Thanks Andre. Some great material there. The ability to look into the past, through film, is so refreshing. Especially that decade when widescreen went mainstream. What I enjoy about amateur footage is the way it taps into (consciously or otherwise) the "ordinary".
But what is so interesting is that while shots like this may have been considered ordinary at the time (although the very act of capturing the ordinary is by no means ordinary) it's with time that such ordinariness becomes increasingly extraordinary. It is not just it's unfamiliarity (with out own realities) but a kind of "shock of the old", as young again.
It's also great to see the 1950s, when widescreen went mainstream, actually in widescreen (cinemascope). Very apt.
Lev Manovich, a digital age media theorist, envisaged a form of cinema he called "database cinema" (1998) in which the shots of such a cinema would be navigated (like browsing the web), rather than observed in a pre-assembled fixed order. While he references Peter Greenaway and Dziga Vertov, their work was never completable (at the time) as a database cinema, although their material was definitely orientated towards such a future.
The act of browsing the film archive and bringing into focus this or that work, according to this or that motive, can be regarded as what Manovich means by a database cinema.
cheers
Carl