本文關注電影研究長期忽視的家庭電影，探討其定義、相關研究與保存實踐。作為非主流影像紀錄，家庭電影保留「他者」生活經歷，提供轉換歷史敘事的另類文本。本文針對美國家庭電影中心策劃的「家庭電影日與夜：24 小時馬拉松」進行個案研究，檢視其策劃結構與再現思維，描繪複雜的家庭／業餘電影歷史脈絡，剖析其研究與保存實踐的文化與地域差異。此活動由美國及西歐保存組織及檔案管理人主導，其他非西方文化地區的家庭影像僅屬於補充與點綴角色。本文認為消費科技的發展進程導致攝影機有不同文化的普及與地域落差，然而數位科技讓家庭電影公共展示成為趨勢，非西方國家／區域需保存家庭電影，建立檔案研究基礎工程、以利未來詮釋與使用。

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.

美國家庭電影中心; 家庭電影; 家庭電影日; 家庭電影日與夜; 消費科技

Center for Home Movies; home movies; Home Movie Day; Home Movie Day and Night ; consumer technology