Among the impressive and often useless list of television channels offered by ADSL providers, you've probably noticed the existence of local channels now available nationally. Among them, I would point out the initiative TV8 Mont-Blanc, which broadcasts a series called Paper a happy memory. The Film Pays de Savoie, custodian of rolls of film used for mounting the ten episodes of this documentary series, offers on its website a detailed description of this production .
The project consists of a montage of home movies, filmed between 1940 and 1970, to offer "a unique timeless journey, a discovery of the territories of the Savoie, history local, the true story ... "in the words of presentation of the production house Kanari Films . The directors, Marc Rougerie, Jean-Stéphane Doignon Stephane Perriot and Gilles Perret, selected footage shot by amateurs, mostly local. The choice of camera like a list of authors of a specialized editor in regionalism: a priest, a farmer, a teacher, a few journalists, a Parisian love of country. One might look like a professional, Joseph Leger, a photographer in St. Jean de Maurienne. To begin, we can make an interesting parallel between this series and books regionalist reviving the "true story" Pays de Savoie, a story always happy, nostalgic for a lost golden age. The goal is the same: to transmit a memory of the terroir here even if the writing or the postcard gives way to the moving image, as a concession to modernity that one can not escape. Selected images show, however, mostly villages that have not yet been "invaded" by tourists (although the beginning of the ski resorts are obviously shown). They describe a way of life we used to see fixed on the book illustrations seen here and vividly.
Thus the image becomes an image of private land without, in some cases, the author has been aware of the production of a regional memory. For while some are from the shooting map folklorist, others seem to shoot for the fun of the camera. This is the case, for example, Joseph Leger, professional photographer, who films his family life a priority. His films are marked by an obvious concern for the staging. The testimony of his wife tells us that J. Light did not hesitate to repeat a scene kids to reach what he wanted. However, it soon caught up by the municipality of Saint-Jean de Maurienne, which hired him for the filming of promotional films about the area or to the visit of General de Gaulle in 1960 to mark the centennial of the annexation of Savoy France. These experiments are also exceptions for him, as he prefers to shoot hiking with friends, playing with his children or else exceptional events such as floods. These films were then shipped to other than a projection into the family home with friends and relatives. The mounting
serialized regionalist gives a different purpose to those images. We are now in the presence of a memory of the past, in a region. Family memory is now part of the story of a local broadcast on a local channel (paradoxically national broadcast). The modernity of a shooting at the time turned into evidence of a traditional life. The private character has evolved into collective memory. The process is not new. And memories of peasants or nobles were often not intended to be published. These writings were part of a private transmission of family memory and did not become evidence in the soil through the catalyst for regional publications. By cons, which is definitely new is the support of these submissions. It is therefore questionable whether the development of local channels through digital TV will have new expressions of regionalism far confined to writing and performing arts.
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