of age to be consistent with clothing analysis for young women (tightly fitted boned garmet - 16 yrs. The British tradition in oral history is by no means undifferentiated.The work of local family history societies can, in many ways, be seen to complement the work of the oral historian, and in both disciplines the significance of the photograph and the family album has often proved pivotal in the recovery of lost memories and narratives – not just of individuals but also whole communities and social classes who were affected by great historical events.
Contextuallising dating family guide photograph researching
Walton – photographer1900 Census - Switzerland County, Indiana Joseph C.
Walton – photographer1910 Census – Switzerland County, Indiana Joseph E. The subject is either Susanna or Elizabeth and not someone else.
While the value of the photographic image has been accepted and integrated within the recording conventions of oral history and as illustrative material for exhibitions, resistance to video interviewing and the distractions posed by the moving image has perhaps been much deeper. Moving Image in Everyday Life In addition the work of film historians, particularly in relation to the history of home or amateur movies, has demonstrated the assimilation of visual and audio-visual cultural practices into the social life of ordinary people during the course of the twentieth century.
As Dan Sipe argued in the , Spring/Fall, 1991, Vol. In some respects this spontaneous and autonomous popular audio-visual history was determined by ‘ordinary’ people recording aspects of ‘ordinary’ life.
Lives in Focus The relevance of the problems and possibilities posed for oral history by digital technology and the recording of the audio-visual interview is acknowledged in the continuing demand for advice and training from the Oral History Society.
Come September 2015 there will be a one day course titled , provided by the Oral History Society and National Life Stories from the British Library.
Here, the unaccompanied voice (or the voice with the interviewer as accompanist) has reigned supreme, without the interference or ‘visual noise’ and distraction of black and white (or colour) of still or moving images.
The distinctive voice was particularly suitable to the medium of radio and also to the task of listening closely to a narrative (for example, an interview) instead of what was seen as the far more passive, yet possibly more entertaining activity of viewing a film, a pastime associated with cinema and popular leisure.
The emphasis will be on the practical aspects of organising audio-visual interviews, but will also examine the difference between an audio and a video interview.