle, years prior, not only at the micro-level of its evocative emotional power, but in the broader context of the media explosion of the mid-twentieth century.
The Muslim firebrand was briefed on how the handy Filmo camera operated by his trusted friend. He understood the relationship between the image and the struggle, years prior, not only at the micro-level of its evocative emotional power, but in the broader context of the media explosion of the mid-twentieth century.